There I was, butt-up, head-down, outside at midnight in my dressing gown. Smack-dab in the middle of lining up my plastic snails, someone at Hydro threw the city’s breaker. The darkness was just so – you know – total, with no big fat moon sitting like a pumpkin just over the neighbor’s clothes-line, that I lost the snails for a moment. It kind of makes you think you could be anywhere. Or anyone. It’s like when we were St-Henri girls pulling down the shade pretending to be camping dans les bois even though we could still hear the humming of the fridge downstairs and the adults talking, voices rising and falling with the rye and coke, the shuffling of cards, the arguments, the calling through the screen door for fresh packs of du Mauriers.
It wasn’t easy making it all the way back to the porch in that kind of blackness. Every footstep’s a decision. I closed my eyes – for concentration – and figured my place in relation to the big cement angel fountain in the centre of the yard. Saint-Gabriel help me see my hand in front of my face, I said, and then I just went. Stepped right around the flock of pink flamingoes, each with their one foot up, waiting. Inched my feet around the frog, knowing the little rascal was there, even without the sound of water shooting out of his mouth. Pictured the glass fairy globes on their poles so clearly I could touch them, passing. Waited till I could hear the lazy clack-clack-clack of the windvane duck, so I wouldn’t bump it off its tethered flight.
I heard geese that night. I swear I did. It was a remarkable Passover. Their calling out in the high darkness to each other made me look up. Oh my God yes. If it’s true what they say, that in this world there are ghosts wanting bodies, then they could have had mine. Perhaps they did.
The night drifted, with the streetlights out. I don’t know, I really don’t – what happened, exactly. Stars trespassed the city, came up my street, crossed my eyes. I fell right over the yard butts (a family of four in descending girth, thick white legs like sausages from their slacks), still looking up. Don’t know how long I sat there. Like eating candy at the drive-in. A good long while, I guess.
What we long for, we live in fear of finding, open and waiting, wanting nothing more than to fall into our laps like fruit off the trees, forever luscious. I’m not saying it was the stars, exactly. But two things happened that night: my troll disappeared, the one sent to me by my mother’s cousin’s sister (somewhere in Norway, I’ve forgotten where). That nasty short fellow with his long nose never did fit with the leprechaun. Better he’s gone now.
And best: I sit on the porch, growing fatter and closer to term with my precious little baby each passing week. A real-estate agent came by today, a nice man in a fancy car, sweating in his spring suit as he hung over the fence trying not to look at either my big belly or the manger scene (I decided to leave it up at Christmas). He said “Ms. Elizabeth, I could sell your house for a lot of money.” I told him about the ultrasound the doctor ordered, about the bulb in the streetlight over my yard that keeps burning out now, the city crews that come back every few weeks to repair it. I showed him how my ankles have swollen with the edema. I asked him about my collection – what would happen to it if I sold? But he didn’t really answer. Eventually he left, my leprechaun making rude faces after him.
Tag: Matthew Anderson
Vulnerability
They say we’re our own worst critics. I suppose in one sense that’s true. But it’s also a strange and not very comfortable feeling to stand in the semi-darkness at the back of a crowd of people while they’re watching a documentary you’ve been putting your heart into for months, waiting for what they think.
Monday last, on November 19, I had the Concordia University premiere of “Something Grand”. Tons of people showed up; estimates were just shy of 200. We filled the place. Those of us who’d organized the evening – thanks Adan! – kept pinching ourselves as more and more came through the doors. To our amazement the floor chairs were soon full and we were putting viewers into the balconies. Many of the faces were familiar, but not all. Certainly I’d pulled in all the friends and family I could. But there were many, many more as well – students, professors, Camino walkers who’d heard about the film on the radio, others who knew of it through contacts or posters. Three of the pilgrims I’d interviewed in Spain came to Montreal for the premiere. M, from Georgian Bay ON, came with her husband. And the delightful (and fabulous) S and J put on their premiere outfits and diamonds and looked like they could have been walking down a Hollywood runway. They’d come all the way from Florida just to be there with us and acted every inch the “celebrities”.
Luke, the musician we’d hired to play spanish guitar, was excellent. The speeches were….well, they were speeches…but some managed to point quite well to what pilgrimage really is, and the importance of studying this exceptional social and spiritual revival. When the lights finally dimmed, there was a buzz of excitement in the room. Or maybe that was the butterflies in my stomach.
