A Dream of Light

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You pull your arms to your side and glide through the water. On your left is a fountain of bubbles, upside down, beneath a waterfall; the bubbles shoot down and then cascade out and to the surface. To your right swims a school of colorful fish, red and blue with thin black stripes. The water is cool, and you can feel the currents gently pushing and pulling on your body. Ahead of you, seaweed above and long, bright green leaves below wave back and forth, flowing and bending. You pull your arms, again, with a powerful stroke which shoots you forward under the seaweed; your back feels cool in the shade. You kick, and you feel the warmth of the sun again, soaking in and through your skin and muscles. Bands of light dance on the sand beneath you, as the light is bent and turned by the waves.

There is a time of rest and stillness; all is at a deep and serene peace. The slow motion of the waves, the dancing lights below and above, the supple bending of the plants, all form part of a stillness. It is soothing, like the soft, smooth notes of a lullaby.

Your eyes slowly close, and you feel even more the warm sunlight, and the gentle caresses of the sea. And, in your rest, you become more aware of a silent presence. You were not unaware of it before, but you are more aware of it now. It is there:

Being.

Love.

Life.

Healing.

Calm.

Rest.

Reality.

Like a tree with water slowly flowing in, through roots hidden deep within the earth, and filling it from the inside out, you abide in the presence. It is a moment spent, not in time, but in eternity.

You look out of the eternity; your eyes are now open because you have eternity in your heart and your heart in eternity. In the distance, you see dolphins; one of them turns to you, and begins to swim. The others are not far off.

It lets you pet its nose, and nestles against you. You grab onto its dorsal fin, and go speeding off together. The water rushes by at an exhilarating speed; the dolphin jumps out of the water, so that you see waves and sky for a brief moment before splashing through the surface.

The dolphins chase each other, and swim hither and thither, in and out from the shore. After they all seem exhausted, they swim more slowly, until at last you come to a lagoon.

In the center, you see a large mass; swimming closer, you see that it is a sunken ship. You find an opening; inside, all is dark, but you find a passageway.

After some turns, you come up in a different place. You come up through a fountain in a public garden; the bushes and ivy are a deep, rich shade of green, and sheets of water cascade down the yellowed marble of the fountain. It is ornately and intricately sculpted, with bas-relief scenes of a voyage.

As you study the pictures, day turns to night, and all that you see is bathed in moonlight. You are looking upon a statue: a delicate, slender, elfin nude, whose long hair cascades over her shoulders and about her body. She is reaching up to the sky, as if to touch the moon and stars. She is carved out of white marble, which looks pale blue, almost luminous, in the moonlight. It looks as if she was taken from the moon, and is rising up to touch it again.

The statue is on a tall pedestal of black marble. In the moonlight, the forest has a very deep color, a green that is almost blue or purple; the dark beauty of the night makes the statue seem almost radiant. Off in the distance, you hear a high, melancholy, lilting song; it is played on a harp and sung by a voice of silver. There is something haunting and yet elusive about the melody; it subtly tells of something wanted and searched for, yet not quite reached. And it is beautiful.

You sit, looking at the statue and listening to the song, for a time. They seem to suggest a riddle, a secret – but you know not what.

You walk along; fireflies begin to appear, and you can hear the sound of crickets chirping. There is a gentle breeze. The sky stands above like a high and faroff crystalline dome; the trees and grass below surround you, like little children who see a beloved elder coming, and run clamoring for a kiss. The grass is smooth and cool beneath your feet. There is a sweet, faint fragrance in the air, as of lilacs.

A round little girl, wandering through the forest, sees you and comes running. She is dark, with olive skin, and her black hair flares out behind her. She is wearing a dark green robe, the color of the forest, and her step is almost that of a dance – as if she is from a people where moving and dancing are not two different things. She is holding, in her hand, a simple bouquet of dandelions. “Look, look!” she says, “I have flowers!”

She jumps into your arms, welcoming you. Her touch is soft, and gentle. It is not near the softness of a grown woman; it has rather a … simplicity. It is hard to find the right word. Then you recognize what it is. It has something of the carefree play of a child, but there is more than even abandon. She is holding you with complete trust. You do not doubt that she could fall asleep in your arms.

She begins to talk to you about many things. She talks about the forest, about people, about the stars, about God. After a time, you realize that she is not merely talking, but singing, as if the first words she heard were the words of a song. After another time, you realize that you have lost her words completely, and are entranced by the song. Presently she stops, and says, “Spin me! Spin me!”

Little children everywhere like to be held by the arms and swung around; this one is no exception. After you are both very dizzy, she takes you by the hand and begins, leading you along a path, to show you little details of the forest that you had never noticed before. Apart from the little details, there is something else which you begin to slowly see in the forest. The song by which she speaks, the dance by which she moves – and not just her, you do not doubt, but her people – seem to be echoed in the forest… and then you realize that rather they are echoes of the forest. Hearing, seeing, feeling that beauty from another person – you still do not doubt that they come from her, but they also help you to see what was always there but you had not noticed. As you walk along, you are lost in thoughts about the genius of all great artists… and begin to think about visiting an art gallery, not so that you can see what is in the gallery, but so that you can see what is not in the gallery.

The path widens out, around a shimmering pool. The golden flames of torches around the pool glimmer when reflected in the pool. There is singing – singing like that of the little girl, but the sound of a whole orchestra as next to the sound of a beginning flute. Men and women together pour fourth a rich harmony. The air is sweet with a delicate fragrance of incense; one of them brings you a cool wooden cup. Inside is a strawberry wine. It is sweet, and sour; the taste brings back memories of earliest childhood.

A circle forms among the people, then another, then another. Soon all of the people are spinning and weaving in a joyful dance. After a time, you realize that you are at the center; they are softly singing, “Welcome, Somebody,” and listening intently. Arms and hands reach out, and sweep you into the dance. The dance is ordered, but also free; it draws you in, and, as you move, you feel that you can do no wrong.

How long the dance lasts, you do not know; still filled with its bliss, you find yourself sitting and talking with the people. One of them finds a soft seat of moss for you to sit on; another brings you a plum. Its taste is tart, and it has the texture that only a plum has — and, when you bite into it, you know that it was still on the tree when it was chosen.

The night winds on, and, after a time, you are led into a building woven out of living trees, with a bed of loam. Into it you sink; it is soft and deep…

You find yourself standing at the edge of a forest and a grassy plain. The mouth of a cave descends into the earth, and just before this is an old man sitting on a three-legged wooden stool. He is wearing a coarse grey-green robe, and has a long, flowing white beard. He is staring intently into the forest, with a concentration you have never seen before. It is like a gaze into a lover’s eyes — nay, even deeper, a probe into the soul.

He shifts positions a few times, in his sitting, and at last stands up, takes the stool, and begins to walk towards the cavern. When he was looking into the forest, you were absorbed in watching him; now, you notice another man, a young one, approach the former.

“Is it Senex?”

“I am he.”

“Senex, the great teacher?”

You see the old man’s hand move to cover his mouth, but not quite quickly enough to conceal the faintest crack of a smile. The young man stands attentively, waiting for words to come.

The old man’s frame shakes once. A second passes, and then it shakes again and again. Then sounds the laughter that he had been attempting to conceal. Soon, the old man is convulsed with mirth, and making no attempt to conceal it.

After a while, almost doubled over with laughter, he begins to pull himself up. You can see his face from a different angle, and you see a merry twinkle in his eye. He places his arm over the young man’s shoulder.

“Forgive me, brother, but it has been ages since anyone has addressed me as ‘teacher’ or ‘great’. You cannot imagine how funny it sounds to me.”

“Are you not Senex, who has traveled the seven seas, who has seen visions and been visited by angels, who has written treatises and instructed many?”

The man chuckles, and says, “Yes, I am all that, and much more. I am the image, likeness, and glory of God. I pray, and in my prayers I touch the stars and shake the foundations of the kingdom of Hell. I am a king and priest. I am a son of God. My name is written in the book of life. I am a god.”

“Then why do you find it funny that I address you as ‘great’, or ‘teacher’?”

“Because I am more than a great teacher, as are the children who dance through this field, as are you.” Here the old man smiles at the young. “Come, now. Do you doubt that you are God’s own son? What teaching, or miracles, or visions, or conquests, or exploits compare with that?”

“But if you are so great, why should you object to being called a great teacher? Surely the title is not false.”

“My dear god – and now I am not addressing the Creator, but you yourself – what is wrong with the title is not that it says that I am a great teacher. I am. What is wrong is that the title implies that there are others who are not so great,” and here the old man gave a great belly laugh, “when the truth of the matter is that the other people are so much more than a great teacher. I will not mind being called ‘teacher’ by you, if you agree to address everyone else as ‘god’ and ‘goddess’. But if you will not call them ‘god’ and ‘goddess’, then simply call everyone ‘brother’ or ‘sister’.”

The young man stands in silent reflection for a time. “I came in search of a man who could share with me profound wisdom; I see now that I have found him. So now I ask you: Give me a profound insight, that I may contemplate it for the rest of my life, and grow wise.”

“Do you not know that God is love, that God loves mankind, that we have the new commandment to ‘Love one another’?”

“All of this I have believed since I was a little boy.”

“Then I give you one more lesson, to contemplate and learn for the rest of your life.”

The young man listens, eager with expectation.

The old man bends down, plucks a blade of grass, and holds it in his outstretched hand.

The young man takes it, and waits for an explanation. When, after a time, the old man says nothing, he says, “This blade of grass is like the blade of a sword. Have you given this to me as a sign that I should contemplate spiritual warfare, and be ready with the sword of the Spirit?”

The old man says, “You should, but that is not why.”

The young man thinks for a time, then says, “This grass is nourished by the sun, and so tells of it. Grass and sun exist as God’s creation, and tell of him. Is this why you have given me the blade of grass?”

The old man says, “What you said is very true, but that is not why, either.”

The young man says, “When Christ lived on earth, he lived as a carpenter, and observed and was surrounded by the birds of the air, the grass of the field, the lilies, and ten thousand other things. Have you given me this blade of grass to remind me of Christ’s time on earth, or of his humanity, or that this is a place he passed by?”

The old man says, “You are still right, and you are still wrong.”

The young man says, “Then what profound truth can you be teaching me? What secret key escapes my grass? I asked if you had given it to me as a symbol of a profound spiritual truth, and you said, ‘no’. Then I asked you if you had given it to me that I might deduce by logic what it tells about God, and you still said, ‘no’. Then, after that, I asked you if you had given it to me as a historical reminder of what has happened about blades of grass, and your answer is still the everchanging ‘no’. What can I possibly be missing? What am I leaving out?”

The old man turns to face the young, and looks deep into his eyes. “This blade of grass I have given you,” he said, “because it is a blade of grass.”

There is a look of puzzlement on the young man’s face, which slowly melts into dawning comprehension. He steps forward and kisses the old man, with a long, full kiss on the lips, and then steps back and bows deeply – and the old man bows to him – and says, “Thank you.” When the old man has responded, “You are very much welcome, brother,” the young turns, clutching the blade of grass as if it were a diamond – no, more than that, as if it were a blade of grass – and walks back into the forest. There is a smile on his face.

You walk off in the field, and lie down on the grass. The day is growing warm and sultry; a faint breeze blows.

The breeze carries with it a small, white feather of the softest down. It gently falls on the sole of your foot. The breeze blows this way and that; the feather catches here, rolls there on your foot, brushing ever so lightly, up and down, up and down.

You feel a finger, cool as marble, just barely touching the back of your neck. It tingles; you can feel the sensation radiating up and down your spine. The feather brushes against your foot, and the finger just barely touches the back of your neck. It is a slow, lingering, tingling sensation; as time passes, the sensation becomes more and more real, and just won’t go away. It tickles so.

A time passes, and you find yourself walking along a beach. It is almost dusk, and the rainbow colors of sunset are beginning to spill across the sky. It is autumn, and the many-hued leaves of the trees fall about, twirling this way and that in the wind. There is a smell of mist and brine in the air; the waves run and twirl about your toes.

A bird flies off to the right; its flight is light and agile. It flies to and fro, this way and that, until it disappears into the sunset.

There is a feeling of wistfulness, of a presence departed. To the left, you see a grayed swing, rocking back and forth in the wind; its rusty chain squeaks. It is in the yard of a boarded up house, with a garden long overgrown in weeds.

On a whim, you slowly walk up the path into the yard, and sit down on the swing. You rock back and forth; there is a feeling of emptiness. Images form and swirl in your mind.

A tree is felled; from its trunk are taken the staves of a barrel. Fresh and white, the staves are slowly covered with dust; each time the dust is disturbed or brushed off, the wood underneath is darker, grayer, rougher.

People are born, walk hither and thither, grow old, and die. Generations come and pass, and the earth grows older. People learn how to live – and then die. Vanity of vanities.

Everything is dreary, desolate, fleeting. The walls of your vision grow narrow and dark; your mind and imagination seem to protest the motion. It grows darker and darker.

After a time, you see a light – a little light. As everything around grows darker and more drab, the light does not grow brighter, but neither does it grow dimmer.

A voice sounds in the shadows – you do not doubt that is the voice of the light – says, “Come closer.”

You come closer, and you see that she is a flame. A little flame.

A thousand questions form in your mind. They pour forth from you – Why is it all so meaningless? Why do things wither and decay? Why does evil run rampant?

