Show Notes
“O Little Town of Bethlehem” has shaped how millions of English speakers imagine the Palestinian town where Jesus was born: a small place, still and peaceful, resting under the stars. The wars and struggles of recent decades invite us to question whether that image is true. And yet, “Bethlehem is still a very little town,” says Stephanie Saldaña, a writer and mother raising her family in this religiously and culturally diverse place. “It is a small place where everybody knows each other.”
Still more striking is how closely the need that gave rise to the carol echoes the present moment. In 1865, after the Civil War devastated the United States, Philadelphia rector Phillips Brooks was broken by grief—Lincoln’s assassination and the loss of his younger brother to cholera while serving in the Union Army. Seeking solace, Brooks traveled to Bethlehem. What he found there—peace, stillness, God present in a small community—he later put into words and set to music as a carol for children who had lost fathers to war.
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Now, more than 150 years later, that same carol reaches those in the Holy Land today, reeling from pandemic and war—and far beyond—to offer us what it has always offered: stillness, God's presence, enduring hope.
In this fifth season finale, host Maggi Van Dorn speaks with:
Stephanie Saldaña, a writer, wife, and mother in Bethlehem, reflects on life in the place where Jesus was born—and on discovering the carol’s deepest truths amid war, COVID-19, and economic collapse.
Rachel Wenner Gardner, rector of the Church of the Holy Trinity in Philadelphia where Phillips Brooks served, on his pilgrimage to the Holy Land and why he wrote this carol for children in the aftermath of Civil War.
John French, former organist at Holy Trinity for 28 years, on the brilliance of Lewis Redner’s original tune and Ralph Vaughan Williams’s folk arrangement.
Karen Swallow Prior, poet and retired English professor, on the theological depth hidden in Brooks’s poem.
The music featured in this episode was generously gifted to “Hark!” Our thanks to Frank Tuson, Richard Gilewitz, Salt of the Sound, Smalltown Poets, St. Paul’s Boys Choir School, Cambridge, Mass., The Choir of King’s College, Cambridge, U.K., The Roches, and Tony Alonso, courtesy of GIA Publications, Inc. Our theme music was produced by Frank Tuson.
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Love a good holiday brain-teaser? Our weekly Christmas carol trivia is exclusively for America subscribers. Take the fourth and final quiz of the season here! Or visit, AmericaMagazine.org/hark.
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More from Hark! The stories behind our favorite Christmas carols
Did you know that when a ewe rejects her newborn lamb, the shepherd has only hours to convince her to nurse it—or the lamb will die? This is the work of shepherds—staying awake through the night when lambs are being born, watching closely, ready to step in and save them. It gives new meaning to the good shepherd. In this episode, host Maggi Van Dorn travels to a farm in Herefordshire, near the Welsh border, to understand shepherding, and discovers why God might have chosen shepherds to be the first to hear the good news.
We often imagine angels as gentle and serene. But in Scripture they arrive in blinding light and overwhelming sound—so much so that their first words are almost always “Do not be afraid.” These are the messengers who burst into the night sky to meet a group of poor, worn-out shepherds—outsiders who become the first to hear the news of Christ’s birth.
Most Christmas carols celebrate the birth of Jesus. But not “The Coventry Carol,” the premiere episode of “Hark!” season five. This song centers on a biblical horror: the “massacre of the innocents,” King Herod’s order to kill all male babies two years old and under in Bethlehem. It’s a lullaby sung by mothers to children who may not survive the night.
On the final episode of Hark! this season, prepare yourselves for a wee bit of scandal because we’re looking at a tune that began as a bawdy love song and has long been associated with an evil monarch, but which, over the course of three centuries, finds its redemption as a Christmas carol. This is the story behind, “What Child Is This?”
If you’re in search of an ancient, theologically rich carol this season, look no further than “Of the Father’s Love Begotten.” Long before it became a Christmas carol in the 19th century, this hymn was first penned as a poem in the 4th century by Aurelius Clemens Prudentius. As Brian Flanagan, theologian and church historian, explains, this was a time of significant turmoil in church history, with Christian doctrine being defined and refined through heated debates and councils. Prudentius’ poetry appears to have been a creative way of conveying some of the core teachings that emerged from the Council of Nicaea in 325 A.D. to the faithful.