In 1776, the fourth of July became “No Kings Day.” In my lifetime, that central meaning has been largely ceremonial and festive, but in the annus horribilis of 2025 it has become profoundly existential. The crisis which provoked the Declaration of Independence is back with a vengeance. But the abuses of King George can’t hold a candle to the malignant and murderous cruelty of our current tyrants.
In the Episcopal lectionary for daily prayer, we are currently following the saga of early Israel from the First Book of Samuel, where the whole idea of kingship is up for debate. As my country rushes headlong toward the extinction of the common good, these biblical texts have felt quite timely. I am particularly struck by the eighth chapter of I Samuel as a parable of our own collective folly. [i]
In the biblical narrative, Israel’s early days in the “Promised Land” were marked by political instability. Leadership was provided by a series of charismatic figures who governed with varying degrees of cunning and force. In the ideal, the leader would be touched by the spirit of the Lord, giving the “judge” an aura of power and purpose the people could not fail to recognize. In practice, such a system of leadership was often sustained through bloodshed. As Robert Alter points out, “survival through violence, without a coherent and stable political framework, cannot be sustained, and runs the danger of turning into sheer destruction.” [ii] Indeed, the disheartening Book of Judges ends in civil war and anarchy:
In those days there was no king in Israel. Every man did what was right in his own eyes (Judges 21:25).
When I Samuel, the next book after Judges in the Hebrew Bible, takes up the narrative, the prophet Samuel is born and raised as a divinely chosen instrument for the guidance of God’s people. As it turns out, he is far from perfect, prone to anger, rigidity and ambition. But his dream of creating a prophetic dynasty out of his descendants is thwarted by the blatant corruption of his sons, who “took bribes and twisted justice” (I Samuel 8:3).
So when Samuel’s old age raises questions about succession, the elders of Israel demand a new kind of governance. “Give us a king to rule over us, just like all the other nations.” But Samuel resists their plea. No doubt he dislikes the idea of surrendering his own authority, or admitting his dream of a prophetic dynasty is doomed. But he is also clinging to the venerable idea that ancient Israel is not like any other nation. Its only king, its only absolute ruler, is God, who rules through the direct inspiration of human agents.
Then Samuel prays, laying his dilemma before the Holy One, whose answer is surprising. “Listen to the voice of the people,” God says. “And don’t take it personally. It’s my governance they are rejecting, not yours. They’ve been rejecting and ignoring me from the very first day I delivered them from Egypt.” But even while expressing disappointment over human waywardness, God seems to accept the historical situation. Forgetting the Holy One, their Creator and Savior, is what humans do. “So give them what they ask for,” God tells Samuel. “But be sure to make it clear what they’ll be getting. Remind them what kings do: abuse power, rule with violence, steal your wealth, and turn you into slaves.”
When Samuel delivers God’s warning, he adds a dismal prophecy of the endgame: “The day will come when you will cry out before your king whom you chose for yourselves; and on that day the Lord will not answer you.”
But the people refuse to heed Samuel’s voice. “WE DON’T CARE!” they cry. “We want a king to rule us!”
When Samuel returns to his prayers to report the people’s response, God replies, perhaps with a sigh of resignation, “Heed their voice and make them a king.” And so it goes.
That’s how the conversation concludes. But I can’t help imagining God adding one more thing to the biblical text as it speaks to us across the centuries:
“Let them see for themselves what kings are like. FAFO.”
[i] I use the word “parable” here not to deny the foundation of the text in historical events, but to highlight a significance for us that does not depend on our knowing exactly how things happened in the murky past. The text of Samuel is a creative fusion of diverse sources. As Robert Alter notes in his translation of the Hebrew Bible, “What matters is that the anonymous Hebrew writer, drawing on what he knew or thought he knew of the portentous historical events, has created this most searching story of men and women in the rapid and dangerous current of history that still speaks to us, floundering in history and the dilemmas of political life, three thousand years later.” Robert Alter, The Hebrew Bible: A Translation with Commentary—Volume Two: Prophets (New York: W. W. Norton & Company, 2019), 176.
18th-century altarpiece (detail), San Martin Pinario, Santiago, Spain.
“I implore you—be calmer.” — Goethe
I know the world is a hot mess at the moment, but I’m taking the rest of the day off to welcome summer. I’m not even going to compose a long-overdue new post (more of those soon). Instead, before I retire to the garden with a pleasurable book, I’ll do the lazy thing and share a few paragraphs from something I wrote years ago, after my first journey to Greece. I posted the following words on the Summer Solstice in 2001. A few months later, the world as we knew it would come to an end. But the lesson I learned in Greece still speaks to my heart, even in (or especially in) our fractious and fallen present condition.
The author on Naxos, Greece.
After a few weeks of history, culture and religion on the mainland, I boarded a ferry for the Greek islands, only to be put off by the scene on the sun-drenched deck. Everyone was a tourist, slathered with sun block; the Greeks had vanished. We were like an occupying army, obliterating the local culture with our foreign speech, our alien ways, our crass desires. But there was something else that bothered me. We lacked seriousness. We were a ship of fools.
During the first half of my journey, I had contemplated the noble remnants of classical culture, walked in the footsteps of Socrates and Paul, hiked to Byzantine monasteries scattered along the summits of towering rock formations, breathed the incense of exotic rituals, conversed passionately about ideas late into the night. It had felt something like pilgrimage. But now the only quest was for the perfect tan, the languorous cafe, the idle beach. I feared a loss of purpose. Had I come all this way to fall into a resort mentality, and forget the Greece of myth and history, liturgy and philosophy?
In the end, my Puritan rigor succumbed to the regime of pleasure. I rediscovered summer mind. Time to be, not do. Sink down into the deep pool of the moment. Enjoy the sun-dazzled days and fairy tale nights without anxiety, as though they will last forever. I am not perfect at this. At times I am likely to rush from place to place, acquiring experiences greedily, not wanting to miss anything. But a brisk pace is fatal to deeper forms of attention.
On my first day hike on Naxos, the greenest isle in the Cyclades, I took a quick look inside one of the little Byzantine churches that frequent its charming hills and valleys. I saw only bare stones inside, not too interesting. I soon returned into the sunlight, where I heard a voice calling to me. It was a German hiker, looking for the entrance into the churchyard. I showed her the way in.
“Look at these wonderful old frescoes!” she said. “What frescoes?” I thought to myself as I peered into the shadows. Once I had given my sun-blinded eyes time to adjust, I began to see what I had missed in my hasty first glances—the faint images of saints. Some of the figures were clearly defined, while others had weathered into dreamlike blurs, like background figures in a Munch painting.
Sixth-century fresco in a Naxos church.
Early in that journey, I had read these words by Thomas Merton in the shaded balcony of a clifftop monastery: “In prayer we discover what we already have. You start where you are and you deepen what you already have. And you realize that you are already there … All we need to do is experience what we already possess. The trouble is, we aren’t taking the time.”
Now welcome summer. Let the heavy fragrance of its green world release you from obligations. Let it be enough for now to wander aimlessly around the neighborhood, linger over relaxed conversations, or lie in the hammock and wait for falling stars. Idleness is the incense we offer the gods of summer.
Crucified Christ (northern France, late 12th century).
Isaiah 53:5 But he was wounded for our transgressions, crushed for our iniquities; upon him was the punishment that made us whole, and by his bruises we are healed.
Was it really necessary for Jesus to be pierced and crushed? And how exactly did his suffering and death make us whole? There has never been a conclusive single answer, because any attempt to “solve” the Paschal Mystery with a reductive formula is missing the point. The cross is an experience to enter, not an idea to be explained. “I wonder as I wander out under the sky,” says the old Nativity carol, “why Jesus our Savior did come for to die / for poor ornery people like you and like I. . .” And now, this Holy Week, we come again to the foot of the cross, and we wonder.
Antonello da Messina, The Antwerp Crucifixion (1475).