The flame listens patiently, and then speaks. “Look into me.”

You look into the flame, and you see everything you saw before, but it looks different. The boards of the cask are no less grey. But you see that inside the cask is wine – wine which grows rich and well-aged. The people still die – and now you see an even darker death for some. But you also see past the death, past the mourning and grieving, to a birth into life – a richness and a fullness that could not be imagined from before.

“Flame, can I step into you, so that I may be delivered from the unpleasant things?”

“No, dear one. That is not the way of things.”

“Then what can you give me?”

“I give you this: that you may always look into me, and that I will never be quenched.”

“Flame, what is your name?”

“My name is Hope.”

You look into the flame, and again see the outside world. There is still the sadness, but there is an incredible beauty. An ant crawls across your finger; you sit entranced at the wonder as its little body moves. Then you look at a rose bush, quivering in the wind – it is covered with thorns, but at the top of each stem is a flower that is still God’s autograph.

You get up and walk further.

You see a little girl on her knees, and standing against her, a man holding an immense sword. The man raises his sword over his head, and brings it down.

Then you see the sword stop in the middle of the air. There is a clanging sound; the man’s powerful muscles ripple in his exertion, but the sword does not move an inch further.

Then you slowly see a shimmer in the air, and there is another sword – a sword that seems to be forged of solid light. A sword that is blocking the first. As you watch, you see an angel beginning to become visible. It is powerful, majestic, and terrifying. The man drops his sword, and runs in blind terror.

You can see the angel’s sword here, a hand there, the hem of his luminous robe. But what you see is fleeting, and you cannot see the whole angel.

“Why cannot I see you? I can see the grass, and see the girl. Are you not as real as they?”

You see a little boy, walking on the beach, picking up a pebble here, a shell there, a piece of driftwood every now and then, and putting them into a sack.

Then he comes upon a fallen log. And he grabs one protrusion, and then another, trying to lift it. But it will not budge.

“Some day, you will be able to see God himself. But now, you can not see things that are too real for you to see.”

You see a diamond, slowly rotating, in light. One facet after another seems to sparkle.

As you watch, not just what appear to be the facets, but what appears to be the diamond, seems to change form, shift, and sparkle in different ways. The light itself seems to shift color, direction, focus.

Then speaks an almost silent voice: “You are looking upon the one thing which never changes, in a light that has been the same since before the creation of time.”

There is a moment of silence, and you feel a surge of power rush about you, and tear through your very being. It is like a blast of wind, throwing you off your feet so violently that wind itself is knocked out of you. It is like the liquid fire that explodes out of a volcano. It is like a flash of light beyond intense, light that is so much light that you cannot see. It bears like an immeasurable weight and presence on your mind and spirit; its might and force fills you with awe – no, more than awe, fear – no, more than fear: terror. It is a reality which lies beyond imagination.

A booming, thunderous voice commands, “Fear not!” Then a hand reaches out and touches you, and you are filled with strength. It holds and stills you; you dimly realize that you have been quivering as a leaf. You somehow find the strength to stand, and if anything see a greater glory and majestic power than before. This being before you is like a storm in solid form. His feet press into the earth with the weight of a mountain, and shine like the sun in full glory. He wears a robe woven of solid light, and at his side hangs a sword sheathed in fire and lightning. His hands radiate power; they seem by their energy as if they are about to tear apart the fabric of space. You dare not look upon his face. Suddenly, you find yourself falling at his feet.

Again booms the voice: “Do not worship me! I am not God!”

A hand lifts you up, and sets you on your feet. His touch is more intense even than his appearance – you are sure that it will destroy you – yet somehow it makes you more solid.

It is all you can do not to fall down again. Somehow the words come, “Who are you?”

“I am a spirit, formed before the foundation of the world. I am a star, who sang for joy as the world was created. I am a messenger, who stands in the presence of God himself and then flies out of the heavens to wage war against the darkness. I am your servant. I am an angel.”

Suddenly, images flash through your mind, images to which it would be merciful to call surreal and bizarre. You see chubby little boys fluttering about on birds’ wings. You see voluptuous women, suspended in mid-air, whose clothing is perennially falling off. It is as if you have all your life seen pictures of Don Quixote wearing a wash-basin as a helmet, holding a dull sword and sitting astride poor, plodding Rozinante – and then, suddenly and out of nowhere, find yourself staring the paladin Roland, with his sword Durendal drawn and the rippling muscles that have torn trees out of the ground, face to face. You find yourself babbling and attempting to explain what you remember, and suddenly see the angel shaking with a booming, resounding laughter.

“What, my dear child, you would wish me tame and safe, like a little pet?”

It would be much easier to face a creature which was safe, which one could predict. It would be a great deal less disquieting, and a great deal less disturbing. Yet, somehow, you feel a feeling deep within you that it would be an immeasurable loss.

He stretches out his hand. “Come, take my hand. I have something to show you.”

You extend your hand, and find it engulfed in a force that is like electricity. Yet somehow, you feel something else as well – a touch. The angel spreads out great, glorious, golden, many-hued wings, and with a mighty jump launches into the air.

You speed along, both of you. Colors and forms speed by. Then, suddenly, you are at a place that is absolutely still, absolutely silent, and pitch black. “Where are we?”

“That is not a question that I can answer in terms that you will understand. Only watch.”

You begin to see a pair of hands, They are together, and facing outward. Then they slowly move outward – and behind the hands is left a rainbow, in all its colors. The hands turn, move along, complete a perfect circle. It is the most perfect rainbow you have ever seen.

Then the left hand strikes the rainbow, and it shatters into innumerable miniscule fragments. The right hand takes the shards, and with a single motion scatters them across the blackness. Each piece of the rainbow glows with light, a little reflection of the whole, and then you see a faint, pale, crystalline blue glow. The pieces are scattered irregularly, and one looks almost like – here an insight comes like a flash – a constellation.

There is no horizon, no landscape, no other light. There are stars in every direction and from every view. The view is the most breathtaking view of the sky that you have ever seen.

Then the angel takes your hand again, and says, “Do you understand what you saw?”

“I think I do.”

“Good. Then let me show it to you again.”

Forms shift and move, and you see a faint, nebulous sea of matter spread about in every direction. It is not still – no, it is moving. You look deeper, and you can see that it is dancing.

Then you see a circle forming, and spinning. And another around it, and another. Soon many circles shift and melt together. The ones on the inside seem to move with more speed, vibrancy, energy. Then you can see a kind of a ball forming.

The swirling matter around it spins inward, more and more tightly, until a fire seems to light inside – and fills the new-formed sphere with radiance. Flashes of light, bursts of glowing forms, like water on a pot boiling, seethe and foment. In your silence and stillness watching it, you begin to realize that spheres are forming, coming to light, becoming stars, all around – and, just as the stars formed out of forms dancing, the stars themselves are forms dancing, in a great, glorious, majestic dance.

The strains of a Christmas carol ring in your ears: “Fall on your knees. O hear the angel voices!” Suddenly you realize that you and your host are not still at all, but swept into the great dance – and, about you, you can see shimmers of… you know not what.

After a long, glorious, blissful time, the angel again takes your hand, and again you find yourself swept away. When you find yourself at rest, you are again in pitch black.

“And why am I here?”

“To see what you have seen, for the third time.”

You wait with eager expectation, to see what could be next. Inside you, the images foam and mix. The rainbow, containing each piece and found in each piece, the colors, the moving dance, the energy… You try to push it aside, so that you may attentively perceive whatever changes may be happening…

Time passes, with still the forms fermenting in your mind. You feel serene and at rest; the place is a place of profound peace. After a time the images begin to fade, leaving behind a feeling, a wholeness, a satiety. It is like, after a vivacious dance has ended, sitting down, cooling off – and, then, at rest, finding the joy and the intoxication of the dance still in your heart, and your head floating in the air. It is like, after finishing a meal, sitting with its feeling of fullness.

After a time, you break the silence. “Why has nothing happened here? Why have I seen nothing, heard nothing, felt nothing? Am I here to wait?”

“Has nothing really happened here?”

“Nothing that I can perceive. I haven’t seen, or heard, or felt anything.”

“Really? You have perceived nothing?”

“Perhaps I have perceived something so subtle and ethereal that I can not notice it. I do not doubt that this place holds something wonderful. But I have not noticed anything.”

“Really?”

“Why do you answer my questions with other questions, with riddles, instead of telling me anything?”

“Do I?”

After a time, pondering what this could mean, you ask, “Am I here to wait, for something that will happen? If I am, can you tell me when it will happen? Or at least tell me if you can tell me?”

The angel is silent for a moment, and then says, “When you have seen one of these things, you have seen more than one thing. You have seen the shattering of the rainbow; one of its fragments is the one near your home that shines light on your fields and mountains. But the rainbow is also the one, beautiful, perfect language that was before man took upon himself a second time the quest to become gods.”

“But did not the sage say that we are gods?”

“Yes, you are gods, and more than gods, and will become more than you even are now. But the man who would exalt himself to godhood, blasphemes. Would that men could learn to be men, without trying to ascend to godhood or even be heroes.”

“Should I not learn to be godlike?”

“Learn to be a god, not in the way of the man who wills to be the highest of gods, but in the way of the God who was willing to be the lowest of men.”

After a time, the angel continues on.

“In a way, each shattered piece of the rainbow – including the language that you now speak – contains the pattern and image of the whole. But in another way, it has lost some of the colors. There are things that were in the whole rainbow, that are not in the piece.

“So I will answer your question, about waiting, with a word from another language. The word is not a word which answers the question, but rather which un-asks it. So I answer you with this word: Mu.”

“But why do you un-ask the question, instead of simply answering it?”

“That I will tell you, if you first tell me, to use an expression from the child’s’ words of your land, if the elephant in your refrigerator is eating peanut butter. Is the elephant in your refrigerator eating peanut butter? Yes, or no?”

Your mind is quite full; it is slow work, pondering and absorbing all that you have seen and heard. Finally you ask, “Before anything happens, may I wait here and ponder, and digest things?”

The angel says, “Yes indeed; that is why you were brought here.”

A time passes in the silence, the stillness, the darkness. It is the beginning of the slow growth that makes a newborn experience into a full-grown memory, and brings it into who you are. It is the rest which makes every work perfect.

This lasts you know not how long. After a time, you realize that you are in a different place. You are with a man of sorts – if ‘man’ is the correct word to use. ‘Man’ is not a wrong word, but there are many others. He seems to be of no particular age. He is fully what every simple child is; he is fully what every ancient sage is.

After a time, you begin to wonder what his age is, and how long you have been there. You see him smile, and then burst out laughing. “Come,” he says, “Let me show you what I see.” He places his hand on your head, and suddenly you see an image – of a little child, in a magnificent and wondrous cavern full of rubies, and emeralds, and sapphires, and diamonds. He is off in a corner, picking up lumps of coal.

“This place is full of diamonds; come, enjoy, take and carry off as much as you are ready to carry.”

Then you begin to look around, and see that you are indeed in a cavern of sorts. It is filled with a brilliant, powerful light; the walls and ceiling, full of irregular bulges and niches, seem to be gilded and encrusted with glowing gems. The space is full of forms magnificent and wonderful – fountains, statues, pedestals, crystalline spheres, animals. Everything in the room seems to have the breath of life.

You begin to gather gems; each one, luminous, seems to have its own particular feel, its own particular energy – you can almost hear a music when you touch them. Their cool, crystalline forms seem to be of congealed light.

After you have gathered a great many, you notice a peculiar phenomenon: the more you carry, the easier it seems to be to pick up even more. The gems embrace each other, and begin to form a vast interlocking structure about you. It forms a great, shining suit of armor – a scintillating armor of adornment, a living form that is as light as thought. As even more time passes, the gems begin to melt into you. As each flows into your body, you feel its energy and light, and soon, a high, subtle, ethereal music courses through your veins.

At last you stand, armored with an armor that is flawless. It gives, you do not doubt, a protection against blows that a man of iron would envy. Yet the armor is not dark and cumbersome; it is light and energizing. Your skin is as soft and sensitive as ever, and you feel the unfettered lightness of nudity, free as Adam – no, you realize, a greater lightness, for a nude person is only not fettered by clothing, but this armor fills you with the freedom of which fetters are but a crude attempt to oppose. Carrying this armor leaves you more free to move and dance, and fills you with a positive energy.

You revel in the fullness, the intoxicating lightness. After a time, you realize that the man is looking upon you. He is smiling.

You begin to ask how much you owe for this wonderful treasure, and he breaks forth in peals of merry laughter. “These treasures are not for sale. They are a free gift. Come and fill yourself to overflowing with these treasures as often as you wish.”

“Then they cost nothing?”

“No, they are very costly. They are more costly than you can ever imagine. But they are given freely, like water and light and breath, and a thousand thousand other treasures that no money can possibly buy.”

“Then why are they given freely? Surely such things are worth a price!”

The man laughs again. “You are beginning to grow alive – just beginning. When you are truly alive, you will dance so freely that you will need no one to tell you these things, because the answers will be in you.”

After a while, he hands you a chalice. “Here, drink this, that you may remain dreaming.” You drink it, and have a flash of insight that waking is not the only aroused state. In a moment, you reach out and touch a star.

