AT THE ALTAR TABLE, the overweight parson is doing something or other with the bread as his assistant stands by with the wine. In the pews, the congregation sits more or less patiently waiting to get into the act. The church is quiet. Outside, a bird starts singing. It's nothing special, only a handful of notes angling out in different directions. Then a pause. Then a trill or two. A chirp. It is just warming up for the business of the day, but it is enough.
The parson and his assistant and the usual scattering of senior citizens, parents, teenagers are not alone in whatever they think they're doing. Maybe that is what the bird is there to remind them. In its own slapdash way the bird has a part in it too. Not to mention "Angels and Archangels and all the company of heaven" if the prayer book is to be believed. Maybe we should believe it. Angels and Archangels. Cherubim and seraphim. They are all in the act together. It must look a little like the great jeu de son et lumière at Versailles when all the fountains are turned on at once and the night is ablaze with fireworks. It must sound a little like the last movement of Beethoven's Choral Symphony or the Atlantic in a gale.
And "all the company of heaven" means everybody we ever loved and lost, including the ones we didn't know we loved until we lost them or didn't love at all. It means people we never heard of. It means everybody who ever did—or at some unimaginable time in the future ever will—come together at something like this table in search of something like what is offered at it.
Whatever other reasons we have for coming to such a place, if we come also to give each other our love and to give God our love, then together with Gabriel and Michael, and the fat parson, and Sebastian pierced with arrows, and the old lady whose teeth don't fit, and Teresa in her ecstasy, we are the communion of saints.
- Originally published in Whistling in the Dark