Let us discard any crude notions of the cross as a transaction, as if somebody had to pay for all the damage wrought by human sin, so Jesus stepped up like a big spender to declare, “This one’s on me.” Such “substitution” theology either trivializes the cost of sin (can Auschwitz or Gaza be so lightly dismissed?) or risks masochism by stressing the pain of the Passion, as Mel Gibson did in his notorious movie. The sacredness of God’s Friday is not in the violence or the blood, but in the Love that rewrites the darkest story.
Lippo Memmi, Christ carrying the cross, Duomo di San Gimignano, Tuscany (1335-1345).
And let us not reduce the salvific death of Jesus to a simple case of human cruelty claiming one more victim. Something more than human tyranny and human tragedy—something divine—was at work in the cross. But the divine presence on Calvary’s hill was not in the form of any punishment dished out by an angry God. God was there in the vulnerable, suffering body of Jesus, the Incarnate Word of self-diffusive love, who chose to share the human condition in all its forms—even the bleakest and most wretched. Jesus didn’t suffer instead of us. Jesus suffered with us. And through the humanity of Jesus, our own experience of alienation and affliction has been absorbed into the trinitarian life of God, where it is held in love’s eternal embrace and drained of its toxicity. As the prophet said, By his wounds we are healed.
Jacopo Pontormo, Deposition from the Cross, Santa Felicita, Florence (1525-1528).
Or as theologian Paul Fiddes put it, “Far from simply forgetting about the sins of the world, [God] journeys deeply into the heart of [the human] condition. . . God participates in our brokenness, to win us to the offer of healing.” In our own evil time, when hate and cruelty are running wild, sometimes we feel overwhelmed, discouraged, or powerless. But that’s exactly where Jesus comes to join us, not simply to keep us company on the countless crosses of this world, but to transform our sufferings into the seeds of resurrection.
Anonymous “Master of St. Bartholomew,” The Descent from the Cross, Cologne, c. 1480-1510 (detail).
The title is from a hymn by W. H. Vanstone, “Morning Glory, Starlit Sky” (585 in the Episcopal Hymnal 1982)
The Easter Vigil is the molten core of Christian worship: a multisensory passage from darkness to light, death to life. With fire and water, stories and prayers, hymns and chants, candles and incense, bread and wine, it is the most luminous and wondrous of liturgies. The morning rites of Easter Sunday celebrate Resurrection, but the Easter Vigil on the night before feels almost like Resurrection itself. When it’s over, you come away a little dazed, wondering “oh what is that beautiful thing that just happened?” [ii]
After the New Fire is lit at sunset on Holy Saturday, one of the first things that happens at the Easter Vigil is the recitation of narratives and prophetic texts [iii] from the Hebrew Scriptures, beginning with the Creation story (Genesis 1:1—2:4a). In most churches, the texts are read from a lectern, but for nearly four decades, in a dozen different West Coast churches, I have curated the performance of the Vigil lectionary using drama, storytellers, music and projected media.
There’s nothing wrong with a well-read passage of canonical text—I’m quite fond of a good reading by a practiced and thoughtful voice—but sometimes a telling or dramatization can reach places which a reading cannot. Instead of a reader as a passive, transparent window for a sacred text to pass through without inflection or distortion, a teller embodies the text in breath, intonation, gesture and movement, making it alive and present and urgent in the moment of its speaking. And a dramatization can make a familiar story be freshly encountered. A story told or performed rather than read has a unique kind of authority, coming from the heart instead of a book.
The Easter Vigil is the Christian dreamtime, and we try to engage its lectionary accordingly. Biblical stories aren’t just memories about the past. They are living words meant to guide and shape our own responses to the present. As we become steeped in the stories, they begin to dwell in us, and we in them.
When we hear of the world drowning in its own evil, while a faithful remnant tries to navigate the sea of chaos, we recognize ourselves aboard the ark. When we hear of an evil regime trying to crush the ones who are “not like us,” the deliverance of the oppressed at the Red Sea encourages our own struggle to break free of the dark. When we hear of dry bones resurrected by divine breath, our own dead hopes begin to breathe again.
In the darkest days of the Second World War, W. H. Auden wrote a “Christmas Oratorio” [iv] which had no illusions about the world into which God was made flesh:
The evil and the armed draw near; The weather smells of their hate And the houses smell of our fear …
Such days are upon us again, and we truly need our sacred stories—the ones that remember divine intention and a habitable future—more than ever. At our Episcopal parish of St. Barnabas on Bainbridge Island, Washington, where my wife is the rector, I’ve been developing fresh versions of the stories, listening carefully for whatever they want to say to us in the year of our Lord 2025.
We will begin with a pair of texts projected on a screen after the ancient Exultet is chanted. The first says, For God so loved our stories. This is of course a blend of Elie Wiesel’s “God made man because he loves stories” and John 3:16’s “For God so loved the world …” The theology of Incarnation says that God’s own self entered fully into the human story. And the theology of salvation says that we in turn are meant to participate in the divine story. Both meanings are implied in the preface to our Vigil story time, grounding the performed narratives in the conviction that we can meet God in them.
The second text is a verse from Jeremiah (29:11): For surely I know the purpose I have for you, says the Holy One: plans for peace and not for evil, to give you a future and a hope. At a time when our future is in question and hope is stretched thin, God invites us to sit around the Paschal fire and let the stories of promise speak to our hearts once more.
Here is how the telling will go at this year’s Paschal fire:
The Creation: After the voice of e.e. cummings says, “When God decided to invent everything, he took one breath bigger than a circus tent, and everything began,” a big screen lights up with spectacular footage of the natural world, taking us through the first seven days in seven minutes. In response, the congregation is urged “to pray fervently for all the people of the earth, and for ourselves, that we may repent of our careless and arrogant abuse of creation, and find our proper and constructive place within its fragile and balanced harmonies.”
The Flood: Four people at a table engage in Bible study. Some of them resist the story (“Why do we even tell this story? No one wants to believe in an angry God” … “In the beginning, God says everything’s so great. Then suddenly he wants to call the whole thing off?”). Others see a kind of learning going on—God learning to live with an imperfect creation. Then somebody argues that the story is not really about God’s choices or God’s emotional life. It’s about the ark.
“The people who first told this story were just like us. They were adrift in a sea of chaos. Everything they had hoped and believed was underwater, washed away in the blink of an eye, and they wanted to know if they still had a future.”
As the discussion winds down, someone says, “Well, I’d better go feed the animals.” Wild waves appear on the screen behind them. It turns out that they have been on their own ark the whole time. The story they were discussing was happening to them. That’s often true of Bible stories.
The exhortations to prayer that follow each story reiterate the themes of the narrative. After The Flood, the Presider reminds the assembly that “God remains deeply committed to our story … God will not forget us, though we be sinking in a sea of chaos.” And the Deacon bids us pray for victims of natural disasters, all whose lives are beset by chaos, those drowning in the dark waters of doubt and fear, and those who cling to the precious ark of faith.
The Red Sea:
Noirish images of anonymous figures (from a bleak Hungarian film) shuffle through an imprisoning corridor on the screen, while three dancers on the stage express the experience of oppression with their bodies. A narrator explains:
Three thousand years ago, in the land of Egypt, there were people who had no name. They were the faceless many, exploited by the powerful, forgotten by the privileged: slaves, immigrants, the poor, the homeless, the vulnerable, the invisible, the outcast.
Then dismissive terms for the oppressed appear on the screen in stark animated graphics: Not like us … worthless … horrible people … trash … less than human. More images of “the faceless many” are shown as the dancers writhe in despair and an offstage choir sings a verse of “Go down, Moses.”
Suddenly, the divine breaks into this dark world: the screen flashes red, and we see the words from Psalm 68 that are always used in Orthodox Paschal liturgies:
Let God arise! Let the foes of Love be scattered! Let the friends of justice be joyful!
Then we hear a verse of a Civil Rights song: “They say that freedom is a constant struggle … Oh Lord, we’ve struggled so long, we must be free.” The dancers’ bodies shift from oppression to liberation, while the screen shows powerful footage of crowds on the march for justice. As we hear a repeating loop of Martin Luther King saying “We cannot walk alone,” the dancers begin their own march across the stage to the “Red Sea,” where they halt while the narrator declares:
This too is a creation story: On this day, God brought a new people into existence. On this day, God became known as the One who delivers the oppressed, the One who remembers the forgotten and saves the lost , the One who opens the Way through the Sea of Impossibility, leading us beyond the chaos and the darkness into the Light. When the world says No, the power of God is YES!