You find yourself inside a castle of ice. It is cold, elegant, pure. It is night-time, and the deep blue of the starry sky provides the light. You walk about in a magnificent structure, through halls and archways, around pillars and doorways, all the time in a great silence. The place is majestic and massive.

The coldness of the ice fills the palace with a deep peace. There is a rest here. You cannot see, nor feel the presence of, yet you somehow sense a kinship to the resting dead, sleeping, awaiting the dawn when sleepers shall rise.

As you step, as you breathe, you hear your echoes, and then the echoes of your echoes. The silence has a presence.

It is a timeless place. There is no hurry, no rush, no clutter. The sparseness of the architecture is matched only by the stillness of the air. You stand and walk, footfall after footfall penetrating the vastness. For it is vast and large; it is ordered, and yet unknown.

Through the glassy ceiling above you see the stars, and as you look at them, you can begin to hear the faintest tinklings of ethereal music. Your ears listen with a new keenness, flowing from the crystalline armor, and you can hear, not a music breaking the silence, but a music in the silence. It is, like the palace, sparse, and simple. It has an order and structure, and yet not time; it is a music which sounds as if it has always been there.

After a time, you realize that you are singing a song – sparse, simple, crystalline, and beautiful. It would not be quite right to say that you started a song: rather, that you have joined a song – a song that always has been, and always will be – a song which is sung not by you alone, but by angels and archangels, by the living and the dead, by the rocks and stars and trees themselves. And for the tiniest fraction of an instant, you can almost see the song rising, as incense, in the presence of He Who Is.

As you walk through a corridor, a transformation begins. Tendrils of mist curl about your feet as a shroud slowly rises from the ground. The walls become the walls of tall, narrow buildings lining the sides of the road. They are like ancient, cracked vellum, and ivylike bushes of yellow roses climb the sides.

All is still as you walk the streets; the only motion you can see is that of the mist dancing about you. Every now and then, you catch, out of the corner of your eye, what seems to be the form of a person just disappearing around a corner – but you are never sure.

After a time, you come upon a massive, dark Gothic cathedral. It is carved out of black marble. As you pass through the doors, the air becomes very dry; there is a feeling of imminence.

As you step into the sanctuary, the building itself is rocked by a blast of sound. Your body vibrates as you hear the deep, rich sounds of an organ resound all about you. The song is a fugue, turgid and complex. You hear three parts playing, then four, then six – interwoven, turning about, speaking to each other. It is in the key of E minor.

The song continues for almost an hour, woven with a deep sense of mystery. Like the building, like the city, it is filled with a dark majesty. There is a strain you are listening to hear – and you seem almost to have caught it, now here, now there, but then it vanishes. The song comes to a climax, and then a thunderous resolution. Then the sanctuary becomes as silent as before.

A shaft of light falls, and you see a man walking towards you. He is tall and lean, and wearing a black robe with golden edges. He has black hair, and a thin, close beard. His step is stately and regal, but does not make a single sound. He reaches you, and, bowing deeply, says, “Greetings.”

His eyes meet yours, and you see that he has a piercing, probing gaze. It is intense, looking deep into your eyes – no, more, deep into your soul. And there is something else – you can not tell what. You begin to gaze back, and you realize what it is. His gaze is gentle.

He reads the questions on your face, and after a time says, “I cannot tell you everything that you wonder now. If I were to say the answers, answers that I am only beginning to understand, they would sound like trivia, or sound meaningless. And if I could make you understand them all, I would do you a great disservice.”

“Why?”

“Because the questions you ask are the right questions, but they are also the wrong questions.”

After a time, he begins again.

“But there is something which I can do. I can lead you to the library.”

He leads you through a twisted passageway, then down a stairwell. The stairwell alights in a room with shelves upon shelves upon shelves of dust-covered tomes.

“And,” the man says, “I can give you this.”

He reaches into the folds of his robe, and gives you a black rose.

It is a queer feeling to be alone with that many books. You reach on one of the shelves and pull one out. It is an illuminated manuscript. It tells a story deep, and detailed, and rich, and subtle. What you can read of it is like barely seeing the ripples on the surface of a lake, while untold forms move about below in the depths.

You replace it and look at another. It is a manual of philosophy and theology. It tells something about God – but it is also too subtle and complex to understand. And there is something else… It is like reading a book about arrangements and variations of color – to a man who has been blind from birth.

Then another… You can tell from its form that it has a sort of reason, or structure to it, but you cannot tell what. At first, you find what seem to be logical errors – and it does contradict itself, sharply and in many ways… and yet… you have the feeling that you are like a man, versed in logic and philosophy but devoid of emotion, poring over a joke, trying to understand it as an argument – and having no idea why others read it and then do something called laughing.

Another book, and another. Each time it seems like you understand something, you find yourself more confused than before. After a time, it becomes words upon words – and the more words are added, the less meaning there seems to be.

You sit down, exhausted and bewildered. After a time, you realize that a woman is standing some distance off. She is wearing a robe that is purple and black, with long sleeves and a long, flowing skirt. Her long hair, which falls behind her to a length you cannot tell, is jet black, and yet her skin is almost luminous.

She steps forward, and, embracing you, gives you three kisses on alternate cheeks. “Have you learned anything yet?”

“Nothing. I can’t understand anything in the books.”

“Have you thought to see what you can learn?”

“I have thought, and I do not doubt that there is a lesson, but it is seven times over too subtle and too complex for me.”

“There is a lesson that you are missing, but not because it is too subtle and too complex. You are missing it because it is too simple and too obvious.”

“I have read from two and ninety books, and cannot share with you the least shred of wisdom that is found in them. I do not understand. So in what wise am I to claim that I have learned?”

“Is there not even one thing you can claim to have learned?”

It is with frustration that you say, “Only the littlest thing – that I do not understand.”

“That is not so little as you think.”

She looks at you for a second, and now you can see, as well as a probing gaze, a hint of a smile. “Come; you are fatigued. Let me take you so that you can eat and rest.” She places an arm around you – her touch is soft and responsive – and leads you through other passageways into a room with a table.

The table is set with plates of clear glass; the table is set with bread, fish, and white cheeses, and there are two glasses of white wine. She leads you to a chair, which offers a welcome rest, and then sits down opposite you.

After you have eaten a couple of pieces of bread, you see her again gently looking upon you. “I can see the question in your eyes. You are wondering, are you not, why you were not simply told that you do not understand.”

“Yes.”

“Would you have understood that you do not understand? As you do now?” She pauses, and takes a sip of the wine. “A mouse can only drink its fill from a river, and no man can learn what he is not ready to understand.”

The rest of the meal is eaten in silence. It is a calm, peaceful, prayerful silence. The bread is flavorful and dense; the cheese is mild; the wine is dry and cool.

After the meal, you both sit in more silence. It is a time of rest… and also of community. There are no words and there is no touch, and yet you can sense a kind of attention, a welcome, from the lady.

When you feel refreshed, she leads you through another passageway, and out to a door to the street. She gently embraces you, and says, “It is time for you to go, and begin to taste some of the other secrets of this city. I do not know if we shall meet again, but I suspect that it will come to pass. Fare Thee well.”

The street is different from the one you first saw – it also is enshrouded by a cloak of mist, but it is wider, and there are people passing by. Their clothing varies some, but much of it is variation on a dark grey theme, almost seeming to be mist in solid form. A young woman passes by on the other side of the street; a cascade of ebon hair hides part of her face – yet you can still see, in one corner of her mouth, a hint of a smile.

You come across an open square, with an intricate pattern of stone tiles in the center. Two opposite corners have trees – gnarled, angular, and leafless. One of the corners has a fountain; cascading sheets of water fall between many-leveled pools, in which silvery and golden fish swim about. The opposite corner has a statue.

The statue is on a large pedestal of dark grey marble; the statue itself is of blackened bronze. It is of a man, gaunt and haggard, and clad in rags. His arms are raised up to Heaven, as is also his head, and yet his face bears a look of despair. The pedestal bears the inscription, “I am thirsty. Who will give me something to drink?”

You find a jug, and, filling it at the fountain, climb up the statue and pour water into the statue’s mouth. You hear sounds of water flowing, and then there is a click. It is followed by a whirr of moving clockwork, and, getting down, you see that one of the sides of the pedestal has turned inwards, revealing a shaft descending into the earth.

A lantern is at your feet; you light it, and begin to climb down the ladder at one side. It descends into a passageway; taking one direction, you come to a four way intersection. The left path turns into a circular room, with a domed roof, and a pool in the center. You test its depths – and find it descends below the floor.

Inside, you find an underwater passageway. You swim through it, and surface in a room with rough walls. Climbing upwards, you find the room to narrow into a shaft, which turns into a low passageway, and then opens into another room.

This room is lit by the glow of torches; it is large and rectangular. At the center is a thick, low stone column, about three feet tall, with some protrusions bulging from the top. When you come closer, you see that it is an intricate clockwork device; working with it, you find a pattern in its motions, and work with it until there is a click, and a segment of the far wall slides into the ground.

The passageway is dark, as was the room and passageway which you traversed without your lantern, and it opens shortly into another room. At first you cannot see; then, as you step in, your eyes slowly adjust to the darkness. Inside this room, you see another statue.

This statue is a male nude. It is an iron statue; it is immense, and the figure is powerfully built. It is in the middle of a stride – a long, powerful stride, one which seems almost to shake the ground. His eyes bear an intense gaze, one which seems to almost flash lightning, and one arm is raised, and hand outstretched, in a gesture of authority. The surface of the statue is rough and unfinished. There is something in this statue that seems to almost radiate power and energy and weight and light.

And yet, when you look closer, you notice something different. The eyes seem sad. And then, looking closer, you suddenly realize that the statue is bound by shackles. The shackles are a monstrosity, a violation; they threaten to wear down his energy and burden his strength. You grab at the shackles to see if you can pull them free, and feel a chill and drain run through the body. You drop them in shock.

As you stand in the room, you seem to even more be able to see – not only the forms, but the absurdity and injustice. The man’s great strength – it is straining against the binding chains. Your eyes trace the shackles to where they are engulfed by the floor.

Then you realize that there is another set of shackles, empty, open. You shudder to look at them; the touch of one of the chains sapped your soul; breathing felt as if you had been forcefully struck on the chest. You begin to back out of the room… and you see the statue’s eyes.

He is not pleading; he is not begging. If anything, his eyes say “Go far away; that these chains imprison me is bad enough, without one more.” You do not see pride, of someone unwilling to receive help, or the cowardice of one who dare not ask. It is rather the compassion, of someone who would not wish his worst enemy to feel the misery he feels. You feel a stirring inside your heart. What the man does not ask, conscience and every noble instinct demand. And you walk in.

A chill sweeps through you as you cross the threshold. You can almost see a presence that is unholy. At each step you are jolted. And yet… you have the strength to follow.

You fasten one of the open shackles about your feet; it stings like the sting of a scorpion. The other, and you feel as if you are sinking into the ground. A shackle is fastened around one hand, and it is all you can do not to fall down. You place your other hand in the last, and begin to close it…

The shackles fall from the man’s feet, and you see a surge of power ripple through his muscles. He crouches down, and then jumps up with a force that shakes the earth. He raises his hands upward, and there is a blinding flash of light.

Your sight slowly returns, and you find yourself on a grassy knoll bordering a field. A small grove of saplings is to the left, and a field of dandelions is to the right. From somewhere near come the sounds of birds chirping, and a babbling brook.

You see the man who was shackled, standing nearby. He is looking upon you, and smiling. He picks you up and gives you a hug – a crushing, invigorating bear hug that makes you feel very much alive – and a big kiss. Then he sets you down and opens a large leather pouch. He fills two large stone bowls with stew, and draws two draughts of cider from a small barrel. The stew is a piping hot, well-spiced, and hearty beef stew, but the cider is cold and mild – you could drink quite a lot without getting drunk.

He tells you of how he came to be imprisoned – he let a love of probing mysteries become a love of secrecy, and a love of the beauty in natural darkness become a love of evil, so that what was wholesome and free became perverted and enslaved – and then asks of your story, how you came to rescue him. He listens eagerly and intently.

After a time, he says, “There are many people who knew of my disappearance and do not know that I am free; it is time for me to go and tell them that I am free, and how you rescued me. But before I go, I give you this.” He raises one hand to Heaven and places the other on your head, and speaks a blessing. You cannot understand the blessing, but there is something about it that strikes you… and then you see, in an instant, not just one little fragment in the blackness, but the whole radiant rainbow. He is speaking the first language, before it was broken, and – though you cannot understand it – you are moved by its power, its love, its light.

He presses slightly harder on your head, and your spirit surges with joy. Then he runs off into the distance, bounding like a stag.

After a time, you begin to walk along, into the forest. It grows thicker, and the colors richer and deeper. You can feel warmth, and humidity, and wind.

As you walk along, the forest opens into a wide, grassy clearing, with thick, long bluegrass. A few small raindrops sprinkle on your face; thunder rumbles, and soon there is a heavy and torrential rainstorm. The rain is warm, and in it you begin to run and play.

A woman, short and with a full and rounded figure, begins to dance with you, and soon you are swinging around, and dancing in the rain. Sheets and columns of rain fall, and in the lightning flashes you can see the trees, the leaves – the whole forest – dancing and spinning in the wind.

