Communion of Saints

At the altar table, the overweight parson is doing something or other with the bread as his assistant stands by with the wine. In the pews, the congregation sits more or less patiently waiting to get into the act. The church is quiet. Outside, a bird starts singing. It's nothing special, only a handful of notes angling out in different directions. Then a pause. Then a trill or two. A chirp. It is just warming up for the business of the day, but it is enough.

The parson and his assistant and the usual scattering of senior citizens, parents, and teenagers are not alone in whatever they think they're doing. Maybe that is what the bird is there to remind them. In its own slapdash way the bird has a part in it too. Not to mention "angels and archangels and all the company of heaven," if the prayer book is to be believed. Maybe we should believe it. Angels and archangels. Cherubim and seraphim. They are all in the act together. It must look a little like the great jeu de son et lumiere at Versailles when all the fountains are turned on at once and the night is ablaze with fireworks. It must sound a little like the last movement of Beethoven's Choral Symphony or the Atlantic in a gale.

And "all the company of heaven" means everybody we ever loved and lost, including the ones we didn't know we loved until we lost them or didn't love at all. It means people we never heard of. It means everybody who ever didor at some unimaginable time in the future ever willcome together at something like this table in search of something like what is offered at it.

Whatever other reasons we have for coming to such a place, if we come also to give each other our love and to give God our love, then together with Gabriel and Michael, and the fat parson, and Sebastian pierced with arrows, and the old lady whose teeth don't fit, and Teresa in her ecstasy, we are the communion of saints.

 

~originally published in Whistling in the Dark and later in Beyond Words

 


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Conversion

There are a number of conversions described in the New Testament. You think of Paul seeing the light on the road to Damascus (Acts 9:1-19), or the Ethiopian eunuch getting Philip to baptize him on the way from Jerusalem to Gaza (Acts 8:28-40). There is also the apostle Thomas saying, "My Lord and my God!" when he is finally convinced that Jesus is alive and whole again (John 20:26-29), not to mention the Roman centurion who witnessed the crucifixion saying, "Truly this man was the Son of God" (Luke 23:47). All these scenes took place suddenly, dramatically, when they were least expected. They all involved pretty much of an about-face, which is what the word conversion means. We can only imagine that they all were accompanied by a good deal of emotion.

But in this same general connection there are other scenes that we should also remember. There is the young man who, when Jesus told him he should give everything he had to the poor if he really wanted to be perfect as he said he did, walked sorrowfully away because he was a very rich man. There is Nicodemus, who was sufficiently impressed with Jesus to go talk to him under cover of darkness and later to help prepare his body for burial, but who never seems to have actually joined forces with him. There is King Agrippa, who, after hearing Paul's impassioned defense of his faith, said, "Almost thou persuadest me to be a Christian" (Acts 26:28, KJV). There is even Pontius Pilate, who asked, "What is truth?" (John 18:38) under such circumstances as might lead you to suspect that just possibly, half without knowing it, he really hoped Jesus would be able to give him the answer, maybe even become for him the answer.

Like the conversions, there was a certain amount of drama about these other episodes too and perhaps even a certain amount of emotion, though for the most part unexpressed. But of course in the case of none of them was there any about-face. Presumably all these people kept on facing more or less the same way they had been right along. King Agrippa, for instance, kept on being King Agrippa just as he always had. And yet you can't help wondering if somewhere inside himself, as somewhere also inside the rest of them, the "almost" continued to live on as at least a sidelong glance down a new road, the faintest itching of the feet for a new direction.

We don't know much about what happened to any of them after their brief appearance in the pages of Scripture, let alone what happened inside them. We can only pray for them, not to mention also for ourselves, that in the absence of a sudden shattering event, there was a slow underground process that got them to the same place in the end.

 

~originally published in Beyond Words

 


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Creation

To make suggests making something out of something the way a carpenter makes wooden boxes out of wood. To create suggests making something out of nothing the way an artist makes paintings or poems. It is true that artists, like carpenters, have to use something elsepaint, wordsbut the beauty or meaning they make is different from the material they make it out of. To create is to make something essentially new.

When God created the creation, God made something where before there had been nothing, and as the author of the book of Job puts it, "the morning stars sang together, and all the sons of God shouted for joy" (38:7) at the sheer and shimmering novelty of the thing. "New every morning is the love / Our wakening and uprising prove" says the hymn. Using the same old materials of earth, air, fire, and water, every twenty-four hours God creates something new out of them. If you think you're seeing the same show all over again seven times a week, you're crazy. Every morning you wake up to something that in all eternity never was before and never will be again. And the you that wakes up was never the same before and will never be the same again either.

 

~originally published in Wishful Thinking and later in Beyond Words

 


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