As the dancers begin to cross the Sea, the choir sings, “We are not alone, God is with us …” After the song, the bidding to prayer begins:
Pray now for the conscience and courage to renounce our own complicity in the workings of violence, privilege and oppression. Pray in solidarity with all who are despised, rejected, exploited, abused, and oppressed. Pray for the day of liberation and salvation.
The Fiery Furnace: This story from the Book of Daniel is borrowed from the Orthodox lectionary for the Paschal Vigil, and its humor (yes, the Bible can be funny) provides some comic relief after the Red Sea. The story’s mischievous mockery of a vain and cruel king, outwitted in the end by divine intention, feels quite timely. The idol shown on the screen is a golden iPhone, which will be destroyed by a cartoon explosion from Looney Tunes. The humorously tedious repetition of the instruments signaling everyone to bow is performed with the following (admittedly unbiblical) instruments: bodhran, bicycle horn, slide whistle, chimes, train whistle, and Chinese wind gong. The Song of the three “young men” in the furnace is recited by three women in an abbreviated rap version. At the end, the cast of twelve exit happily, singing the old Shape Note chorus, “Babylon is fallen, to rise no more!”
The Fall of Babylon, Tapestry of the Apocalypse, Angers, France (1377-1382).
Then we give thanks “for the saints who refuse to bow down to the illusions and idolatries of this world” and pray for “the grace and courage to follow their example, resisting every evil, and entrusting our lives wholeheartedly to the Love who loves us.”
Valley of Dry Bones: Unlike the embellished retellings of the other stories, this one sticks closely to the biblical text, but is delivered in a storytelling mode by a single teller (me) in a spooky atmosphere of dim blue light. The voice of God is a college student on a high ladder. The sound of the bones joining together is made by an Indonesian unklung (8 bamboo rattles tuned to different pitches). When the story describes the breath coming into the lifeless figures sprawled across the valley, I get everyone in the assembly to inhale and exhale audibly a few times so that we can hear the spirit-breath entering our own bodies. Then I move among them, bidding one after another to rise until everyone is standing, completing the story with their own bodies: the risen assembly itself becomes a visible sign of hope reborn.
Then the Presider says,
Dear People of God: There are those who tell our story as a history of defeats and diminishments, a narrative of dashed hopes and inconsolable griefs. But tonight we tell a different story, a story that inhales God’s own breath and sings alleluia even at the grave. By your baptism, you have been entrusted with this story, to live out its great YES against every cry of defeat.
And then, with our sacred stories of faith and hope freshly written on our hearts, we will process from the Story Space to the church for the Renewal of Baptismal vows, followed by the festive first eucharist of Easter, replete with Alleluias. And God willing, by the time it’s all done, none of us will be the same.
May all of you who make the Paschal journey this weekend come to “see and know that things which were cast down are being raised up, and things which had grown old are being made new, and that all things are being brought to their perfection by the One through whom all things were made, our Savior Jesus Christ.” [v]
Resurrection of Christ, Brittany (c. 1425-1430).
All liturgical texts, unless otherwise cited, are by the author. The Easter Vigil at St. Barnabas Episcopal Church (Bainbridge Island, WA) is on April 19, 2025.
[i] The Exultet (“rejoice”) is a chanted praise sung before the Paschal Candle at the Easter Vigil. Dating back to the 7th or 8th century, it is one of the most beautiful chants in the western rite, and its text is packed with striking images and metaphors of Christ’s passage through death to resurrection, and its implications for our own salvation. Singing it at the Vigil has been one of my greatest priestly joys over the years.
[ii] The line is taken from Mary Oliver’s poem, “At Blackwater Pond.”
[iii] The Vigil lectionary is not all stories. Beautiful texts from Isaiah, Baruch, Ezekiel, and Zephaniah are options as well. During the “Story Time” of the Vigil, we stick to the narratives. The non-narrative texts are then recited by readers along the way between the Story Space and the church, so that the people process through a corridor of continuous audible texts on their way to the font of rebirth.
[iv] W. H. Auden began writing For the Time Being: A Christmas Oratorio in the autumn of 1941. It was published in September, 1944). Dark times indeed.
[v] Quoted from the collect (prayer) that concludes the Old Testament readings in the Episcopal Book of Common Prayer.
Jan van Scorel, Woman with the jar of nard (c. 1530).
In all four gospels, there’s a story about a woman who interrupts an intimate dinner party to kneel at the feet of Jesus and make an act of devotion. Luke’s story differs from the others in significant ways, so it may be based on a different incident. But Mark, Matthew and John all seem to be describing the same event. It was a moment which clearly had an indelible impact on the memory of the early Church.
John’s version is the only one which names the woman: Mary of Bethany, whose brother Jesus had just raised from the dead in the gospel’s previous chapter. Coming between the dramatic raising of Lazarus from the tomb and the violent clamor of the Passion, the story is a striking contrast to what came before and what comes after.
Instead of a public event with lots of people, it is quiet and intimate. No wailing mourners, no crowd shouting “Hosanna!” or “Crucify him!” Just Jesus, a few disciples, and his hosts, the siblings of Bethany: Martha, Mary, and Lazarus.
We don’t know what they talked about during that dinner, but the moment had to have been highly charged, given the people around the table: The sisters whose grief had driven the harsh confrontation with Jesus at their brother’s tomb (If you had been here, my brother would not have died!) … the rabbi from Nazareth who had wept his own tears over the death of his friend (and perhaps some tears for the human condition in general) but who also found himself channeling the awesome life-giving power of the divine through his own mortal body …and the stunned man who had been so suddenly snatched from the land of the dead, experiencing what had to be a volatile mixture of awe, gratitude, and PTSD.
Perhaps no one said very much at all. Perhaps they were all still processing the shock of their shared experience at the tomb, letting a profound silence hold their feelings in order to preserve the mystery of it from being reduced to the poverty of language. But at some point, Mary was inspired to acknowledge the sacredness of the moment—not with words, but with a sacramental action.
The text doesn’t give the details, but I imagine her rising from the table, leaving the room for a moment, then returning with a jar of nard, a fragrant oil originating in the Himalayas and transported at great expense along the ancient trade route from Asia to the Middle East. It was worth a year’s wages, so when Mary, without saying a word of explanation, poured it all out over the feet of Jesus, it was quite shocking, like throwing a bag of gold into the sea or setting fire to a pile of paper money.
Then Mary compounded the shock by letting down her hair and using it to rub the oil into Jesus’ skin. No reputable woman would have done such a thing, nor would a religious teacher have permitted himself to be touched in such a way. Nevertheless, that’s how it went.
Judas was at that table, and he couldn’t bear to watch. He was the apostles’ money man, and he objected to wasting wealth that could have done some real good. John’s gospel doubts his sincerity, accusing Judas of embezzling the very funds he was claiming to protect.
I suspect that Judas’ discomfort had more to do with Jesus rewriting the social codes of his culture by endorsing Mary’s action. “Leave her alone,” Jesus tells him. Jesus, unlike Judas, understood that this was a very precious and significant moment, and he wanted to let it happen.
Mary’s extraordinary action, both sensual and symbolic, overflowed with meanings. For one thing, anointing with oil was a way to mark the special vocation and identity of authoritative figures, whether powerful rulers or holy persons. It consecrated them as chosen and set apart. The title of “Messiah” or “Christ” means “the anointed one.”
It was revolutionary to have a woman be the one to anoint Jesus as priest and ruler, but the kingdom of God was all about revolution: the revolution of transforming a disordered and broken world into a more perfect expression of divine intention and human possibility.