The woman is laughing; you can hear the laughter in her voice and see the laughter in her eyes. On a whim, you reach and pinch her side; she laughs and squirms. She jumps and tackles you – it is half a tackle and half a hug – and knocks you over.

After wrestling around for a few minutes, she turns and walks towards a large, ancient, gnarled oak tree, and sits on a large bulge a little distance above the ground. As she sits, you vaguely realize that the tree’s form has almost the shape to welcome a human – your eyes did not pick it out, but she seemed to have walked to it as naturally as if she were breathing. She is leaning a little to her left; a ledge of wood forms almost a cushion for her to lean on – one might say that her body is curled into the wood.

You begin to look on her, and see how beautiful she really is. Her skin glistens with little drops of water. She is dark, with olive skin and large, soft, welcoming eyes that seem to enfold you, taking you in as the waters of a lagoon take in a swimmer. There is something that draws you about your hands.

Her hands are small, and seem to contain the beauty of her whole body in miniature. They are rounded, curved, and Rubenesque. You can see soft skin gently enfolding the inside of her hands; it has a looseness and ampleness so that you do not see vein and bone, only the rich color of skin. Her fingers are tiny and thin, with very mignonne nails and fingertips. The texture of her hands is subtle, yet gives her hands reality; you can see the strata and shapes in the tiny wrinkles on the back of her hand,the dark, faint hairs, and the many sheets of lines that twist and turn over the inside of her hand. Through her fingernails, you can see a glimpse of white, pink color which contrasts brightly with the rest of her hand.

And yet the shape is only half of the beauty that is in her hands, for they are not still, but in motion. It is a slow, still, lyrical motion, an adagio dance. It does not overpower the senses or make a clamoring demand for your attention, but it is yet deeply moving. Her fingers, palm, and thumb slowly move, in a rich harmony. You can see waves in her fingers as they wend back and forth. The motion is extremely simple, and has a periodicity that comes back to a single thing, yet somehow you do not wish it to be more complex, or do something new – at the moment, you would have difficulty understanding why anybody watching this slow undulation would want to see anyone else. It seems that she is speaking in a language with her hands, and you long to understand what her hands are saying, to put it into words. Then you look deeper, and you realize that you do understand what her hands are saying, and you cannot put it into words because it is a truth different from what words express. You rather feel and sense… peace… rest… stillness… the motion of breath… the beating of a heart… the music that lies in and beyond silence… the ebb and flow of water… day and night and the four seasons turning in cycle… the rhythm of a song that does not pulse, and yet has order… tufts of long, dry grass, resting in a field… the tops of trees, blowing in a wind… a rock, buried deep in the earth, remaining a rock, in the process of not-changing… the light at dusk, and yet not the light of dusk for the sunlight at dusk fades, and this, even in its softness, would not rightly be said to fade.

She begins to walk along a path, leading you, and takes you to a small hovel. You step inside, and as your eyes adjust to the light, you see a very old woman. She is emaciated, and in her face are etched lines of pain. She begins to try to get up, and say something, but the sounds are hardly understandable as words, and the young woman gently places her hand over the old woman’s mouth and leads her to lie down. Reaching up to the wall, she brings a flask of wine to the old woman’s lips, and helps her drink a little. After that, she goes to a chair, and picks up a wooden recorder, and plays it. It is the same song as her hands danced: soft, still, and beautiful. It has a very soft, woody sound, and the notes themselves are… like the color grey, like a gentle light, like a friend’s voice. You are lost in the music, carried away by its beauty. Slowly, the song tapers into silence, into a rest allowing the music heard to sink in. You look at the old woman, and see that she is still, absolutely still. Her eyes vacuously point into space.

The young woman gets up, with infinite gentleness, and with her hand slowly closes the old woman’s eyes. She turns to you, and, speaking so softly that you can barely hear her, says the first words you have heard from her: “She was my grandmother.” You can see the tears forming in her eyes.

It is dusk, and the last rays of the sun ebb into darkness, into a dark and moonless night.

The next day, you begin to build a pyre in the middle of the field. Some people come by from the wood and help; they are bearing little gifts, and each embrace her. There is not what you would understand to be a ceremony; they each come and go. After a time, you realize that the animals also come, and pay their respects in their own ways. Dusk comes again, and she takes a lantern and sets it at the bottom of the fire. Flames begin to lick upwards, and then touch the grandmother’s body. Then the young woman screams, a piercing, dissonant, discordant scream of which you would not have thought her capable. She begins to sob uncontrollably, and weeps the whole night long.

The woman stands up to greet the coming of the dawn, the tears still streaming down her face. The first rays begin to break over her face, and then you notice something… different. Something that you had not noticed before.

You see pain in her face; it is of no effort to see that a great hole has been torn in her soul. And yet there is something else. She is beaten, but not crushed; wounded, but not destroyed. If she is bleeding, it is because there is living blood coursing through her veins. It would not be quite right to say that she is not too badly hurt because she is a deep person; rather, she is very badly hurt because she is a deep person. And yet… you cannot quite tell what it is.

She turns to you, and sees the puzzlement in your face. She reaches, and with one hand touches your eyes; her lips move in silent prayer. Then she takes her hand back, and you slowly see something else. You see angels all around, and feel the Spirit of God. One of the angels – great, mighty, magnificent – has wrapped his arms around her. The angels are still, and… intent. It would be a gross distortion to say that one of them waves a magic wand and makes the pain go away, and yet…

You cannot quite see, and yet in your spirit you sense, prayers, around and under and in her. You cannot understand all of what is going on. The pain is not taken away, and you share the pain as well. And yet… Though you cannot say what, you can sense someone, and something happening, which is infinitely greater than the pain. And you, again, hear singing.

Sister, let me be your servant. Let me be as Christ to you. I will laugh when you are laughing. When you weep, I’ll weep with you. Pray that I might have the grace to Let you be my servant, too.

When you feel so weak and burdened, When the world is harsh to you, Know that Christ has gone before you, Felt the pain and shed the tears. As Christ has so giv’n to others, So he will also give to you.

And e’en with Christ you’re not alone, For we are Christ’s body, too. We are all brother and sister. Your burden is our burden, too. As you have so giv’n to others, So we all shall give to you.

A little boy runs up with something clutched in his hand, and kisses her. He says, “I love you. Sorry you hurt bad. Havva big gift. Look!” He opens his hand.

Inside is a blade of grass.

A Christmas gift for children

Hymn to the Creator of Heaven and Earth

The Sign of the Grail

Stephanos

Doxology

Cover for The Best of Jonathan's Corner

How shall I praise thee, O Lord?
For naught that I might say,
Nor aught that I may do,
Compareth to thy worth.
Thou art the Father for whom every fatherhood in Heaven and on earth is named,
The Glory for whom all glory is named,
The Treasure for whom treasures are named,
The Light for whom all light is named,
The Love for whom all love is named,
The Eternal by whom all may glimpse eternity,
The Being by whom all beings exist,
יהוה
Ο ΩΝ.
The King of Kings and Lord of Lords,
Who art eternally praised,
Who art all that thou canst be,
Greater than aught else that may be thought,
Greater than can be thought.
In thee is light,
In thee is honour,
In thee is mercy,
In thee is wisdom, and praise, and every good thing.
For good itself is named after thee,
God immeasurable, immortal, eternal, ever glorious, and humble.
What mighteth compare to thee?
What praise equalleth thee?
If I be fearfully and wonderfully made,
Only can it be,
Wherewith thou art fearful and wonderful,
And ten thousand things besides,
Thou who art One,
Eternally beyond time,
So wholly One,
That thou mayest be called infinite,
Timeless beyond time thou art,
The One who is greater than infinity art thou.
Father, Son, and Holy Spirit,
The Three who are One,
No more bound by numbers than by word,
And yet the Son is called Ο ΛΟΓΟΣ,
The Word,
Divine ordering Reason,
Eternal Light and Cosmic Word,
Way pre-eminent of all things,
Beyond all, and infinitesimally close,
Thou transcendest transcendence itself,
The Creator entered into his Creation,
Sharing with us humble glory,
Lowered by love,
Raised to the highest,
The Suffering Servant known,
The King of Glory,
Ο ΩΝ.

What tongue mighteth sing of thee?
What noetic heart mighteth know thee,
With the knowledge that drinketh,
The drinking that knoweth,
Of the νους,
The loving, enlightened spiritual eye,
By which we may share the knowing,
Of divinised men joining rank on rank of angels.

Thou art,
The Hidden Transcendent God who transcendest transcendence itself,
The One God who transfigurest Creation,
The Son of God became a Man that men might become the sons of God,
The divine became man that man mighteth become divine.

Beyond measure is thy glory,
The weight of thy power transcendeth,
Thy power of thine all-surpassing authority bespeaketh,
And yet art thou,
Not in fire, not earthquake,
Not wind great as maelstrom,
But in soft gentle whisper,
Thy prophets wait upon thee,
For thy silence is more deafening than thunder,
Thine weakness stronger than the strength of men,
Thy humility surpassingly far exceedeth men’s covetous thirst for glory,
Thou who hidst in a manger,
Treasure vaster than the Heavens,
And who offerest us glory,
In those things of our lives,
That seem humble to us,
As a manger rude in a cavern stable.

Thou Christ God, manifest among Creation,
Vine, lamb, and our daily bread,
Tabernacled among us who may taste thy glory,
Art come the priest on high to offer thy Creation up into Heaven,
Sanctified,
Transfigured,
Deified.

Wert thou a lesser god,
Numerically one as a creature is one,
Only one by an accident,
Naught more,
Then thou couldst not deify thine own creation,
Whilst remaining the only one god.

But thou art beyond all thought,
All word, all being,
We may say that thou existest,
But then we must say,
Thou art, I am not.
And if we say that we exist,
It is inadequate to say that thou existest,
For thou art the source of all being,
And beyond our being;
Thou art the source of all mind, wisdom, and reason,
Yet it is a fundamental error to imagine thee,
To think and reason in the mode of mankind.
Thou art not one god because there happeneth not more,
Thou art The One God because there mighteth not be another beside thee.
Thus thou spakest to Moses,
Thou shalt have no other gods before me.
Which is to say,
Thou shalt admit no other gods to my presence.

And there can be no other god beside thee,
So deep and full is this truth,
That thy Trinity mighteth take naught from thine Oneness,
Nor could it be another alongside thy divine Oneness,
If this God became man,
That man become god.

Great art thou,
Greater than aught that can be thought,
And thus dealest thou,
With thy Creation.

For thou camest into the world,
O Christ,
Thy glory veiled,
But a few could see thy glory,
In a seed.

But thou returnest soon,
In years, or centuries, or ages untold,
A day or a thousand years, soon,
Then a seed no more.
None shall escape seeing you,
Not an angel choir to shepherds alone,
But rank on rank of angel host.
Every eye shall see thee,
And they also which pierced thee,
Thou camest and a few knees bowed,
Thou wilt return,
And every knee shall bow,
And every tongue shall confess,
Jesus Christ is Lord,
To the glory of God the Father,
As the Father triumphs in the Son.

Who mighteth tell of thy glory, thy might?
We hope for Heaven yet,
Yet the Heavens cannot contain thee.
Great art Ο ΩΝ,
And greatly to be praised.
Thou art awesome beyond all gods,
Who sayest,
Wound not my christs.
For the Son of God became the Son of Man,
That the sons of man might become the sons of God,
And the divine image,
The ancient and glorious foundation,
And radix of mankind,
Be transfigured,
Into the likeness of Christ,
And shine with uncreated Light,
The glory of God shining through his sons.

Let our spiritual eye be ever transfixed upon thine eternal radiant glory,
Our hearts ever seeking thy luminous splendour,
Ever questing,
Ever sated,
Slaked by the greatest of draughts,
Which inflameth thirst.

Glorified art thou,
In all ages,
In every age,
Thy soft, gentle whisper,
Speaking life,
In every here and now,
And today.

Let us give our lives,
To thine all-surpassing greatness,
From this day,
From this hour,
Henceforth and forevermore.

Αμην,
So be it. Amen.

Death

Hymn to the Creator of Heaven and Earth

The Angelic Letters

Why This Waste?

Death

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In the time of life,
Prepare for death.

Dost thou love life?
Be thou of death ever mindful,
For the remembrance of death,
Better befits thee,
Than closing fast thine eyes,
That the snares before thee may vanish.
All of us are dying,
Each day, every hour, each moment,
Of death the varied microcosm,
The freedom given us as men,
To make a decision eternal,
The decision we build and make,
In each microcosm of eternity,
Until one day cometh our passing,
And what is now fluid,
Forever fixed will be made,
When we will trample down death by death,
Crying out from life to death,
O Death, where is thy victory?
O Grave, where is thy sting?
So even death and the grave,
Claim us to their defeat,
Or else,
After a lifetime building the ramp,
Having made earth infernal,
Closing bit by bit the gates of Hell,
Bolting and barring them from the inside,
We seal our decision,
Not strong enough to die rightly in life,
We sink to death in death,
Sealing ourselves twice dead.
Choosest thou this day,
Which thou shalt abide.