We spend so much of our lives learning to avoid being vulnerable. In elevators and on the street we keep our eyes to ourselves. If we allow ourselves to cry at funerals or films it’s discreetly; we hide our tears. The word “sensitive” isn’t a compliment. But then we try our hand at something “creative” or “artistic”. And surprise, surprise: we then discover that in order to make something good, or true or beautiful we HAVE to open ourselves up to others. We have to FEEL with them. And we have to make ourselves vulnerable too – and show our dreams, ambitions and flaws. Which is to say: we have to risk.
The premiere was a smashing success. Now I want more people to see the documentary. Its strength is clearly not its technical aspects (despite some miracles of editing by M, Z and P). It’s in the relationship I had with the people I interviewed. The author Jonathan Lear, in his book Radical Hope, says that we human beings are “born into the world longingly”. One of the things we long for is real, genuine contact. Both the documentary and the premiere offered a glimpse of that. And that is worth all the vulnerable risk in the world.
The Faceless Messiah
The Faceless Messiah
A half-hour by car, north-west of Siena Italy, sits the lovely little hill-top town of Lornano. Meandering the twisty roads in Tuscany leads to all kinds of treasures, architectural, historical and culinary, and Lornano is no exception. If you escape the late afternoon sun to sit under the trees at the one restaurant in town, you may find that despite their delicious home-made pastas and the Chianti for which this region is famous, eventually you are distracted by the church sitting opposite the intersection.
The little sign outside says it was built in the ninth century, and the Romanesque architecture of the building – renovated in the 1770s – seems to confirm it. It’s a working parish, so there are devotional pamphlets and parish announcements stuck on bulletin boards at the back. The chairs sit haphazardly, perhaps from the last meeting or mass.
At the front, above the altar, is a work honouring John the Baptist. The minimal signage says that the fresco is the work of Giuseppe Nicola Nasini, dating from 1731, although there are other paintings in the small church which originate a hundred years earlier with Siennese artist Bernardino Baroni.
Nasini, lying on his back painting his pigments hurriedly into the wet mortar (the word fresco comes from this process of finishing the painting while the underlying stucco is still “fresh”) might have hoped that his work would survive the centuries, as it has. But presumably, he could not have imagined the oddity that has become his Christ: we see John clearly, sitting on a block of Tuscan marble and under a stand of Tuscan cypress, extending his arm to point to Jesus. Equally clear are the two figures on the other side – Peter and John? – who also observe the scene. The fresco is making reference to the passage from the Gospels where the Baptist is made to say: “Behold the Lamb of God!” To reinforce the point, the artist has placed a lamb to the right of the Baptist.
So far so good. But what Nasini could not have imagined is that, for some reason, the focal point of his fresco – the figure of Christ coming out of the water – is missing. Actually, the figure is not missing. There is a white space in the painting, in the clear outline of a human being, muscular, head turned to the side in an almost Roman pose. But it is only an outline. The details, including any face, are missing.
Whatever mysterious circumstances are responsible for deleting the details of the Christ from Nasini’s painting underline a deeper, theological and historical truth: Jesus, by being the man with no face, has become, over the centuries, the man of a thousand faces. Nasini, despite himself (one imagines) has captured this.
If ever there was an “every-person”, it must be Jesus. He was a Jew, born in what the Romans called Palestine, certainly of Semitic background. This much we know. One could, therefore, expect a certain look of this first-century Jew. Yet Jesus has been portrayed, without apology, as Korean, Nordic, African and North American, and dressed up as a peasant, a worker, a businessperson and a sailor. His eyes, depending on the artist, are blue, or black, or green, and his beard (usually he’s portrayed with a beard) has been just about every usual beard colour but red. Not usually an institution known for its openness and liberality, the church, from the beginning, seemed not only willing to see its messiah portrayed with such flexibility, but was the first to do so. Some of the earliest surviving representations of Jesus show him as a young, beardless male looking every inch a Greco-Roman Dionysus.
In the past century and a half, representations of Jesus have become even more varied, with Jesus showing up artistically as a tattooed gay male, a muscular prize-fighter, a tired soldier, a woman, and a laughing hippy.
The four canonical Gospels seem monumentally uninterested in describing Jesus with any of the kinds of details that now we find so interesting and revelatory. Instead, the Christian writings want to talk about some aspect of Jesus’ significance. What colour were his eyes? One can imagine the author of Mark answering: “what difference does it make? He is the Messiah!”