Anointing was also part of the culture’s preparation of a body for burial. Performed in the week before Jesus’ death, Mary’s gesture inaugurates the sequence of sacrificial acts culminating with her Lord’s burial in the stone-cold tomb. The feet she anoints will soon walk the Way of the Cross for the salvation of the world. That was Jesus’ chosen destiny, and the oil is an outward and visible sign of his inward consent to perform that destiny.
The story’s third meaning is in its foreshadowing of the foot-washing, when Jesus, on the night before he died, knelt at the feet of his friends to perform the work of a servant, surrendering his power for love’s sake. The foot-washing marked the turning point from a paradigm of domination to a paradigm of communion.
By kneeling at the feet of his friends, Jesus was showing them, and us, an image of humanity’s best version of itself. In that sacramental act, Jesus was saying: This is how we must be with one another, because this is exactly how God is with us.
And in today’s story, just a few days before Jesus would teach this explicit lesson at the Last Supper, Mary of Bethany, foreshadows the foot-washing when she offers, in her own way, all she has, holding nothing back.
And her devotional act of kneeling down to pour out the precious oil not only anticipated the foot washing on Maundy Thursday, it was an image of the divine nature as revealed in the incarnation and crucifixion of Jesus. As one theologian has put it, “The self-giving extravagance of Mary’s actions point to the way Jesus would expend himself completely through his crucifixion.” [i]
In our Palm Sunday liturgy next Sunday, Paul’s Epistle to the Philippians will declare that Jesus emptied himself for us, poured himself out for us, and in so doing he revealed who God is and what God does. Whether in the costly pouring out of the Son’s life on the cross, or in the lavish pouring out of Spirit on Pentecost, God is the One who never ceases to pour out God’s own self.
And when, before his own self-offering, Jesus allowed Mary to anoint him in such a costly manner, she herself became an icon who shows us God with her own body, bowing before Jesus to wipe his feet so tenderly with her hair.
At the time, the disciples did not grasp the full significance of Mary’s act. Nor did Mary herself, I’d imagine. How could they?
As we say around here about Holy Week: The journey is how we know. The disciples had to learn by doing: following Jesus all the way to the cross—and beyond—before they could begin to understand—through memory and reflection—what it was all about. And that is what we will be doing as well during the seven days of Holy Week, not wanting to miss a single step along that sacred way. The journey is how we know.
Before we leave this story, consider the one sentence that stands out from the rest of the text:
The house was filled with the fragrance of the perfume.
There’s nothing else quite like it in the canonical gospels. The Bible in general is short on description and long on action. We never hear about the weather in Jerusalem or the colors of spring in the Galilean hills or the way light falls on the walls of the temple courtyard in late afternoon. So why does John invite us to pause and take in the sweet smell of nard?
In her fascinating book on the olfactory imagination in the ancient Mediterranean, Susan Ashbrook Harvey points out that aromatic spices were thought of as souvenirs of Paradise. When Adam and Eve were expelled from the Garden of Eden, it was said, they were allowed to take away a few fragrant plants to remind them of what they had lost.
Smells are a powerful trigger of memory, and the sweet odors of plants, spices and aromatic oils not only reminded people of Paradise Lost, they were thought to alert our senses to divine presence in a fallen world. They help us remember God. As Harvey writes, fragrance is something like God:
“Unseen yet perceived, smells traveled and permeated the consciousness, transgressing whatever boundaries might be set to restrict their course … Odors could transgress the chasm that separated the fallen order from God; they could elicit an unworldly sensation of beauty.” [ii]
And so we hear St. Paul speak of the fragrance that comes from being “in Christ,” so that we ourselves begin to give off the “aroma of Christ” from our own bodies (2 Corinthians 2:14-16). A few centuries later, Gregory of Nazianzus, in his treatise on the effects of our baptism, wrote:
“Let us be healed also in smell, that we … may smell the Ointment that was poured out for us, spiritually receiving it; and [that we may be] so formed and transformed by it, that from us too a sweet odor may be smelled.” [iii]
And St. Chrysostom, in his 5th-century sermon on today’s gospel, urged his congregation to become like thuribles, sweetening wherever they happen to be with the incense of heaven:
Now the one who perceives the fragrance knows that there is ointment lying somewhere; but of what nature it is he does not yet know, unless he happens to have seen it. So also we. [That God is, we know, but what in substance we know not yet.] We are then, as it were, a royal censer, breathing whithersoever we go of the heavenly ointment and spiritual sweet fragrance.” [iv]
In the spirit of such olfactory tropes, John’s verse about the sweet smell of the nard in that Bethany dining room endow that moment with divine peace and blessing. And the verse is especially vivid in contrast with the stench of mortality hovering around the tomb of Lazarus a few days earlier. Don’t roll away the stone, his sister pleaded. After 4 days inside, the body will smell terrible. Or as the King James Bible memorably put it, “by this time he stinketh.”
But in that sweet-smelling dining room with Jesus and his friends, death and decay are held at bay for a few precious hours. Outside, the world is wild and raging, on the verge of murdering the incarnation of Love. But inside, a woman is imaging the peace of heaven at the feet of her Lord.
For me, this beautiful moment calls to mind a scene from Ingmar Bergman’s classic 1957 film, The Seventh Seal, set in the fourteenth century when the Black Plague is ravaging Europe. A wandering knight is trying to get back home before the plague catches him, stalling for time by engaging Death in a game of chess. He’ll never win, of course, but at one point he meets a kind of holy family: a man, Jof; his wife Mia; and their baby, Michael. They are traveling players who embody the vitality of the life force.
Antonius Block, the knight (Max von Sydow), plays chess with death.
The film ends with the knight taking his inevitable place in the dance of Death, disappearing over the horizon with his fellow mortals. But the “holy family” are not seen among the dead souls, for they have been spared to carry on in this life, untroubled by death because they belong to grace. They know how to accept the music of what happens, and not live in fear.
The knight finds grace in a fallen world: “I shall remember this hour of peace.”
In the sweetest moment of this anguished film, Jof and Mia share their strawberries and milk with the knight, who receives it like a sacrament, a taste of unconquerable life:
“I shall remember this hour of peace,” he tells them. “The strawberries, the bowl of milk, your faces in the dusk, Michael asleep, Jof with his lute. I shall remember our words, and shall bear this memory between my hands as carefully as a bowl of fresh milk. And this will be a sign and a great content.”
An hour of peace, an experience of great content in a world that is coming apart—isn’t that a perfect description of the dinner at Bethany? And are we not in that same place now, with Mary, Jesus, and the rest? The powers of death and malice and mindless destruction are raging outside. We know that. Yet here we are, tasting the bread of heaven, inhaling the fragrance of divine presence.
It’s not about escaping. Not at all. It’s about renewal, so that when we go back out into the world, we can be clear about our vocation: to exude that fragrance—God’s sweetness—in every place we go. And when it gets hard out there—and it will—just call to mind the fragrance of those sacred moments when we dwell in God, and God in us.
This homily was preached at St. Barnabas Episcopal Church on Bainbridge Island in Washington State, on the Fifth Sunday in Lent.
[i] Craig R. Koester, Symbolism in the Fourth Gospel: Meaning, Mystery, Community (Minneapolis: Fortress Press, 1995), 114.
[ii] Susan Ashbrook Harvey, Scenting Salvation: Ancient Christianity and the Olfactory Imagination (Berkeley: University of California Press, 2006), 53.
Marc Chagall, Moses at the Burning Bush (1960-1966): Uniting “incompatible distances.”
I have written repeatedly about major moments of the year such as Christmas, Easter and New Year’s Eve, but the only individual person (other than Jesus) to make repeated appearances on this site is the seventeenth-century Anglican poet-priest, George Herbert (1593-1633). I enjoy many poets, but Herbert’s psalmic verse is a regular part of my prayer life, and I am particularly partial to priests for whom art is a spiritual practice.https://jimfriedrich.com/2015/02/27/heart-work-and-heaven-work/
In “Mans medley,” the poet tests the tension between the earthly and heavenly elements in humanity’s hybrid nature. Just as a musical medley is composed of contrasting parts, so are we a unique blend of animal and angel. When Herbert was seven years old, playgoers first heard Hamlet pondering this paradox of human existence: “how like an angel in apprehension” is this “quintessence of dust”. Ten years after Herbert’s poems were published, Sir Thomas Browne wrote that “we are only that amphibious piece between a corporall and spirituall essence, that middle forme that links these two together” and “unites incompatible distances.” [i]
Mans medley
Hark, how the birds do sing, And woods do ring. All creatures have their joy: and man hath his.| Yet if we rightly measure, Mans joy and pleasure Rather hereafter, then in present, is.