Seekest thou a mighty deed,
Our broken world to straighten out?
Seek it not! Knowest thou not,
That the accursed axe ever wielded in the West,
To transform society, with a program to improve,
Is a wicked axe, ever damned,
And hath a subtle backswing, and most grievous?
Wittest thou not that to heal in such manner,
Is like to bearing the sword,
To smite a dead man to life therewith?
Know rather the time-honeyed words,
True and healthgiving when first spoken,
Beyond lifesaving in our own time:
Save thyself,
And ten thousand around thee shall be saved.

We meet death in microcosm,
In the circumstances of our lives and the smallest decisions,
The decision, when our desire is cut off,
In anger to abide, or to be unperturbed.
Politeness to show to others, little things,
A rhythm of prayer to build up,
Brick by brick, even breath by breath,
Our mind to have on the things of Heaven or on earth,
A heart’s answer of love and submission,
To hold when the Vinedresser takes knife to prune,
The Physician takes scalpel to ransack our wounds,
With our leave, to build us up,
Or to take the gold,
The price of our edification,
And buy demolition in its stead.
Right poetic and wondrous it may sound right now,
Right poetic and wondrous it is in its heart,
But it cometh almost in disguise,
From a God who wishes our humility never to bruise,
To give us better than we know to ask,
And until we see with the eyes of faith,
Our humble God allows it to seem certain,
That he has things wrong,
That we are not in the right circumstances for his work,
When his greatest work is hid from our eyes,
Our virtue not to crush,
Knowing that we are dust,
And not crushing our frame dust to return.
Right frail are we,
And only our Maker knows the right path,
That we may shine with his Glory.

Canst thou not save thyself even?
Perchance thou mayest save another.
Be without fear, and of good cheer:
He saved others, himself he cannot save,
Is but one name of Heaven.
Canst not save thyself?
Travail to save another.
Can God only save in luxury?
Can God only save when we have our way?
Rather, see God his mighty arm outstretched in disaster,
Rather, see glory unfurl in suffering.
Suffering is not what man was made for,
But bitter medicine is better,
And to suffer rightly is lifegiving,
And to suffer unjustly has the Treasure of Heaven inside,
Whilst comfort and ease sees few reach salvation:
Be thou plucked from a wide and broad path?
Set instead on a way strait and narrow?
Give thanks for God savest thee:
Taking from thee what thou desirest,
Giving ever more than thou needest,
That thou mightest ever awaken,
To greater and grander and more wondrous still:
For the gate of Heaven appears narrow, even paltry,
And opens to an expanse vast beyond all imagining,
And the gate of Hell is how we imagine grandeur,
But one finds the belly of the Wyrm constricting ever tighter.

Now whilst the noose about our necks,
Tightens one and all,
Painful blows of the Creator’s chisel stern and severe,
Not in our day, nor for all is it told,
That the Emperor hears the words,
In this sign conquer,
The Church established,
Persecutions come to an end,
And men of valor seeking in monastery and hermitage,
Saving tribulations their souls to keep,
The complaint sounded,
Easy times rob the Church of her saints,
Not in our day does this happen:
For the noose is about our necks,
More than luxury is stripped away;
A Church waxen fat and flabby from easy living,
Must needs be sharpened to a fighting trim,
Chrismated as one returning to Orthodoxy,
Anointed with sacred oil for the athlete,
And myrrh for the bride.
And as Christian is given gifts of royal hue,
Gold, frankincense, and myrrh:
Gold for kingship,
Frankincense for divinity,
Myrrh for anointing the dead,
A trinity of gifts which are homoousios: one,
Gold and frankincense which only a fool seeks without myrrh,
Myrrh of pain, suffering, and death,
Myrrh which befits a sacrifice,
Myrrh which pours forth gold and frankincense.
And as the noose tightens about our neck,
As all but God is taken from us,
And some would wish to take God himself,
The chisel will not wield the Creator,
The arm of providence so deftly hid in easy times,
Is bared in might in hard times,
And if those of us who thought we would die in peace,
Find that suffering and martyrdom are possible,
We must respond as is meet and right:
Glory to God in all things!

Be thou ever sober in the silence of thine heart:
Be mindful of death, and let this mindfulness be sober.
Wittest thou not the hour of thy death:
Wete thou well that it be sooner than thou canst know.
Put thy house in order, each day,
Peradventure this very night thy soul will be required of thee.
Be thou prepared,
For the hour cometh like a thief in the night,
When thou wilt be summoned before Christ’s dread judgment seat.
If thou wilt not to drown,
Say thou not, I can learn to swim tomorrow,
For the procrastinator’s tomorrow never cometh,
Only todays, to use right or wrong.
If thou wilt not to drown,
Learn, however imperfectly, to swim today,
A little better, if thou canst:
Be thou sober and learn to swim,
For all of our boats will sink,
And as we have practiced diligently or neglected the summons,
So will we each sink, or each swim,
When thy boat is asink, the time for lessons is gone.

For contemplation made were we.
Unseen warfare exists because contemplation does not.
Yet each death thou diest well,
A speck of tarnish besmircheth the mirror no more,
The garden of tearful supplication ever healeth,
What was lost in the garden of delights:
Ever banished our race may be from the garden of delights:
‘Til we find its full stature in vale of tears,
‘Til we find what in death God hath hid,
‘Til each microcosm of death given by day to day,
Is where we seek Heaven’s gate, ever opening wide.

The Lord shepherdeth me even now,
And nothing shall be wanting:
There shall be lack of nothing thou shalt need,
In a place of verdure, a place of rest, where the righteous dwell,
Hath he set my tabernacle today,
He hath nourished me by the waters of rest,
Yea, even baptism into Christ’s lifegiving death.
My soul hath he restored from the works of death,
He hath led me in the paths of righteousness,
That his name be hallowed.
Yea though my lifelong walk be through the valley of the shadow of death,
I will fear no evils;
Thy rod and thy staff themselves have comforted me:
Thy staff, a shepherd’s crook,
A hook of comfort to restore a sheep gone astray,
Thy rod a glaive, a stern mace,
The weapon of an armed Lord and Saviour protecting,
Guarding the flock amidst ravening wolves and lions,
Rod and staff both held by a stern and merciful Lord.
Thou preparest before me table fellowship,
In the midst of all them that afflict me:
Both visible and invisible, external and internal.
Thou hast anointed me with oil,
My head with the oil of gladness,
And thy chalice gives the most excellent cheer.
Thy mercy upon me, a sinner, shall follow me,
All my days of eternal life even on earth,
And my shared dwelling shall be in the house of the Lord,
Unto the greatest of days.

Death may be stronger than mortal men, yet:
Love is stronger than death.

The Arena

The Damned Backswing

Maximum Christ, Maximum Ambition, Maximum Repentance

Why This Waste?

The Commentary

Memories flitted through Martin’s mind as he drove: tantalizing glimpses he had seen of how people really thought in Bible times. Glimpses that made him thirsty for more. It had seemed hours since he left his house, driving out of the city, across back roads in the forest, until at last he reached the quiet town. The store had printer’s blocks in the window, and as he stepped in, an old-fashioned bell rung. There were old tools on the walls, and the room was furnished in beautifully varnished wood.

An old man smiled and said, “Welcome to my bookstore. Are you—” Martin nodded. The man looked at him, turned, and disappeared through a doorway. A moment later he was holding a thick leatherbound volume, which he set on the counter. Martin looked at the binding, almost afraid to touch the heavy tome, and read the letters of gold on its cover:

COMMENTARY
ON THE OLD AND NEW TESTAMENTS
IN ONE VOLUME
CONTAINING A CAREFUL ANALYSIS OF ALL CULTURAL ISSUES
NEEDFUL TO UNDERSTAND THE BIBLE
AS DID ITS FIRST READERS

“You’re sure you can afford it, sir? I’d really like to let it go for a lower price, but you must understand that a book like this is costly, and I can’t afford to sell it the way I do most other titles.”

“Finances will be tight, but I’ve found knowledge to cost a lot and ignorance to cost more. I have enough money to buy it, if I make it a priority.”

“Good. I hope it may profit you. But may I make one request, even if it sounds strange?”

“What is your request?”

“If, for any reason, you no longer want the commentary, or decide to get rid of it, you will let me have the first chance to buy it back.”

“Sir? I don’t understand. I have been searching for a book like this for years. I don’t know how many miles I’ve driven. I will pay. You’re right that this is more money than I could easily spare—and I am webmaster to a major advertising agency. I would have only done so for something I desired a great, great deal.”

“Never mind that. If you decide to sell it, will you let me have the first chance?”

“Let’s talk about something else. What text does it use?”

“It uses the Revised Standard Version. Please answer my question, sir.”

“How could anyone prefer darkness to light, obscurity to illumination?”

“I don’t know. Please answer my question.”

“Yes, I will come to you first. Now will you sell it to me?”

The old man rung up the sale.

As Martin walked out the door, the shopkeeper muttered to himself, “Sold for the seventh time! Why doesn’t anybody want to keep it?”


Martin walked through the door of his house, almost exhausted, and yet full of bliss. He sat in his favorite overstuffed armchair, one that had been reupholstered more than once since he sat in it as a boy. He relaxed, the heavy weight of the volume pressing into his lap like a loved one, and then opened the pages. He took a breath, and began reading.

INTRODUCTION

At the present time, most people believe the question of culture in relation to the Bible is a question of understanding the ancient cultures and accounting for their influence so as to be able to better understand Scripture. That is indeed a valuable field, but its benefits may only be reaped after addressing another concern, a concern that is rarely addressed by people eager to understand Ancient Near Eastern culture.

A part of the reader’s culture is the implicit belief that he is not encumbered by culture: culture is what people live under long ago and far away. This is not true. As it turns out, the present culture has at least two beliefs which deeply influence and to some extent limit its ability to connect with the Bible. There is what scholars call ‘period awareness’, which is not content with the realization that we all live in a historical context, but places different times and places in sealed compartments, almost to the point of forgetting that people who live in the year 432, people who live in 1327, and people who live in 1987 are all human. Its partner in crime is the doctrine of progress, which says at heart that we are better, nobler, and wiser people than those who came before us, and our ideas are better, because ideas, like machines, grow rust and need to be replaced. This gives the reader the most extraordinary difficulties in believing that the Holy Spirit spoke through humans to address human problems in the Bible, and the answer speaks as much to us humans as it did to them. Invariably the reader believes that the Holy Spirit influenced a first century man trying to deal with first century problems, and a delicate work of extrication is needed before ancient texts can be adapted to turn-of-the-millenium concerns.

Martin shifted his position slightly, felt thirsty, almost decided to get up and get a glass of water, then decided to continue reading. He turned a few pages in order to get into the real meat of the introduction, and resumed reading:

…is another example of this dark pattern.

In an abstracted sense, what occurs is as follows:

  1. Scholars implicitly recognize that some passages in the Bible are less than congenial to whatever axe they’re grinding.
  2. They make a massive search, and subject all of the offending passages to a meticulous examination, an examination much more meticulous than orthodox scholars ever really need when they’re trying to understand something.
  3. In parallel, there is an exhaustive search of a passage’s historical-cultural context. This search dredges up a certain kind of detail—in less flattering terms, it creates disinformation.
  4. No matter what the passage says, no matter who’s examining it, this story always has the same ending. It turns out that the passage in fact means something radically different from what it appears to mean, and in fact does not contradict the scholar at all.

This dark pattern has devastating effect on people from the reader’s culture. They tend to believe that culture has almost any influence it is claimed to; in that regard, they are very gullible . It is almost unheard-of for someone to say, “I’m sorry, no; cultures can make people do a lot of things, but I don’t believe a culture could have that influence.”

It also creates a dangerous belief which is never spoken in so many words: “If a passage in the Bible appears to contradict what we believe today, that is because we do not adequately understand its cultural context.”

Martin coughed. He closed the commentary slowly, reverently placed it on the table, and took a walk around the block to think.

Inside him was turmoil. It was like being at an illusionist show, where impossible things happened. He recalled his freshman year of college, when his best friend Chaplain was a student from Liberia, and come winter, Chaplain was not only seared by cold, but looked betrayed as the icy ground became a traitor beneath his feet. Chaplain learned to keep his balance, but it was slow, and Martin could read the pain off Chaplain’s face. How long would it take? He recalled the shopkeeper’s words about returning the commentary, and banished them from his mind.

Martin stepped into his house and decided to have no more distractions. He wanted to begin reading commentary, now. He opened the book on the table and sat erect in his chair:

Genesis

1:1 In the beginning God created the heavens and the earth.
1:2 The earth was without form and void, and darkness was upon the face of the deep; and the Spirit of God was moving over the face of the waters.
1:3 And God said, “Let there be light”; and there was light.

The reader is now thinking about evolution. He is wondering whether Genesis 1 is right, and evolution is simply wrong, or whether evolution is right, and Genesis 1 is a myth that may be inspiring enough but does not actually tell how the world was created.

All of this is because of a culture phenomenally influenced by scientism and science. The theory of evolution is an attempt to map out, in terms appropriate to scientific dialogue, just what organisms occurred, when, and what mechanism led there to be new kinds of organisms that did not exist before. Therefore, nearly all Evangelicals assumed, Genesis 1 must be the Christian substitute for evolution. Its purpose must also be to map out what occurred when, to provide the same sort of mechanism. In short, if Genesis 1 is true, then it must be trying to answer the same question as evolution, only answering it differently.

