The Face of Christ

I ENTERED UNION Theological Seminary in the fall of 1954. If anyone had told me as little as a year or so earlier that I was going to do such a thing, I would have been no less surprised than if I had been told I was going to enter the Indianapolis 500. The preceding year I had become in some sense a Christian, though the chances are I would have hesitated to put it like that, and I find something in that way of expressing it which even now makes me feel uncomfortable. "To become a Christian" sounds like an achievement, like becoming a millionaire. I thought of it rather, and think of it still, more as a lucky break, a step in the right direction. Though I was brought up in a family where church played virtually no role at all, through a series of events from childhood on I was moved, for the most part without any inkling of it, closer and closer to a feeling for that Mystery out of which the church arose in the first place until, finally, the Mystery itself came to have a face for me, and the face it came to have for me was the face of Christ. It was a slow, obscure process . . . and the result of it was that I ended up being so moved by what I felt that I found it inadequate simply to keep it inside myself like a secret but had to do something about it.

-Originally published in Now and Then

So Now at Last

Long after Roger Mouse's death, Godric bids him a proper goodbye:

WHEN FRIENDS SPEAK overmuch of times gone by, often it's because they sense their present time is turning them from friends to strangers. Long before the moment came to say goodbye, I think, we said goodbye in other words and ways and silences. Then when the moment came for it at last, we didn't say it as it should be said by friends. So now at last, dear Mouse, with many, many years between: goodbye.

-Originally published in Godric

Lear Among the Young

Poor naked wretches, wheresoe'er you are,

That bide the pelting of this pitiless storm,

How shall your houseless heads and unfed sides,

Your loop'd and window 'd raggedness,

defend you From seasons such as these?                                       

(III. IV. 35 ff)

OUT OF THE SILENCE of a high-school classroom the tragic word is spoken, and, if the teacher is right in his conjectures, it is also heard. The poor naked wretches of the world are all of them, everybody. They did not know it before, but they know it now because they have heard it spoken. Without the word, they might never have guessed it, or, if they had guessed it, it would have been for them only one more unspoken thing among many other unspoken things that they carried around inside the worlds they were. Once spoken, the word of their nakedness and wretchedness is a shattering word. They are young and full of lunch and full of hope and clothed in the beauty that it is to be young, and thus of all people they are in a way the least naked, the least wretched; but the word out of the old play tells them for a moment otherwise. It speaks in a way they cannot avoid hearing for themselves, which is the awesome power of words because, although there are times when they shield us from reality, at other times they assail us with it. The play tells them that life is a pitiless storm and that they are as vulnerable to it as Lear himself, not just in the sense that youth grows old and beauty fades but in the sense that youth and beauty themselves are vulnerable—their heads are houseless, their youth itself a looped and windowed raggedness and as inadequate to the task of sheltering them as their teacher's middle-aged urbanity is to the task of sheltering him. The word out of the play strips them for a moment naked and strips their teacher with them and to that extent Shakespeare turns preacher because stripping us naked is part of what preaching is all about, the tragic part.

-Originally published in Telling The Truth

King Lear

THERE WOULD BE a strong argument for saying that much of the most powerful preaching of our time is the preaching of the poets, playwrights, novelists because it is often they better than the rest of us who speak with awful honesty about the absence of God in the world and about the storm of his absence, both without and within, which, because it is unendurable, unlivable, drives us to look to the eye of the storm. I think of King Lear especially with its tragic vision of a world in which the good and the bad alike go down to dusty and, it would seem, equally meaningless death with no God to intervene on their behalf, and yet with its vision of a world in which the naked and helpless ones, the victims and fools, become at least truly alive before they die and thus touch however briefly on something that lies beyond the power of death. It is the worldly ones, the ones wise as the world understands wisdom and strong in the way the world understands strength, who are utterly doomed. This is so much the central paradox of Lear that the whole play can be read as a gloss if not a homily on that passage in First Corinthians where Paul expresses the same paradox in almost the same terms by writing, "God chose what is foolish in the world to shame the wise. God chose what is weak in the world to shame the strong. God chose what is low and despised in the world, even things that are not, to bring to nothing things that are" (1 Corinthians 1:27-28), thus pointing as Shakespeare points to the apparent emptiness of the world where God belongs and to how the emptiness starts to echo like an empty shell after a while until you can hear in it the still, small voice of the sea, hear strength in weakness, victory in defeat, presence in absence.

I think of Dostoevski in The Brothers Karamazov when the body of Alyosha's beloved Father Zossima begins to stink in death instead of giving off fragrance as the dead body of a saint is supposed to, and at the very moment where Alyosha sees the world most abandoned by God, he suddenly finds the world so aflame with God that he rushes out of the chapel where the body lies and kisses the earth as the shaggy face of the world where God, in spite of and in the midst of everything, is.

-Originally published in Telling The Truth

Unforeseen

MY OWN HEART LET me more have pity on," Gerard Manley Hopkins wrote . . . and then he goes on: "Leave comfort root-room; let joy size / At God knows when to God knows what; whose smile / 's not wrung, see you: unforeseen times rather." Nor is it only the joy of God and the comfort of God that come at unforeseen times. God's coming is always unforeseen, I think, and the reason, if I had to guess, is that if he gave us anything much in the way of advance warning, more often than not we would have made ourselves scarce long before he got there.

-Originally published in The Sacred Journey