To this life things of sense Make their pretence: In th’ other Angels have a right by birth: Man ties them both alone, And makes them one, With th’ one hand touching heav’n, with th’ other earth.
In soul he mounts and flies, In flesh he dies. He wears a stuffe whose thread is course and round, But trimm’d with curious lace, And should take place After the trimming, not the stuffe and ground.
Not that he may not here Taste of the cheer, But as birds drink, and straight lift up their head, So he must sip and think Of better drink He may attain to, after he is dead.
But as his joyes are double; So is his trouble. He hath two winters, other things but one: Bothe frosts and thoughts do nip, And bite his lip; And he of all things fears two deaths alone.
Yet ev’n the greatest griefs May be reliefs, Could he but take them right, and in their wayes. Happie is he, whose heart Hath found the art To turn his double pains to double praise.
The poem begins with a cheerful celebration of creation: Birds sing, forests ring, and all creatures, humans included, “have their joy.” But difference soon declares itself: below and above, material and spiritual, this life and the next. Only humans partake in each of the oppositions, with “th’ one hand touching heav’n, with th’ other earth.” This is a great privilege. The human alone “ties them both” and “makes them one,” but as the next verse reminds us, our mixed nature is also a problem. We may “flie with angels” as Herbert says in another poem, but we also “fall with dust.”[ii] In soul we mount and fly, but in flesh we die.
“Medley” is related to “motley,” and the image in verse 3 of being clothed in an awkward mixture of fine and coarse materials illustrates our chronic discomfort with humanity’s hybrid nature. To resolve the clashing colors of our mortal outfit, some have sought to suppress, downgrade, or disregard either the earthly or the heavenly. But Herbert seeks to harmonize them in the human medley. Let our joys be “double,” that we may “taste of the cheer” in our sensory existence while continuing to cultivate our taste for the “better drink” of spiritual reality.
The verse about the sipping birds is my favorite part of the poem. Unlike the generalized trope of singing birds in the poem’s first line, the birds in verse 4 are keenly observed in a way that was rare until the Romantics and naturalists of later centuries. The birds don’t keep their beaks in the water until they’re done, but follow each sip with a lifting of the head. Here Herbert takes a homely image from the visible world and makes it a lively spiritual metaphor. Like the birds, we should not gulp down reality without giving it our proper attention. We must learn to “sip and think,” alternating our experience with thoughtful reflection.
And from there the meanings multiply. The “better drink” evokes the sacred wine of the Eucharist, while also recalling the water Jesus changed into wine at the Cana wedding feast. Sip and think. Sip and think. Could that be the essence of spiritual practice?
Our mortality is touched upon in verse 3 (“In flesh he dies”) and verse 4 (“after he is dead”), but verse 5 stops to face our fate directly. As both physical and spiritual creatures, we alone fear “two deaths”—the death of the body and the death of the soul. As dwellers in a secular age, some no longer worry about the fate of body and soul in the afterlife, but is anxiety over a failing body, a shriveled soul or an emotionally dead heart any improvement on the medieval fear of hell? There are many kinds of death, but the inward ones may be the worst.
Marc Chagall, The Prophet Jeremiah (1968).
Herbert doesn’t leave us there. As he warns in his manual of advice for country parsons, “nature will not bear everlasting droopings.” We need to stand on the rock of hope, and remember joy. “Yet ev’n the greatest griefs,” he says, “May be reliefs, / Could he but take them right … / Happy is he whose heart / Hath found the art / To turn his double pains to double praise.”
We may wonder what it means specifically to “take them right.” We could all use some detailed instruction in the art of turning pain into praise, given the rapid escalation of pain in our collective life by a heartless coterie of dead souls. Herbert doesn’t spell it out in this poem, but turning pain into praise is a major theme in his work.
In both our personal spiritual journeys and our collective project of repairing the world, we must practice many virtues: patience, persistence, resistance, constancy, solidarity, compassion, humility—and, crucially, faith, hope and love—if we are to keep moving toward the light. And it is my firm conviction that the antidote to despair is trust in what I would call divine intention: the abiding and faithful Mystery whose desire is the flourishing of creation. That doesn’t mean everything goes perfectly. The Cross is planted deep in human history. But God will not leave us comfortless. The divine Yes has more future in it than a billion Nevers. Here’s how Herbert says it:
I knew that thou wast in the grief, To guide and govern it to my relief, Making a scepter of the rod:
Hadst thou not had thy part, Sure the unruly sigh had broke my heart. [iii]
Virgin and St. John at the Cross, Flanders or Northern France (early 16th century).
[i] Sir Thomas Browne, Religio Medici xxxiv (1643).
“Whatever else California was, good or bad, it was charged with human hope. It was linked imaginatively with the most compelling of American myths, the pursuit of happiness.”
— Kevin Starr, Americans and the California Dream: 1850-1915
“Hell, we threw in the land and sold ‘em the climate.”
— Los Angeles developer, c. 1880
At the end of the nineteenth century, southern California was being sold as an earthly paradise: Mediterranean light, salubrious climate, lush gardens, orange groves beneath snow-capped mountains. An eastern visitor in 1900 wrote home about the idyllic lifestyle of homeowners among the orange groves:
“[T]hey sit on the verandas of their pretty cottages—the refined essences of abstract existences—inhaling the pure air of the equal climate, reading novels or abstruse works of philosophy, according to their mental activity, from day to day, and waiting from year to year for their oranges to grow.” [i]
Promotional illustration (c. 1930).
Who wouldn’t want to live there? My parents left the snows of Minnesota in December, 1937, to pursue their dreams in Los Angeles, landing in an apartment behind Grauman’s Chinese Theater. By the time I was born, they had bought the house I grew up in, on the Valley side of the Hollywood hills, in a new development with more vacant lots than homes. There was an orange tree in the backyard, and a big sycamore to climb in the front. You could enjoy being outside all through the year. Every Fourth of July, six other families who had also moved West from my parents’ home town would come over for the “Red Wing picnic.” No one talked about going back to Minnesota. They were Californians now.
The author in the mountains above Altadena (c. 1979).
Los Angeles was home for my first fifty years. I loved the light, the proximity of mountains and sea, the cultural and artistic energy, the eccentric diversity of architectural styles, and the freedom to explore new ways of being and doing. Where else, with some heroic driving, could you ski, surf, and hear a world-class symphony on the same day?
Orange crate label (1920s).
But the boosters’ dream has been repeatedly contradicted by harsher realities. A sorry legacy of racism, greed, corruption, and violence is also part of the L.A. story. So are the broken dreams of the hopeful seekers who have come from somewhere else to make their mark. And then there are the natural disasters. Those who went there for the climate also got the Santa Ana winds.
Over the past 100 years, at least 150 novels and films have pictured the destruction of Los Angeles by earthquake, fire, flood, tsunami, volcano, nuclear war, and extraterrestrials. In Imagining Los Angeles: A City in Fiction, David Fine explains the phenomenon:
“Disaster fiction … established itself in a city that was positioned literally at the edge of the continent, a place where an unstable physical geography collided with an unstable human geography of displaced migrants and inflated expectation … From the late 1920s to the present the dominant theme in Los Angeles fiction has been the betrayal of hope and the collapse of dreams. Writing against the optimistic booster literature produced just before and after the turn of the century, the city’s novelists constructed a counterfable about loss … the city as the place where dreams founder against the edge of the continent.” [ii]
Los Angeles City Hall basking in California’s problematic mythical past (1931).The destruction of Los Angeles City Hall in War of the Worlds (1953).