Darwinian evolution is not a true answer to the question, “Why is there life as we know it?” Evolution is on philosophical grounds not a true answer to that question, because it is not an answer to that question at all. Even if it is true, evolution is only an answer to the question, “How is there life as we know it?” If someone asks, “Why is there this life that we see?” and someone answers, “Evolution,” it is like someone saying, “Why is the kitchen light on?” and someone else answering, “Because the switch is in the on position, thereby closing the electrical circuit and allowing current to flow through the bulb, which grows hot and produces light.”

Where the reader only sees one question, an ancient reader saw at least two other questions that are invisible to the present reader. As well as the question of “How?” that evolution addresses, there is the question of “Why?” and “What function does it serve?” These two questions are very important, and are not even considered when people are only trying to work out the antagonism between creationism and evolutionism.

Martin took a deep breath. Was the text advocating a six-day creationism? That was hard to tell. He felt uncomfortable, in a much deeper way than if Bible-thumpers were preaching to him that evolutionists would burn in Hell.

He decided to see what it would have to say about a problem passage. He flipped to Ephesians 5:

5:21 Be subject to one another out of reverence for Christ.
5:22 Wives, be subject to your husbands, as to the Lord.
5:23 For the husband is the head of the wife as Christ is the head of the church, his body, and is himself its Savior.
5:24 As the church is subject to Christ, so let wives also be subject in everything to their husbands.
5:25 Husbands, love your wives, as Christ loved the church and gave himself up for her,
5:26 that he might sanctify her, having cleansed her by the washing of water with the word,
5:27 that he might present the church to himself in splendor, without spot or wrinkle or any such thing, that she might be holy and without blemish.
5:28 Even so husbands should love their wives as their own bodies. He who loves his wife loves himself.
5:29 For no man ever hates his own flesh, but nourishes and cherishes it, as Christ does the church,
5:30 because we are members of his body.
5:31 “For this reason a man shall leave his father and mother and be joined to his wife, and the two shall become one flesh.”
5:32 This mystery is a profound one, and I am saying that it refers to Christ and the church;
5:33 however, let each one of you love his wife as himself, and let the wife see that she respects her husband.

The reader is at this point pondering what to do with this problem passage. At the moment, he sees three major options: first, to explain it away so it doesn’t actually give husbands authority; second, to chalk it up to misogynist Paul trying to rescind Jesus’s progressive liberality; and third, to take this as an example of why the Bible can’t really be trusted.

To explain why the reader perceives himself caught in this unfortunate choice, it is necessary to explain a powerful cultural force, one whose effect cannot be ignored: feminism. Feminism has such a powerful effect among the educated in his culture that the question one must ask of the reader is not “Is he a feminist?” but “What kind of feminist is he, and to what degree?”

Feminism flows out of a belief that it’s a wonderful privelege to be a man, but it is tragic to be a woman. Like Christianity, feminism recognizes the value of lifelong penitence, even the purification that can come through guilt. It teaches men to repent in guilt of being men, and women to likewise repent of being women. The beatific vision in feminism is a condition of sexlessness, which feminists call ‘androgyny’.

Martin stopped. “What kind of moron wrote this? Am I actually supposed to believe it?” Then he continued reading:

This is why feminism believes that everything which has belonged to men is a privelege which must be shared with women, and everything that has belonged to women is a burden which men must also shoulder. And so naturally, when Paul asserts a husband’s authority, the feminist sees nothing but a privelege unfairly hoarded by men.

Martin’s skin began to feel clammy.

The authority asserted here is not a domineering authority that uses power to serve oneself. Nowhere in the Bible does Paul tell husbands how to dominate their wives. Instead he follows Jesus’s model of authority, one in which leadership is a form of servanthood. Paul doesn’t just assume this; he explicitly tells the reader, “Husbands, love your wives, as Christ loved the church and gave himself up for her.” The sigil of male headship and authority is not a crown of gold, but a crown of thorns.

Martin was beginning to wish that the commentary had said, “The Bible is misogynistic, and that’s good!” He was beginning to feel a nagging doubt that what he called problem passages were in fact perfectly good passages that didn’t look attractive if you had a problem interpretation. What was that remark in a theological debate that had gotten so much under his skin? He almost wanted not to remember it, and then—”Most of the time, when people say they simply cannot understand a particular passage of Scripture, they understand the passage perfectly well. What they don’t understand is how to explain it away so it doesn’t contradict them.”

He paced back and forth, and after a time began to think, “The sword can’t always cut against me, can it? I know some gay rights activists who believe that the Bible’s prohibition of homosexual acts is nothing but taboo. Maybe the commentary on Romans will give me something else to answer them with.” He opened the book again:

1:26 For this reason God gave them up to dishonorable passions. Their women exchanged natural relations for unnatural,
1:27 and the men likewise gave up natural relations with women and were consumed with passion for one another, men committing shameless acts with men and receiving in their own persons the due penalty for their error.

The concept of ‘taboo’ in the reader’s culture needs some explanation. When a person says, “That’s taboo,” what’s being said is that there is an unthinking, irrational prejudice against it: one must not go against the prejudice because then people will be upset, but in some sense to call a restriction a taboo is de facto to show it unreasonable.

The term comes from Polynesia and other South Pacific islands, where it is used when people recognize there is a line which it is wiser not to cross. Thomas Aquinas said, “The peasant who does not murder because the law of God is deep in his bones is greater than the theologian who can derive, ‘Thou shalt not kill’ from first principles.”

A taboo is a restriction so deep that most people cannot offer a ready explanation. A few can; apologists and moral philosophers make a point of being able to explain the rules. For most people, though, they know what is right and what is wrong, and it is so deeply a part of them that they cannot, like an apologist, start reasoning with first principles and say an hour and a half later, “and this is why homosexual acts are wrong.”

What goes with the term ‘taboo’ is an assumption that if you can’t articulate your reasons on the drop of a hat, that must mean that you don’t have any good reasons, and are acting only from benighted prejudice. Paradoxically, the term ‘taboo’ is itself a taboo: there is a taboo against holding other taboos, and this one is less praiseworthy than other taboos…

Martin walked away and sat in another chair, a high wooden stool. What was it that he had been thinking about before going to buy the commentary? A usability study had been done on his website, and he needed to think about the results. Designing advertising material was different from other areas of the web; the focus was not just on a smooth user experience but also something that would grab attention, even from a hostile audience. Those two goals were inherently contradictory, like mixing oil and water. His mind began to wander; he thought about the drive to buy the commentary, and began to daydream about a beautiful woman clad only in—

What did the commentary have to say about lust? Jesus said it was equivalent to adultery; the commentary probably went further and made it unforgiveable. He tried to think about work, but an almost morbid curiosity filled him. Finally, he looked up the Sermon on the Mount, and opened to Matthew:

5:27 “You have heard that it was said, `You shall not commit adultery.’
5:28 But I say to you that every one who looks at a woman lustfully has already committed adultery with her in his heart.

There is a principle here that was once assumed and now requires some explanation. Jesus condemned lust because it was doing in the heart what was sinful to do in the hands. There is a principle that is forgotten in centuries of people saying, “I can do whatever I want as long as it doesn’t harm you,” or to speak more precisely, “I can do whatever I want as long as I don’t see how it harms you.” Suddenly purity was no longer a matter of the heart and hands, but a matter of the hands alone. Where captains in a fleet of ships once tried both to avoid collisions and to keep shipshape inside, now captains believe that it’s OK to ignore mechanical problems inside as long as you try not to hit other ships—and if you steer the wheel as hard as you can and your ship still collides with another, you’re not to blame. Heinrich Heine wrote:

Should ever that taming talisman break—the Cross—then will come roaring back the wild madness of the ancient warriors, with all their insane, Berserker rage, of whom our Nordic poets speak and sing. That talisman is now already crumbling, and the day is not far off when it shall break apart entirely. On that day, the old stone gods will rise from their long forgotten wreckage and rub from their eyes the dust of a thousand years’ sleep. At long last leaping to life, Thor with his giant hammer will crush the gothic cathedrals. And laugh not at my forebodings, the advice of a dreamer who warns you away from the . . . Naturphilosophen. No, laugh not at the visionary who knows that in the realm of phenomena comes soon the revolution that has already taken place in the realm of spirit. For thought goes before deed as lightning before thunder. There will be played in Germany a play compared to which the French Revolution was but an innocent idyll.

Heinrich Heine was a German Jewish poet who lived a century before Thor’s hammer would crush six million of his kinsmen.

The ancient world knew that thought goes before deed as lightning before thunder. They knew that purity is an affair of the heart as well as the hands. Now there is grudging acknowledgment that lust is wrong, a crumbling acceptance that has little place in the culture’s impoverished view, but this acknowledgment is like a tree whose soil is taken away. For one example of what goes with that tree, I would like to look at advertising.

Porn uses enticing pictures of women to arouse sexual lust, and can set a chain of events in motion that leads to rape. Advertising uses enticing pictures of chattels to arouse covetous lust, and exists for the sole reason of setting a chain of events in motion that lead people to waste resources by buying things they don’t need. The fruit is less bitter, but the vine is the same. Both operate by arousing impure desires that do not lead to a righteous fulfillment. Both porn and advertising are powerfully unreal, and bite those that embrace them. A man that uses porn will have a warped view of women and be slowly separated from healthy relations. Advertising manipulates people to seek a fulfillment in things that things can never provide: buying one more product can never satisfy that deep craving, any more than looking at one more picture can. Bruce Marshall said, “…the young man who rings at the door of a brothel is unconsciously looking for God.” Advertisers know that none of their products give a profound good, nothing like what people search for deep down inside, and so they falsely present products as things that are transcendent, and bring family togetherness or racial harmony.

It has been asked, “Was the Sabbath made for man, or was man made for the Sabbath?” Now the question should be asked, “Was economic wealth made for man, or was man made for economic wealth?” The resounding answer of advertising is, “Man was made for economic wealth.” Every ad that is sent out bears the unspoken message, “You, the customer, exist for me, the corporation.”

Martin sat in his chair, completely stunned.

After a long time, he padded off to bed, slept fitfully, and was interrupted by nightmares.


The scenic view only made the drive bleaker. Martin stole guiltily into the shop, and laid the book on the counter. The shopkeeper looked at him, and he at the shopkeeper.

“Didn’t you ask who could prefer darkness to light, obscurity to illumination?”

Martin’s face was filled with anguish. “How can I live without my darkness?”

Creation and Holy Orthodoxy: Fundamentalism Is Not Enough

Dark Patterns / Anti-patterns and cultural context study of Scriptural texts: a case study in Craig Keener’s Paul, Women, and Wives: Marriage and Women’s Ministry in the Letters of Paul

The Most Politically Incorrect Sermon in History: A Commentary on the Sermon on the Mount

“Religion and Science” Is Not Just Intelligent Design vs. Evolution

The Wagon, the Blackbird, and the Saab

Buy Profoundly Gifted Survival Guide on Amazon.

Before I get further, I’d like to say a few words about what I drive.

I drive an Oldsmobile F-85 station wagon. What’s the color? When people are being nice, they talk about a classic, subdued camouflage color. Sometimes the more candid remarks end up saying something like, “The Seventies called. They want their paint job back,” although my station wagon is a 1965 model. All in all, I think I had the worst car of anyone I knew. Or at least that’s what I used to think.

Then I changed my mind. Or maybe it would be better to say that I had my mind changed for me.

I was sitting at the cafeteria, when I saw someone looking for a place to sit. He was new, and I motioned for him to come over. He sat down, quietly, and ate in silence. There was a pretty loud conversation at the table, and when people started talking about cars, his eyes seemed to widen. I asked him what kind of car he drove.

After hesitating, he mumbled something hard to understand, and looked like he was getting smaller. Someone said, “Maybe he doesn’t drive a car at all,” and whatever he mumbled was forgotten in raucous laughter.

I caught him in the hallway later, and he asked if I could help him move several large boxes that were not in the city. When we made the trip, he again seemed to be looking around with round eyes, almost enchanted by my rustbucket.

I began to feel sorry for the chap, and I gave him rides. Even if I didn’t understand.

He still managed to dodge any concrete hint of whatever it was that got him around—and I had a hunch that he hadn’t just walked. My other friends may have given me some ribbing about my bucket of bolts, but really it was just ribbing. I tried to impress on him that he would be welcome even if he just got around on a derelict moped—but still not a single peep.