Paul, the earliest Jesus-follower to leave us much of a written record, is not only disinterested in what Jesus looked like, but comes right out and says that it’s not his concern and he doesn’t much care: “for once we knew Jesus from a human point of view,” he writes to his congregation in Corinth, in a phrase oft-quoted among Biblical scholars, “but we know him this way no longer.” Once you are the Messiah, the little details of your life don’t count. End of the subject.
A Jesus who can be “every man and woman” can appeal to every man and woman, and this surely must be one of the reasons why fact-laden Jesus biography was never big on the church’s list of priorities. The changeability of Jesus’ appearance turned out to be a big part of how to translate the message, not only linguistically, but also culturally, to new locations (note that Nasini’s John the Baptist is sitting on Tuscan marble below what appear to be a stand of Tuscan cypress trees). Every church, in every age, has translated the Bible into its cultural and geographical present….for which, to take Renaissance painting as an example, we are forever grateful. But we should remember that the church’s main reason for this flexibility was to aid the spreading of the Christian message. In Matthew’s Gospel, Jesus is portrayed, at the last judgment, as sending all humanity off to either heaven or hell with the words: “whatsoever you did to one of the least of these – in whom you should have seen me – you have done to me.” Thus both the church’s apologetics and its social concerns are based, in part, in seeing Jesus somehow embodied in others. Add to these practical rationales for ambiguity the mysticism of Paul, who concentrated on the believer being somehow incorporated “in” Christ, and you have every reason for a “Jesus for all time and all peoples.”
The little church in Lornarno holds a minor piece of art that contains a major theological truth: Jesus is most Jesus-like when he looks like our neighbours. Where do we find Jesus? Not in the Holy Land, but perhaps even right there, across the intersection, on a hot summer’s day.
Peopled by the Book
Peopled by the Book
When I was at Wilfred Laurier University for our church’s 2012 Synod Assembly my friend Tim Hegedus handed me an article and said “you have to read this.” I’m so glad he did. It was by our mutual friend, Allen Jorgenson, who is assistant dean of Waterloo Lutheran Seminary, and a professor of systematic theology there. It turned out to be one of those pieces that are wonderful to spend time with….interesting, provocative, and thoughtful. Like a really good conversation that leaves you thinking and maybe even changed.
Allen believes that scripture is not just something that we can take or leave, assent to or feel guided by, but that the relationship is much more dynamic and – more to the point – much more guided from THAT side (the side of the scriptures) than by THIS side (the side of us readers). Thus his title: “peopled by the book.” As he says “Scripture…cannot be construed as a bill of goods that we accept – or not – rather, it is the communal means by which we are spoken into being by the God of life.”
He also speaks in the article about how we are all “predisposed to relate with those who think like we do”, so perhaps I should admit that some of the reason I liked the article so much is that many of these thoughts are similar (if better expressed) to thoughts I have been turning over and over for years. One of the chapters in my doctoral dissertation was on Ricoeur’s ideas about rhetoric “creating worlds”(based in turn on Gadamer, at least, as well as I understand him) and I tried to bring this view of the creative power of words to bear on Paul’s use of rhetoric in 1 Corinthians. As well, I’ve been especially aware of the specifically creative power of scripture since reading Hans Frei’s “The Eclipse of Biblical Theology,” which makes a similar point to Jorgenson’s article, again however, with much less elegance. Especially Frei-like (in thought, at least) was the phrase in his conclusion: “Not only is this a book that we read, but it is a book that writes us into the book of life by including us in its very plot. Scripture scripts us.” I will be reflecting on that quote for a long time.
There are tons of memorable, well-turned and descriptive phrases here. I love the idea that scripture equals “the visitation in the present of the church catholic” and that “empowerment is at the heart of the redemption that is reading scripture.” And the image of scripture being “rather like a lung” is a jarring and original idea that really helps explain the back and forth of the process he describes.
I was glad that Tim Hegedus (himself a professor of New Testament at Waterloo Lutheran Seminary) passed on this article, and very happy to have spent some time with its thoughts. There’s been some talk at Concordia’s Dept of Theological Studies where I lecture recently about how we have Biblical Studies and we have Theology, but we don’t talk much anymore about Biblical Theology. It seems to me that such an article is really very important for our understanding of Biblical Theology, which is after all, at least in my opinion, what Luther was all about. Perhaps that’s one of the gifts we Lutherans can offer the wider church and academic community both.
Allen G. Jorgenson. “Peopled by the Book,” Word & World. Vol 29, no 4, fall 2009: 325-333.