I remember a moment during the Los Angeles Film Exposition in the early seventies, when a trailer for their science fiction movie marathon ended with a famous shot from War of the Worlds (1953): a death ray from a flying saucer decimating the Los Angeles City Hall. Watching one of our city’s most famous landmarks crumble into dust prompted an eruption of cheering and applause. On one level we were enjoying the sheer spectacle of the falling tower, but in retrospect I wonder whether we were also feeling a momentary liberation from our illusions about the permanence of things. Perhaps we were, in that brief moment, able to confront not only the fragility of our city, but our own brevity as well—accepting it, embracing it like the saints who know the art of surrender. The awareness of not being in charge, they tell us, is what makes perfect freedom. Resting in God changes everything.
But homilies and metaphors about letting go and moving on seem premature, even heartless, while so many thousands continue to suffer and grieve the burning of Los Angeles. Roger Magoulas, who lost his own house in the Oakland Hills fire of 1991, has written a helpful article about what he wishes he had known at the time, including how to handle the comments of those who haven’t been through an apocalypse.
“While well-meaning and sincere, those not affected by the fire will often say things that you may perceive as offensive, insensitive, or upsetting (such as, ‘I wish my house had burned down so I could start over’). Figure out how you want to deal with these types of comments, as you can expect them for years. If you can, keep in mind that those not affected often cannot grasp the enormity of your experience, and thank them for trying to help and remind them that fire victims are extra sensitive and have a lot to process.” [iii]
Fire ever doth aspire,
And makes all like itself, turns all to fire.
— John Donne‘Tis a silent, skeleton world;
Dead, and not yet re-born,
Made, unmade, and scarcely as yet in the making;
Ruin’d, forlorn, and blank.
— B. E. Baughan
As I write this, my beloved native city continues to burn. I have friends and family whose cars are packed and ready for evacuation. Everyone’s breathing polluted air. For many people, daily needs like food, water and medicine are hard to come by. And after the flames die, the challenges of recovery will go on for years. In the Los Angeles Times, Anita Chabria has written about the unequal distribution of returning to normal:
“The Palisades, clearly, is wealthy. But even within its wealth, there are degrees. There are plenty of folks in the area who don’t have to worry about rebuilding costs, or even losing another home to fire in the future. They can afford it.
“There were also many families living in those glamorous streets who had been in the neighborhood for decades or even generations. Their homes may have been paid off or close to it, their life savings sunk into that plot of ground. And there are many living in Altadena and other affected areas who are just working Angelenos, paying off a mortgage — this was a neighborhood that drew Black and Latino families for its affordability …
“There’s also a trickle-down economic effect, even for those who weren’t displaced. Gone also are thousands of yards that had gardeners. Cleaning ladies, cooks, even nannies are now without work, but still have rent due. How do we include them in recovery?
“And there’s only so long survivors can camp out in hotels and on couches. The housing crunch that is surely coming holds the risk of pushing everyone down a notch, as the most desirable housing is taken up by those with the independent wealth or insurance checks to cover it.” [iv]
Postcard of the Santa Monica Mountains on fire in 1978.
Los Angeles has seen wildfires before. It’s always been part of the life. But climate change—and our culture’s suicidal inability to deal with it—is upping the ante. Atmospheric rivers increase vegetation, then drought turns it into fuel. The whole Los Angeles basin is becoming a fire trap. To make it livable for the long term will require the kind of planning and rebuilding that seems economically and politically daunting, if not impossible.
In his magisterial environmental history of fire in Europe, Stephen J. Pyne notes that civilization may try to tame fire, but can never abolish it:
“Europe sought fire, seized it, remade it, nurtured, feared, distrusted, craved, shackled, and unleashed it. As with the rest of its natural endowment, Europe sought above all to domesticate fire, to subject it to the discipline of the garden, to subordinate it to the order of society. Anthropogenic fire replaced natural fire. Fire became a tool, a tamed beast, a sacred symbol, an obedient servant. It knew its place in the social order and kept to it. In truth, civilization was impossible without fire; and the tended fire became Western civilization’s most elementary image of itself.”
But when the balance is disrupted, by wars, revolution, changing land practices, or climate change, it becomes clear that “fire is a good servant, but a bad master.”
“Then wildfire reappeared like a monstrous birth, and became a feral force that, savage with the memory of its suppression, revolted violently against its warders. Desired fire belonged on hearth and altar; unwanted fire appeared along the rough fringes of an unraveling society, in the cracks of disintegrating cities, amid the rubble of collapsed civilizations. Intellectual Europe saw fire as an atavism, as disorder and destruction, as nature gripped by delirium tremens. But wild or tame, fire persisted. Humans could neither wholly control it nor live without it. Now here, now there, now quiescently, now violently, Europe burned.” [v]
Richard Vogel’s photograph of the smoke in Malibu recalls Caspar David Friedrich’s Monk by the Sea (1808-10): One tiny figure is dwarfed by greater powers.Caspar David Friedrich’s painting conveys the vast and terrible beauty of the sublime.
Writing in the 1960s, California native Joan Didion described the wildfires stoked by Santa Ana winds as a formative part of Los Angeles living.
“The city burning is Los Angeles’s deepest image of itself … Los Angeles weather is the weather of catastrophe, of apocalypse, and, just as the reliably long and bitter winters of New England determine the way life is lived there, so the violence and the unpredictability of the Santa Ana affect the entire quality of life in Los Angeles, accentuate its impermanence, its unreliability. The wind shows us how close to the edge we are.” [vi]
But in a 2005 interview, Didion strikes a typically Californian note of hope: “[M]ixed up with this tolerance for apocalyptic notions in which the world is going to end dramatically is this belief that the world can’t help but get better and better. It’s really hard for me to believe that everything doesn’t improve, because thinking like that was just so much a part of being in California.” [vii]
The remains of Saint Mark’s Episcopal Church, Altadena.
In the Episcopal Diocese of Los Angeles, where I am canonically (but no longer physically) resident, two parishes have been hit hard by the fires. In the Palisades Fire, 75% of the members of St. Matthew’s have lost their homes. In the Eaton Canyon Fire, the historic church of St. Mark’s, Altadena has been completely destroyed. Although the Body of Christ resides in the people, not the building, every sacred space is soaked with the prayers and praises of generations, and its loss is always deeply felt.
My friend Brad Karelius, a priest in the Diocese of Los Angeles, has written movingly about the ways he was spiritually formed in that vanished place, where so much of its physical structure had been charged with accumulated meaning:
“[W]hen I would visit St. Mark’s in later years, wherever I looked within the church: the pulpit, the choir stalls, the memorial windows, the Blessed Sacrament, conjured precious memories and deep gratitude for how St. Mark’s drew me into the loving arms of Jesus and sent me forth as a priest into the world.” [viii]
But God’s friends don’t linger long in “bare, ruin’d choirs.” [ix] There is work to do, people to care for, hope to nurture, hearts to lift, and resurrections to embody. In last Sunday’s Zoom worship with her homeless congregation, St. Mark’s rector, the Rev. Carri Grindon, spoke a word of resurgent life:
“Whether you’re in hotels or AirBnbs, driving in your car, staying in the homes of family or friends or strangers who aren’t strangers anymore, the bonds among us are bonds that cannot be severed. We are the latest in a long list of God’s people put on the road by disaster and displacement. We are still one in love. We are still one in Christ.” [x]
Sunrise from the burned out site of Mt. Calvary Retreat House, a holy place consumed by the Santa Barbara Tea Fire in 2008. Mzny of us still miss it.
I am grateful to the Rt. Rev. John H. Taylor, Episcopal Bishiop of Los Angeles, for his leadership in this crisis. His daily dispatches have provided some of the links that inform this post.
[i] Claire Perry, Pacific Arcadia: Images of California, 1600-1915 (New York/Oxford: Oxford University Press, 1999), 93.
[ii] David Fine, Imagining Los Angeles: A City in Fiction, David Fine (Reno: University of Nevada Press, 2000), 233, 236-237.
[v] Stephen J. Pyne, Vestal Fire: An Environmental History, Told through Fire, of Europe and Europe’s Encounter with the World (Seattle: University of Washington Press, 1997), 3-4.