By the time it was becoming old to joke about whatever he drove, I accepted a dare and shadowed him as he walked along a couple of abandoned streets, got to the nearest airstrip…

and got into an SR-71 Blackbird. The man took off in an SR-71 Blackbird. An SR-71 Blackbird! Words failed me. Polite ones, at any rate. The SR-71 Blackbird may be the coolest looking reconnaissance plane ever; as far as looks go, it beats the pants off the spacecraft in a few science fiction movies. But the engineers weren’t really trying to look cool; that was a side effect of trying to make an aircraft that was cool. It has those sleek lines because it’s a bit of a stealth aircraft; it can be detected by radar, but it’s somewhat harder. And suppose you’re in an SR-71 Blackbird and you are picked up by radar, and enemy soldiers launch a surface-to-air missle at you—or two, or ten? Just speed up and you’ll outrun it; the SR-71 Blackbird is the fastest aircraft ever built. Some SR-71 Blackbirds have been shot at. Ain’t never got one shot down. One of the better surface-to-air rockets has about the same odds of hitting an SR-71 Blackbird doing Mach 3.2 as a turtle trying to catch up with a cheetah and ram it. An SR-71 Blackbird is a different kind of rare. It’s not just that it’s not a common electronic device that you can pick up at any decent department store; it isn’t even like something very expensive and rare that has a waiting list is almost never on store shelves. The SR-71 Blackbird is more like, if anything, an invention that the inventor can’t sell—perhaps, some years back, one of the first, handmade electric light bulbs—because it is so far from how people think and do things that they can’t see anyone would want to use them. The SR-71 Blackbird is rare enough that few pilots have even seen it. And I saw, or thought I saw, my friend get into one.

and got into an SR-71 Blackbird. The man took off in an SR-71 Blackbird. An SR-71 Blackbird! Words failed me. Polite ones, at any rate. And probably the impolite ones, too. The SR-71 Blackbird may be the coolest looking reconnaissance plane ever; as far as looks go, it beats the pants off the spacecraft in a few science fiction movies. But the engineers weren’t really trying to look cool; that was a side effect of trying to make an aircraft that was cool. It has those sleek lines because it’s a bit of a stealth aircraft; it can be detected by radar, but it’s somewhat harder. And suppose you’re in an SR-71 Blackbird and you are picked up by radar, and enemy soldiers launch a surface-to-air missle at you—or two, or ten? Just speed up and you’ll outrun it; the SR-71 Blackbird is the fastest aircraft ever built. Some SR-71 Blackbirds have been shot at. Ain’t never got one shot down. One of the better surface-to-air rockets has about the same odds of hitting an SR-71 Blackbird doing Mach 3.2 as a turtle trying to catch up with a cheetah and ram it. An SR-71 Blackbird is a different kind of rare. It’s not just that it’s not a common electronic device that you can pick up at any decent department store; it isn’t even like something very expensive and rare that has a waiting list is almost never on store shelves. The SR-71 Blackbird is more like, if anything, an invention that the inventor can’t sell—perhaps, some years back, one of the first, handmade electric light bulbs—because it is so far from how people think and do things that they can’t see anyone would want to use them. The SR-71 Blackbird is rare enough that few pilots have even seen it. And I saw, or thought I saw, my friend get into one.

I walked back in a daze, sat down, decided not to take any drinks just then, and cornered the joker, who couldn’t keep his mouth shut. I told him to fess up about whatever he slipped me, but he was clueless—and when I couldn’t keep my mouth shut and blabbed why, he didn’t believe me. (Not that I blame him; I didn’t believe it myself.)

I ate by myself, later, and followed him. The third time, I caught him in the act.

I was red with anger, and almost saw red.

He blanched whiter than at the wisecrack about him maybe not driving a car.

What I would have said then, if I were calmer, was, “Do you think it’s right for a billionaire, to go around begging? You have things that none of us even dream of, and you—?”

After I had yelled at him, he looked at me and said, “How can I fuel up?”

I glared at him. “I don’t know, but it’s got to be much cooler than waiting in line at a gas station.”

“Maybe it is cooler, but I don’t think so, and that’s not what I asked. Suppose I want to fly in my airplane. What do I do to be fueled up?”

“Um, a fuel truck drives out and fills you up?”

“And then I’m good to go because I have a full tank, just like you?”

“I don’t see what you’re getting at.”

“Ok, let me ask you. What do you do if you want to make a long trip? Can you fill your tank, maybe a day or two before your trip, and leave?”

“Yes. And that would be true if you had a moped, or a motorcycle, or a luxury car, or even something exotic like an ATV or a hovercraft.”

“But not an SR-71 Blackbird.”

“What do you mean, not an SR-71 Blackbird? Did you get a good deal because your aircraft is broken?”

“Um, just because you can assume something in a good car, or even a bad car, doesn’t mean that it’s true across the board. When it’s sitting on the ground, my aircraft leaks fuel.”

“It leaks fuel? Why are you flying an aircraft that’s not broken?”

“There’s a difference between designing a passenger car and what I deal with. With a passenger car, if the manufacturers are any good, the car can sit with little to no fuel leak even if it’s badly maintained.”

“But this does not apply to what the rest of us can only dream of?”

“No.”

“Why not?”

“A passenger car heats up a little, at top speeds, due to air friction. One and the same part works for the fuel line when it’s been in the garage for an hour, and when it’s driving as fast as you’ve driven it. Not so with my aircraft. The SR-71 Blackbird is exposed to one set of temperatures in the hangar, and then there is air friction for moving at Mach 3.2, and there’s a basic principle of physics that says that what gets hotter, gets bigger.”

“What’s your point?”

“The parts that make up an SR-71 Blackbird are one size in the hangar and other sizes when the aircraft is flying at high speeds. The engineers could have sized the parts so that you could keep an aircraft in the hangar without losing any fuel… or they could make an airplane that leaks fuel on the ground, but it works when it was flying. But they could not make an airplane that would work at Mach 3.2 and have a sealed fuel line in the hangar… and that means that, when I go anywhere worth mentioning in my hot, exciting airplane, even I get fueled up on the ground, and I lose quite a lot of fuel getting airborne and more or less need an immediate air-to-air refueling… This is besides the obvious fact that I can’t run on any fuel an ordinary gas station would carry. For that matter, the JP-7, a strange beast of a ‘fuel’ that must also serve as hydraulic fluid and engine coolant, is about as exotic compared to most jet fuel as it is compared to the ‘boring’ gasoline which you take for granted—you can’t get fuel for an SR-71 Blackbird at a regular airport any more than you can buy ‘ordinary’ jet fuel at a regular gas station… and you think me strange when I get excited about the fact that you can drive up to any normal gas station and fill-er-up!”

I hesitated, and then asked, “But besides one or two details like—”

He cut me off. “It’s not ‘one or two details,’ any more than—than filling out paperwork and dealing with bureaucracy amounts to ‘one or two details’ of a police officer’s life. Sure, on television, something exciting happens to police officers every hour, but a real police officer’s life is extremely different from police shows. It’s not just paperwork. Perhaps there is lots of paperwork—a police officer deals with at least as much paperwork and bureaucracy as an employee who’s a cog in a big office—but there are other things. Police officers get in firefights all the time on TV. But this is another area where TV’s image is not the reality. I’ve known police officers who wouldn’t trade their work for anything in the world. Doesn’t mean that their work is like a cop show. When police officers aren’t being filmed on those videos that make dramatic shows, and they aren’t training, the average police officer starts firing maybe once every three or four years. There are many, many seasoned veterans who have never fired a gun on the street. And having an SR-71 Blackbird is no more what you’d imagine it was like to have a cool, neat, super-duper reconnaissance plane instead of your unsatisfying, meagre, second-rate, dull car than… than… than being a police officer has all the excitement of surviving a shootout every day, but only having to fill paperwork once every three or four years if at all!”

“Um, what else is there?”

“Um, what’s a typical trip for you? I mean, with your car?”

“My wife’s family is at the other side of the state, and—”

“So that’s an example of a common trip? More common than shopping or driving to meet someone?”

“Ok; often I’m just running some errands.”

“Such a boring thing to do with a station wagon. If you want things to get interesting, try something I wouldn’t brave.”

“What?”

“Go for the gusto. Borrow my vehicle! First, you can fuel up at home, as any fuel that had been in your tank is now a slippery puddle underneath the vehicle you wish you had. Then start the vehicle. You’ll have something to deal with later, after the hot exhaust sets your trees on fire. And maybe a building or two. Then lurch around, and try to taxi along the streets. (Let’s assume you don’t set any trees on fire, which is not likely.) Now you’re used to be able to see most of the things on the road, at least the ones you don’t want to hit? And—”

“Ok, ok, I get the idea! The SR-71 Blackbird is the worst, most pitiable—”

“Perhaps I have misspoken. Or at least wasn’t clear enough. I wasn’t trying to say that it’s simple torture flying an SR-71 Blackbird. There are few things as joyful as flying. And do you know what kind of possibilities exist (in everything from friendship to work to hobbies) when the list of things you can easily make a day trip to the other side of the globe? When—”

“Then why the big deal you just made before?”

“An SR-71 Blackbird is many things, but it is not what you imagine if you fantasize about everything you imagine my vehicle to be, and assume almost everything you take for granted in yours. There are a great many nice things that go without saying in your vehicle, that aren’t part of mine. You know, a boring old station wagon with its dull room for a driver plus a few passengers and some cargo, that runs on the most mundane petroleum-based fuel you can get, and of course is familiar to most mechanics and can be maintained by almost any real automotive shop, and—if this is even worth mentioning—can be driven safely across a major network of roads, and—of course this can be taken for granted in any real vehicle—has a frame that gives you a fighting chance of surviving a full-speed collision with—”

“Ok, ok, I get the picture. But wouldn’t it have helped matters if you would tell people these things up front? You know, maybe something about avoiding these confrontations, or maybe something about ‘Honesty is the best policy’?”

He said, “Ok. So when I meet people, I should say, ‘Hi. My vehicle leaves Formula One racecars in the dust. It also flies, can slip through radar, and does several things you can’t even imagine. But don’t worry, I haven’t let any of this go to my head. I’m not full of myself. I promise I won’t look down on you or whatever car you drive. And you can promise not to feel the least bit envious, inferior, or intimated. Deal?’ It seems to come across that way no matter how I try to make that point. And really, why shouldn’t it?”

I paused. “Do our vehicles have anything in common at all?”

“Yes—more than either of us can understand.”

“But what on earth, if we’re so different? My vehicle is a 1965 model; your vehicle sounds so new you’d need a time machine to get one—”

“My vehicle is a 1965 model too.”

“If you want to lie and make me feel better, you could have told me that your vehicle was years older than mine.”

“I meant it. There is something about our vehicles that is cut from the same cloth.”

“How can you say that? I mean, without stretching? Is what they have in common that they’re both in the same universe? Or that they’re both bigger than an atom but smaller than a galaxy? Or some other way of really stretching?”

“If you want to dig deeper, have you read, ‘I, Pencil‘? Where an economist speaks on behalf of a common, humble pencil?”

“A speech from a pencil? What does that have to do with our vehicles? Are you going to compare our vehicles to a pencil?”

“Yes.”

“So you’re stretching.”

“No.”

“In I, Pencil, a cheap wooden pencil explains what it took to make it. It talks about how a diamond in the rough—I mean, graphite in the rough—crosses land and sea and is combined with clay, and a bit of this and that to make the exquisite slender shaft we call pencil ‘lead’. The wood comes from the majestic cedar—do you know what it takes to make a successful logging operation—and then a mind-boggling number of steps transform a hundred feet of tree into something that’s a little hard to explain, but machined to very precise specifications, and snapped together before six coats of laquer—oh, I forgot, before the cedar wraps around the slender graphite wand, it’s also adorned by being tinted a darker color, ‘for the same reason women put rouge on their faces’ or something like that. Its parts come through a transportation network from all over the world, and the rubber eraser—which wouldn’t erase at all well if were just rubber; it needs to be a cocktail of ingredients that perform at least three major tasks if it will work as an eraser. Try erasing pencil with a rubber ball sometime; it will erase terribly if it erases at all. Your erases is not mere rubber, but a rubber alloy, the way airplanes are made, not with mere aluminum, but with an aluminum alloy, and—”

“So the parts of a pencil have an interesting story?”

“Yes. And the quite impressive way they are put together—pencils don’t assemble themselves, and a good machine—for some steps—costs a king’s ransom. And the way they’re distributed, and any number of things necessary for business to run the whole process, and—”

“Then should I start offering my daughter’s pencils to a museum?”

“I wouldn’t exactly offer one of her pencils to a museum. Museums do not have room for every wonder this world has. But I will say this. The next pencil you forget somewhere wouldn’t have been yours to lose without more work, talent, skill, knowledge, venture capital, and a thousand other things than it took to make a wonder like the Rosetta Stone or the Mona Lisa.”


As usual, she was dressed to kill. Her outfit was modest—I can almost say, ostentatiously modest—but, somehow, demurely made the point that she might be a supermodel.

I had a bad feeling about something. During our conversation on the way over, I said, “You have an issue with Saab drivers.” He replied, “No. Or yes, but it’s beside the point. Saab drivers tend to have issues with me.” I was caught off-guard: “That sounds as arrogant as anything I’ve—”

He asked me to forget what he had said. For the rest of the conversation, he seemed to be trying to change the subject.

She greeted us, shook his hand warmly, and turned back. “—absolutely brilliant. Not, in any way, like the British Comet, which never should have been flown in the first place, and was part of why jumbo jetliners were dangerous in the public’s eye. The training for people who were going to be in that jumbo jetliner—the Comet—included being in a vacuum so that soldiers would know what to do if they were flying in a sparse layer of the atmosphere and the airplane simply disintegrated around them and left them in what might as well have been a vacuum. This sort of thing happened with enough jumbo jetliners that the public was very leery of them. For good reason, they were considered a disaster looking for a place to happen.

“And so, when Boeing effectively bet the company on the Boeing 707—like they did with every new airplane; it wasn’t just one product among others that could be a flop without killing the company—they gave the test pilot very careful instructions about what to do when he demonstrated their new jumbo jetliner.

