Not Suitable for Framing

IF WE THINK THE purpose of Jesus' stories is essentially to make a point as extractable as the moral at the end of a fable, then the inevitable conclusion is that once you get the point, you can throw the story itself away like the rind of an orange when you have squeezed out the juice. Is that true? How about other people's stories? What is the point of A Midsummer Night's Dream or The Iliad or For Whom the Bell Tolls? Can we extract the point in each case and frame it on the living room wall for our perpetual edification? 

Or is the story itself the point and truth of the story? Is the point of Jesus' stories that they point to the truth about you and me and our stories? We are the ones who have been mugged, and we are also the ones who pass by pretending we don't notice. Hard as it is to believe, maybe every once in a while we are even the ones who pay an arm and a leg to help. The truth of the story is not a motto suitable for framing. It is a truth that one way or another, God help us, we live out every day of our lives. It is a truth as complicated and sad as you and I ourselves are complicated and sad, and as joyous and as simple as we are too. The stories that Jesus tells are about us. Once upon a time is our time, in other words. 

-Originally published in The Clown in the Belfry

Real People

WHATEVER ELSE THEY may be, the people in the Bible are real human beings, and it is not the world of the Sunday School tract that they move through but a Dostoyevskian world of darkness and light commingled, where suffering is sometimes redemptive and sometimes turns the heart to stone. It is a world where although God is sometimes to be known through his life-giving presence, there are other times when he is known only by his appalling absence. The Bible is a compilation of stories of what happened to these human beings in such a world, and the stories are not only as different from one another as the people they are about but are told in almost as many different ways. Side by side in the opening pages of Genesis, for instance, there are two stories of the creation, one of them as stately and rhythmic as plainsong, the other as homely and human as the way you might tell it to your grandchildren. The groups of stories about Jacob and his son Joseph, told in as unpretentious a style as the second creation story, are nonetheless complex, full of psychological motivation and rich with detail; and in the case of Jacob in particular, no character in fiction is more multi-faceted, fascinating, or believable. 

-Originally published in The Clown in the Belfry

A Telling Silence

I REMEMBER ONCE going to see the movie Gandhi when it first came out. . . . We were the usual kind of noisy, restless Saturday night crowd as we sat there waiting for the lights to dim with our popcorn and soda pop, girl friends and boy friends, legs draped over the backs of the empty seats in front of us. But by the time the movie came to a close with the flames of Gandhi's funeral pyre filling the entire wide screen, there was not a sound or a movement in that whole theater, and we filed out of there—teenagers and senior citizens, blacks and whites, swingers and squares—in as deep and telling a silence as I have ever been part of. 

-Originally published in The Clown in the Belfry

Giving Prodigally

TO PRAY FOR YOUR enemies, to worry about the poor when you have worries enough of your own, to start becoming yourself fully by giving of yourself prodigally to whoever needs you, to love your neighbors when an intelligent 4th grader could tell you that the way to get ahead in the world is to beat your neighbors to the draw every chance you get—that was what this God asked, Paul wrote. That was who this God was. That was who Jesus was. Paul is passionate in his assertion, of course, that in the long run it is such worldly wisdom as the intelligent 4th grader's that is foolish and the sublime foolishness of God that is ultimately wise, and nobody heard him better than William Shakespeare did when he wove the rich fabric of King Lear around precisely this paradox. It is the Fool, Edgar, Kent, Cordelia, Gloucester—the foolish, weak, despised ones—who in their fatal loyalty to the ruined king triumph, humanly speaking, over the powerful cunning of Regan, Goneril, Edmund, and the rest of them. "Upon such sacrifices, my Cordelia, the gods themselves throw incense," Lear says to Cordelia—that is their triumph—just as, before him, Paul quoted Isaiah's "What no eye has seen, nor ear heard, nor the heart of man conceived, [that is] what God has prepared for those who love him." 

-Originally published in The Clown in the Belfry

"Once Upon a Time"

JESUS DOES NOT sound like Saint Paul or Thomas Aquinas or John Calvin when we hear him teaching in the Gospels. "Once upon a time" is what he says. Once upon a time somebody went out to plant some seeds. Once upon a time somebody stubbed a toe on a great treasure. Once upon a time somebody lost a precious coin. The Gospels are full of the stories Jesus tells, stories that are alive in somewhat the way the truth is alive, the way he himself is alive when Pilate asks him about truth, and his silence is a way of saying "Look at my aliveness if you want to know! Listen to my life!" Matthew goes so far as to tell us that "he said nothing to them without a parable," that is to say without a story, and then quotes the words, "I will open my mouth in parables, I will utter what has been hidden since the foundation of the world." In stories the hiddenness and the utterance are both present, and that is another reason why they are a good way of talking about God's truth which is part hidden and part uttered too. 

-Originally published in The Clown in the Belfry