[vi] Joan Didion, “Los Angeles Notebook,” excerpt from Slouching Toward Bethlehem, in Didion: The 1960s & 70s (New York: Library of America, 2019), 378.
[vii] Joan Didion, interview with Barbara Isenberg in State of the Arts: California Artists Talk About Their Work (2005).
Once upon a time, a brilliant storyteller came into the world to touch countless hearts with tales of wisdom and wonder, losing and finding, tears and laughter. She scattered her life-giving stories far and wide, and encouraged others to do the same. She knew the power of stories to bind us together, ground us in communal wisdom, and help us imagine better futures. Hers was a serious vocation in a world so forgetful of the stories we need, the stories that nourish, the stories that save. But she always lived out her calling with levity and lightness. Everyone who has known her remembers her laughter, her joy, her delight in daily blessings, her generous and irrepressible spirit. As she liked to put it, she was “subject to bursts of enthusiasm.”
Desert dawn at Angela’s house (December 17, 2024): Looking west, looking east.
A week before Christmas, master storyteller Angela Lloyd was up at dawn, photographing the beauty of the California desert sky. She posted two photos with a greeting to her friends: “Good morning. The view from here: looking west, looking east.” She loved sharing the beauty of her desert home. But sometime after that glorious morning she was taken ill, and not long after, on the twelfth day of Christmas, Angela departed this life. When I got the news today, the world felt suddenly washed with grey, bereft of her bright presence.
I came to know Angela nearly 40 years ago, when we worked together on creative retellings of Old Testament stories for the Easter Vigils at Christ Church, an Episcopal parish in Ontario, California. We both believed that God is not known through ink so much as through breath. Without the breath of a spirited teller, our sacred stories may lie dormant and listless.
After a few years we made a film of the stories, The Electronic Campfire: New Storytelling from Scripture. Angela took some of the parts (including that of God), while I took the rest. We shot the scenes in various southern California locations.
When I heard that Angela had died, I wanted to celebrate her giftedness by sharing her work in this film. While throughout her life she told many different kinds of stories from a variety of sources and traditions, our biblical collaborations do convey, I believe, a lively sense of the engaging spirit she brought to everything she did. I offer these clips in her memory.
On the third day of Creation, God creates plants and trees.
The first is the Creation story from the first chapter of Genesis. Instead of speaking the divine words for each of the seven days (“Let there be light,” etc.), God performs an action, since in the Bible God’s word is not just description of an action, but the action itself. For God, to say is the same as to do.
The Creation Story from The Electronic Campfire
Angela’s other stories in the film were the Red Sea and the Valley of the Dry Bones. In the first story, I play the Israelites, so you’ll see a bit of that as a lead-in to Angela’s performance of both Yahweh (God) and Miriam (Moses’ sister). The Dry Bones story is all Angela, including some of her riffs on the washboard. She improvised a line the Exodus tale which, in retrospect, sums up her life: “Let’s do it for the story.”
Red Sea & Dry Bones from The Electronic Campfire
At the Easter Vigil, there is a bidding to prayer after each story. Here are the words which follow the story of the Divine Breath that ceaselessly enlivens our “dry bones”—in this world and the next:
Dear People of God: There are those who tell our story as a history of defeats and diminishments, a narrative of dashed hopes and inconsolable griefs. But tonight we tell a different story, a story that inhales God’s own breath and sings alleluia even at the grave …
The sixth day: “Let us make humankind in our image.”
We did a number of Easter Vigils together, and Angela would always surprise me with a new variation. One time, playing an Israelite in the Exodus, she pulled out a postcard. “I was planning to mail this when we got to the Promised Land,” she said, “but something tells me I should mail it now. It may be a while before we get there. Besides, I’m starting to think that maybe anywhere can be the Promised Land, that even in this wilderness I am standing on holy ground.”
Thank you, dear Angela, for your marvelous stories, your enthusiasm, your joy, and so much more. There’s an old song by Jane Voss that salutes absent friends, and what the song says, that is what I say:
Wherever you may be tonight, I hope this finds your burdens light, Your purpose high, your spirit strong, I hope that you have got along— My song was lost and gone, if not for you.
I have been writing New Year’s Eve posts since I started this blog in 2014, reflecting on time and change, endings and beginnings, hope and dread, impermanence and possibility. If you are curious about the workings of hope in the best of times and the worst of times, follow the links in my post on the last day of 2023. But let me say a few things here and now.
On the eve of 2025, many Americans are finding it hard to celebrate the unfolding of a dubious future. The powers of negation are shamelessly eager to destroy the good and torment the vulnerable, both here and abroad. Their malice and corrruption have no apparent bounds. LIke poor Lillian Gish lying exhausted and unconscious on an ice floe in the silent movie classic, Way Down East (1920), we the people (also exhausted and to some degree unconscious) are being swept toward the waterfall of doom.
Lillian Gish in D. W. Griffith’s Way Down East (1920). Her hand suffered lifelong damage from the freezing river. In the movie, she is rescued just before going over the falls. Will the same go for us?
So Happy New Year, right? But as a friend declared on his Christmas card, “Hope is here—if we have eyes to see and hearts to respond.” Hope isn’t knowledge. It does its work before any outcomes are experienced. Who knows exactly how we will get through the coming year?
Since evil is the rejection of the co-inherence which is Love’s foundation—we are all in this together, part of one another—the toxic collection of so many egos dedicated to themselves alone may eat itself into oblivion. Or perhaps this time of trial will prove the refiner’s fire that burns away enough of our own sins and offenses to produce souls better fit for the human destiny of communnion and service revealed by the Incarnation. Or perhaps these awful times will ruthlessly strip away our false dependencies and hollow illusions until we are able to entrust ourselves wholly to Divine Mercy and nothing else. None of these options is a get-out-of-suffering card, but they are the kinds of things that clarify how real and urgent our faith, hope and love need to be these days.
This Christmastide, I’ve been re-reading Charles Williams’ “supernatural thriller,” War in Heaven, in which several malevolent individuals invoke demonic forces, not only to gain power but also for the perverse pleasure of destroying whatever is true and good. Their chief nemesis is an Anglican archdeacon, who endures their evil words and deeds with an extraordinary calm, rooted in his sense of the creative and loving God holding all things together. “This also is Thou” is one of Williams’ key phrases. Everything is pregnant with invisible reality, and souls may be won or lost in the most ordinary situations, words and gestures as they embody—or renounce—the Way of Love. Neither calamity nor chaos can shake the priest’s steadfast faith in an upholding, transcendent Presence. In the kind of dialogue only Williams could write, the Archdeacon declares,
“After all, one shouldn’t be put out of one’s stride by anything phenomenal and accidental. The just man wouldn’t be.”
Well, there we are. The evils of the coming days will be phenomenal and accidental. Though they will hurt, they will never be quite solid or real or enduring in the way that the Love, Justice and Mercy of God are, now and forever. We shall not remain silent about the damage, or complacent about the consequences of those evils. But we must not give them the power and glory which are God’s alone.
Weeping may spend the night, but joy will come in the morning (Psalm 30:6). In the meantime, may we rest securely in the One who makes all things new.
Marc Chagall, Noah’s Ark (detail), 1961-1966. Artists have typically painted the ark from outside, tossed by an angry sea. But Chagall shows the ark’s interior as an aquatic womb where hope is biirthed amid the storm. His head bent in prayer, Noah sends forth the dove as a sign of enduring faith and living hope.
Thank you to all of you who have read, pondered, commented, and shared my posts during the past year. Your own responses (shared or unshared) are why I write. I wish you great joy and real peace in 2025. Happy New Year! I’ll see you in January. I’m sure there will be lots to talk about.
The Rev. James K. Friedrich (right) on the set of Child of Bethlehem (1940).
For he is our childhood’s pattern; Day by day, like us He grew; He was little, weak and helpless, Tears and smiles like us He knew; And He feeleth for our sadness, And He shareth in our gladness.