“At the airshow, he was flying along, and after a little while, people began to notice that one of the airplane’s wings was lower, and the other was higher…

“The Boeing 707 test pilot was doing a barrel roll, which is extremely rough on an airplane. It’s like… something like, instead of saying that a computer is tough, throwing it across the room. This stunt was a surprise to the other people at Boeing, almost as much as to the other, and it wasn’t long before Boeing got on the radio and asked the pilot, ‘What the [Bleep] do you think you’re doing?’ The pilot’s reply was short, and to the point:

“‘Why, selling airplanes, sir.’

“He told a reporter afterwards, ‘And when I got done with that barrel roll, I realized that the people weren’t going to believe what they just saw… so I turned around and I did another one!'”

A moment later, someone else said, “What does ‘Saab’ mean again? You’ve told me, but—”

She smiled. “It took me a while to remember, too. ‘SAAB’ stands for ‘Svenska aeroplan Aktiebolaget,’ literally ‘Swedish Aeroplane Limited.’ It’s a European aerospace company that decided that besides making fighter jets and military aircraft, they would run a side business of selling cars, or at least the kind of car you get when you combine a muscle car, a luxury vehicle, and more than a touch of a military jet. It’s like an airplane in big and small ways—everything from, if you unbuckle your seatbelt, a ‘Fasten seatbelts’ light just like an airliners’, to the rush of power you feel when you hit the gas and might as well be lifting off… I’m not sure how you would describe it… It’s almost what Lockheed-Martin would sell if they were Scandinavian and wanted to sell something you could drive on the street.”

He said, “It sounds like a delight to drive.”

She said, “It is. Would you two like me to take you out for a spin? I’d be delighted to show it to you. What kind of car do you drive?”

He paused for a split second and said, “I needed to get a ride with him; I have nothing that I could use to get over here.”

I told her, “He’s being modest.”

She looked at me quizzically. “How?”

“He flies an SR-71 Blackbird… um… sorry, I shouldn’t have said that just as you were taking a drink.”

He seemed suddenly silent. For that matter, the room suddenly seemed a whole lot quieter.

She said, “You’re joking, right?”

No one said a word.

Then she said, “Wow. It is a privilege and an honor. I have never met someone who…”

He said, “I really don’t understand… maybe… um… I’m not really better, or—”

She said, “Stop being modest. I’d love to hear more about your fighter. Have you shot anything down?”

He looked as if he was thinking very hurriedly, and not finding the thought that he wanted.

“The SR-71 Blackbird would be pretty useless in a dogfight. It is neither designed or equipped to fight even with a very obsolete enemy aircraft; it’s just designed to snoop around and gather information.”

She said, “Um, so they get shot down all the time? Wouldn’t you tend to get a lot of missiles fired by enemy fighters who aren’t worried about you shooting back? What do you do when you run out of countermeasure flares?”

He paused for a moment, saying, “The SR-71 Blackbird doesn’t have anything you’d expect. Flares are a great way to decoy a heat-seeking missile, but the SR-71 Blackbird doesn’t have them, either.”

I turned to him and said, “You’re being almost disturbingly modest.” Then I turned to her and said, “An SR-71 Blackbird can go over three times the speed of sound. The standard evasive to a surface-to-air rocket is simply to accelerate until you’ve left the rocket in the dust. I’m not aware of one of them being shot down.”

Her eyes were as big as dinner plates.

She said, “I am stunned. I have talked with a few pilots, but I have never met anyone close to an SR-71 Blackbird pilot. I hope we can be friends.” She stood close to him and offered her hand.

The three of us ran into each other a number of times in the following days. She seemed to want to know everything about his aircraft, and seemed very respectful, or at least seemed to be working hard to convey how impressed she was.


It was a dark and stormy night. He and I were both on our way out the door, when she asked, “What are you doing?”

He said, “I want to try some challenges. I plan on going out over the ocean and manoeuvering in the storm system.”

She turned to him and said, very slowly, “No, you’re not.”

He turned to me and said, “C’mon, let’s go.”

She said, “Are you crazy? A storm like that has done what enemy rockets have failed to do: take down your kind of craft. I’ve grown quite fond of you, and I’d hate to see you get killed because you were being stupid. Think about 61-7969 / 2020.”

He said, “May I ask why you know about that?”

“I have been doing some reading because I want to understand you. And I understand people well enough, and care about you enough, to tell when you are acting against your best interests.”

He grabbed my arm and forced me out the door. Once in the car, he said, “I’m sorry… I needed to get out before saying something I would regret.”

“Like what?”

“‘So you know just the perfect way to straighten me out, and you don’t even need to ask me questions. Walk a mile in my shoes, to a place you can reach in a car but not my aircraft, and then we might be able to talk.'”

I watched him take off, and I came back to pick him up, after waiting an hour. I could tell something that seemed not quite perfect about his flying, but I do not regret that I kept my mouth shut about that.

The next day she surprised us by meeting us first thing in the morning.

She gave us a stack of paper. “I care about you quite a lot, and I don’t want to be invited to your funeral in the next year. Here are detailed aviation regulations and international laws which are intended for your safety. I could not get an exact count of the number of crimes you committed, either for last night or for your reckless day-to-day flying around. I am sure that there are many responsible ways a vehicle like yours can be used, and I have inquired about whether there are any people who can offer some guidance and free you to…”

He turned around, took my elbow, and began walking out to the parking lot. We got in my car, and she raced for hers.

I saw her go to the mouth of the parking lot and then stop. The one Rolls-Royce in town had broken down, of all places there, and the owner and chauffer were both outside. I had thought that the person who was chauffered in a Rolls-Royce was a peaceful sort of man, but he was yelling then, and before she got over the owner positively erupted at the chauffeur and waved his arms. She had gotten out and wanted to talk with them, but you can’t get a word in edgewise at a time like that.

Now I’d like to clarify something about my car. I’ve only seen a vehicle like mine in a demolition derby once, but I was surprised. I wasn’t surprised, in particular, that the wagon was the last vehicle moving. What I was surprised at was that over a third of the derby had passed before the ugly wagon started to crumple at all.

And one other thing: one April Fools’ Day, a friend who drives a sleek, sporty little 1989 Chrysler LeBaron gave me a bumper sticker that said, “Zero to sixty in fifteen minutes,” and then acted surprised when I challenged him to a short race. When the race had finished, he seemed extraordinarily surprised, and I told him, “There is a question on your face. Let me answer it.” Then I opened the hood on my ugly, uncool station wagon and said, “Your sleek little number can get by on a 2.2 liter engine. Do you know what that is?” He said, “Um, the engine?” And I said, “That is a 6.6 liter V8. Any questions?”

Ok, enough clarification. I looked around, turned in the opposite direction, and floored my car, blasting through the hedges and getting heavy scrapes on the bottom of my car. I got shortly on the road, and had a straight shot at the airport. She did eventually catch up to me, but not until there was nothing left to see but some hot exhaust and the fuel that had leaked when he tried to take off. (I still get the occasional note from him.)

Besides worrying about him, I was also much less worried about my car: tough as it is, cars don’t like getting their undersides scraped on gravel, and I decided to take my car to the garage and have the mechanic take a look at it and tell me if I broke anything.

I was surprised—though maybe I shouldn’t have been—to see the Rolls-Royce in the garage when I pulled in. I intended to explain that I might have scraped the bottom up, and after I did so, my curiosity got the better of me. I asked something about Rolls-Royces breaking down.

The mechanic gave me the oddest look.

I asked him, “Why the funny look?”

He opened the hood, and said, “Rolls-Royces do break down easily… and it’s even easier to break down if you open the hood, jam a screwdriver right there, and rev it as hard as you can.”

An author’s musing memoirs about his work: retrospective reflections, retracings, and retractions

Gifted? Let me harass you!

The Mindstorm

The Spectacles

Apprentice gods

  1. This life is an apprenticeship. You do not understand its purpose until you understand that we are created to be apprentice gods.
  2. It is said, a man knows the meaning of life when he plants a tree knowing he will never live to sit in its shade. Truer is to say that a man knows the meaning of life when he plants a tree not seeing how he will ever this side of Heaven sit in its shade.
  3. You do not understand life in the womb until you understand what is after the womb. For some actions in the womb bear fruit in the womb, but suckling and kicking are made to strengthen muscles for nursing and walking, and nursing a preparation for the solid food of men.
  4. You shall surely die: such Adam and Eve were warned, such Adam and Eve were cursed, and such the saints are blessed. For death itself is made an entryway for life. But we can only repent in this life: after this life our eternal choice of Life or Death is sealed.
  5. Do not despise moral, that is to say eternal, victories. Have you labored to do something great, only to find it all undone? Take courage. God is working with you to wreak triumph. From his eternal providence he is working, if you will be his co-worker, in synergy, to make with you something greater than you could possibly imagine, a treasure in Heaven which you never could imagine to be able to covet.
  6. The purpose of life may be called as an apprenticeship to become divine. The divine became man that man might become divine. The Scriptures oft speak of the sons of God, and of men’s participation in the nature divine. This divinisation begins on earth and reaches its full stature, when the Church triumphant and whole becomes the Church of saints who have become what in God they were trying to become. And we are summoned to that door.
  7. Were sportsmanship to be found only in a foreign culture, we would find it exotic. Play your best, seek to win a well-played game, but have dispassion enough to be graceful in winning and losing alike. But one of its hidden gems is that most often a team that has to win will be defeated by a team that only tries to give it their best.
  8. But sportsmanship is not just for sports. Hard times are encroaching and are already here: but we are summoned, not to win, but to play our best. Hence St. Paul, at the end of a life of as much earthly triumph as any saints, spoke as a true sportsman: he said not, “I have triumphed,” but that he had been faithful: I have fought a good fight, I have finished my [race]course, I have kept the faith. This from a saint who enjoyed greater earthly accomplishments than his very Lord.
  9. It is said that there are three ranks among the disciples: slaves who obey God out of fear, hirelings who obey God out of the desire for reward, and sons who obey God out of love. It has also been said that we owe more to Hell than to Heaven, for more people come to the truth from fear of Hell than the desire for the rewards in Heaven. But if you want a way out of Hell, seek to desire the incomparably greater reward in Heaven; if you seek reward in Heaven, come to obey God out of love, for love of God transcends even rewards in Heaven.
  10. It is said, Doth thou love life? Then do not waste time, for time is the stuff life’s made of. It might be said, Seekest thou to love? Then do not shun ascesis and discipleship, for they are the stuff love is made of. Or they a refining fire that purges all that is not silver and gold. Our deifying apprenticeship takes place through ascesis and being disciples.
  11. Two thoughts are to be banished: I am a saint, and I shall be damned. Instead think these two thoughts: I am a great sinner, and God is merciful. Because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it. You have not met Christ’s dread judgment throne yet: seek each day to pursue more righteousness.
  12. The sum of our status as apprentice gods is this: Love men as made in the image of God, and work in time as the womb of eternity. Fulfill your apprenticeship with discipleship as best you are able. And follow God’s lead in the great Dance, cooperating in synergy with his will. And know that lo, I am with you alway, even unto the end of the world. Amen.

How Shall I Tell an Alchemist?

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The cold matter of science—
Exists not, O God, O Life,
For Thou who art Life,
How could Thy humblest creature,
Be without life,
Fail to be in some wise,
The image of Life?
Minerals themselves,
Lead and silver and gold,
The vast emptiness of space and vacuum,
Teems more with Thy Life,
Than science will see in man,
Than hard and soft science,
Will to see in man.How shall I praise Thee,
For making man a microcosm,
A human being the summary,
Of creation, spiritual and material,
Created to be,
A waterfall of divine grace,
Flowing to all things spiritual and material,
A waterfall of divine life,
Deity flowing out to man,
And out through man,
To all that exists,
And even nothingness itself?

And if I speak,
To an alchemist who seeks true gold,
May his eyes be opened,
To body made a spirit,
And spirit made a body,
The gold on the face of an icon,
Pure beyond twenty-four carats,
Even if the icon be cheap,
A cheap icon of paper faded?

How shall I speak to an alchemist,
Whose eyes overlook a transformation,
Next to which the transmutation,
Of lead to gold,
Is dust and ashes?
How shall I speak to an alchemist,
Of the holy consecration,
Whereby humble bread and wine,
Illumine as divine body and blood,
Brighter than gold, the metal of light,
The holy mystery the fulcrum,
Not stopping in chalice gilt,
But transforming men,
To be the mystical body,
The holy mystery the fulcrum of lives transmuted,
Of a waterfall spilling out,
The consecration of holy gifts,
That men may be radiant,
That men may be illumined,
That men be made the mystical body,
Course with divine Life,
Tasting the Fountain of Immortality,
The transformed elements the fulcrum,
Of God taking a lever and a place to stand,
To move the earth,
To move the cosmos whole,
Everything created,
Spiritual and material,
Returned to God,
Deified.

And how shall I tell an alchemist,
That alchemy suffices not,
For true transmutation of souls,
To put away searches for gold in crevices and in secret,
And see piles out in the open,
In common faith that seems mundane,
And out of the red earth that is humility,
To know the Philosopher’s Stone Who is Christ,
And the true alchemy,
Is found in the Holy Orthodox Church?

How Shall I Tell an Alchemist?

Doxology

Lesser Icons: Reflections on Faith, Icons, and Art

QUICK! What Is Your Opinion About Chemistry?

The Sign of the Grail