— Cecil Frances Alexander, “Once in Royal David’s City”
My sisters and I each had an unusual childhood connection with the Nativity story. Our father, the Rev. James K. Friedrich, was the pioneer of Christian movie-making in America, and one of his first biblical films was Child of Bethlehem, produced in 1941. My sister Martha was a newborn child then, so she got to play the baby Jesus. Nine years later, my father made Holy Night, the first of a twelve-part series on the life of Christ. I was four years old at the time—much too old to get the leading role—so I was cast as a shepherd boy, entering the stable with several adult shepherds.
In the film, I have a dazed look on my face. I was literally blinded by the light on the Hollywood soundstage where the interiors were shot. Film stock in those days was not as light-sensitive as our camera phones. It required intense illumination to register a proper image. A big row of Klieg lights set up behind the manger threw such a blaze into my eyes that I could barely see the Holy Family. When I hear Luke’s gospel report that “the glory of the Lord shone all around” the shepherds, the indelible memory of those lights at Goldwyn Studios comes to mind.
James L. Friedrich (next to the donkey) at the manger in Holy Night (1949).
My oldest sister, Marilyn, never played in a Nativity film. Hers was a more literal reenactment. In 1936, my parents had stopped in Jerusalem during their honeymoon. In those days, as today, there was violence in the land, and they were warned not to go down the hill to Bethlehem in a car, because cars were easy targets for snipers. It was safer to ride a donkey to the place of Jesus’ birth. My dad recorded their pilgrimage with his 16mm movie camera, and now, every Christmas, I can watch the footage of my mother riding a donkey to Bethlehem, pregnant with her firstborn child.
To Marilyn’s credit, she has never made any personal claims about her origins, but there is, I believe, gospel truth in our childhood memories. Each and every one of us is called to play our part in the Nativity story, but not merely as witnesses like the shepherds or pilgrims like the Magi. God was made flesh so that our own flesh, our own story, may birth the divine intention and the divine life.
You see, the Incarnation isn’t only a matter of God wanting to share our humanity, to make our humanness part of the divine experience. It also reveals God’s desire that we in turn become partakers of the divine nature.
St. John put it this way in his gospel:
To all who received the Incarnate Word, who believed in his name, the Word gave power to become children of God, who were born, not of blood or of the will of the flesh or the will of human beings, but of God (John 1:12-13).
In the centuries that followed, this theme of theosis, or deification––becoming God-like––has pushed the envelope of anthropology by setting a very high bar for the definition of human potential.
In the early church, Irenaeus said that “God became what we are, in order to make us what he is.” Athanasius was even more explicit about the consequences of Incarnation, saying that “God became human so that humans might become God-like.” God-like! Can we even imagine this in our own day, when we are assaulted incessantly by news of human depravity.
Martin Luther, perhaps surprisingly for someone so focused on the burden of human sin, said we were all called to be “little Christs,” and in a Christmas sermon he described the Incarnation as a two-way street: “Just as the word of God became flesh,” he said, “so it is certainly also necessary that the flesh may become word. . . [God] takes what is ours to himself in order to impart what is his to us.”
In the 18th century, some of Charles Wesley’s great hymns were almost shockingly explicit about our capacity to contain divinity.
He deigns in flesh to appear, Widest extremes to join, To bring our vileness near, And make us all divine.
Heavenly Adam, life divine, Change my nature into Thine; Move and spread throughout my soul, Actuate and fill the whole; Be it I no longer now Living in the flesh, but Thou.
In the 20th-century, whose atrocities left our confidence in human potential badly shaken, the Catholic contemplative Thomas Merton could still claim that we “exist solely for this, to be the place God has chosen for the divine Presence. The real value of our own self is the sign of God in our being, the signature of God upon our being.”
And after his famous epiphany at the corner of Fourth and Walnut in Louisville, Merton said, “It is a glorious destiny to be a member of the human race, though it is a race dedicated to many absurdities and one which makes many mistakes: yet, with all that, [God’s own self] glorified in becoming a member of the human race.
“I have the immense joy of being [a human person],” he continued, “a member of a race in which [God’s own self] became incarnate. As if the sorrows and stupidities of the human condition could overwhelm me, now that I realize what we all are. And if only everybody could realize this! But it cannot be explained. There is no way of telling people that they are all walking around shining like the sun.”
Is this all this talk about divinization going too far? Could we really be walking around shining like the sun? Or at least have the potential for such glory, even if we’re not there yet? If the Nativity in Bethlehem means what I think it does, then the answer has to be yes.
On that wondrous night in Bethlehem, our nature was lifted up as the place where God chooses to dwell. We may still be works in progress, but we are bound for glory. St. Paul believed this when he said that “all of us, with our unveiled faces like mirrors reflecting the glory of the Lord, are being transformed into the image that we reflect in brighter and brighter glory” (II Cor. 3:18).
Another ancient theologian said, “As they who behold the light are within the light and partake of its brightness, so they who behold God are within God, partaking of God’s brightness.”
What happens in Bethlehem doesn’t stay in Bethlehem.
Adoration of the Christ Child, Flemish follower of Jan Joest of Kalkar (c. 1515)
On the Winter Solstice over 40 years ago, I was flying across the San Fernando Valley into L.A.’s Burbank airport on a brilliant December day. The noonday sun was low enough in the southern sky to be reflecting its rays off the surface of swimming pools running along a line parallel to our flight path. There are so many pools in the Valley, and each one, as it was struck by the sun, exploded with an intense dazzle of white light. In rapid succession, tranquil blue surfaces were transformed into momentary images of the sun’s bright fire. For me, it was a vision pregnant with the Christmas promise.
“They who behold the light are within the light and partake of its brightness.” Our pale mirrors are made to contain the most impossible brilliance. And though we have turned away from the Light, the Light seeks us out. No matter how shadowy the path we have taken, the Light will find us, and fill us with divine radiance. That is our destiny, says the Child in the manger. We may not feel capable or worthy or prepared to receive the Word into the flesh of our own lives, but it is what we were made for. Paradoxical as it may sound, partaking of divinity is the only path to becoming fully human.
A month before he died, Edward Pusey, a 19th-century English priest, wrote to a spiritual friend about our God-bearing capacity:
“God ripen you more and more,” he said. “Each day is a day of growth. God says to you, ‘Open thy mouth and I will fill it.’ Only long. . . The parched soil, by its cracks, opens itself for the rain from heaven and invites it. The parched soil cries out to the living God. O then long and long and long, and God will find thee. More love, more love, more love.”
Participating in divinity doesn’t mean having superpowers or being invulnerable. We won’t be throwing any lightning bolts. Just look at Jesus. His life tells you what “God-like” means. He was born in poverty and weakness, in a stable not a palace, and he lived a life of utter self-emptying and self-offering, giving himself away for the life of the world.
In a novel by the Anglican writer Charles Williams, a young woman goes to church with her aunt on Christmas morning. She is a seeker, not quite a believer, but as they sing a carol about the mystery of the Incarnation, she leans over and whispers to her aunt, “Is it true?” Her aunt, one of those quiet saints who has spent her life submitting to Love divine, turns to her niece with a smile and says simply, “Try it, darling.”
So if you want to try it, if you want to complete your humanity by partaking of divinity, there are many ways to do that. Weep with those who weep and dance with those who dance, the Bible says. Love God with all your heart, and your neighbor as yourself. Welcome the stranger, feed the hungry, free the captive. There are plenty of to-do lists out there. Here’s an excellent one from the Dalai Lama:
May I become at all times, both now and forever: A protector for all who are helpless. A guide for all who have lost their way. A ship for all who sail the oceans. A bridge for all who cross over rivers. A sanctuary for all who are in danger. A lamp for all who are in darkness. A place of refuge for all who lack shelter. And a servant for all those who are in need. May I find hope in the darkest of days, and focus in the brightest.
My friends, Bethlehem is not a dream fading away into the past. It is the human future. And this is not the morning after. It is the first day of the rest of our journey into God.
A sermon for Christmas Day at Saint Barnabas Episcopal Church, Bainbridge Island, Washington.
The religious imagineer 