Skip to main content

Good Friday: Holy Week

from Richard John Neuhaus's Death on a Friday Afternoon:

This is the cross point in the Great Story, from the "In the beginning" of creation to the last words of the Bible, "Amen. Come, Lord Jesus!" At the cross point, everything is retrieved from the past and everything is anticipated from the future, and the cross is the point of entry to the heart of God from whom and for whom, quite simply, everything is. Here the beginning and the end come together, along with everything along the way from the beginning to the end. What is the Word of God but the love of God? In the beginning, God intended love. Why did God create? For love. Not for necessity, for, being God, he needed nothing, but that love might be, and that it might be more and more. Love is necessary, for "God is love."

He created out of nothing - ex nihilo - but his love. The Word is both his love and his beloved. "Without him was not anything made that was made." Through him God loved us into being. When he formed Adam from the primordial muck, he breathed into his nostrils the breath of life. He breathed love. Adam inhaled love. Here at the cross point, the new Adam exhales, "It is finished." The first Adam breathes in and the second Adam breathes out, and both breathe love. What began in Genesis is now finished. What began there is that love should give birth to love. So it was that through the Word the first Adam came to be and, because he did not love, the Word became the second Adam, who bore the fault of all the Adams and all the Eves of aborted love. Here at the cross point, that great work is definitively finished. Here is the one person who did and who was what through the centuries and millennia the rest of us had failed to do and be. Quite simply and wondrously, he loved the Father as he was loved by the Father.

Comments

Post a Comment

Popular posts from this blog

window in the sub

Dear Nathaniel, I am microwaving pie that Mom bought up in Oak Glen this week on her way home from the orthodontist. As I put it in the microwave, I was full of sadness that I was not in Oak Glen with her. Why did I not go? I was working. I want to see the trees turn. I want to wander slowly through autumnal gift shops. Under the water, you cannot sense the approach of the seasons. Even here it is difficult because, after all, it's California. But I can still sense it. After three seasons in Illinois and one in Scotland, it must be with me for good. Or at least for a while. Because I am all abuzz with eagerness for fall and winter, for turkeys and dried leaves and Santa. I should start cooking again this fall. Fall foods are my favorite. Baked squash dripping with melted butter and brown sugar, pumpkin soup... this year, if I have enough money, I will put together a holiday dinner for my friends. And we will drink Scandinavian mulled wine, which is the most wonderful thing I have e...
13 comments
Read more

Upcoming

Later this month, I'll be starting another ten-week book group in which we'll be reading through three Madeleine L'Engle novels along with Walking on Water . I've featured two of them in my "Book Therapy" box on the left, one of which is there now. Like any normal Madeleine L'Engle reader, we'll begin with A Wrinkle in Time . If you haven't read it since you were a kid, now's your chance. Read along with us and tell me what you think. I have very few expectations for the group, which is probably a good thing. (Few is not the same thing as low, by way of clarification.) Half the attendees have been with us before, and the other half are brand new. We'll see how it goes. 
1 comment
Read more
because you were all wondering what I'm writing my dissertation on, here's a brief synopsis of my 'research context': When James Macpherson published his Fragments of Ancient Poetry in 1760, he went to great lengths to make the Fragments appear to be authentic remains of an ancient, heroic oral tradition. His reasons for this were largely political, and as such, influenced the content of the epics themselves. As an attempt to establish a particularly Scottish identity, the poems were quite effective. However, to do so required both a simplification and a manipulation of traditional mythology. Stripped of anagogical significance, the Ossian epics more or less represented an Enlightenment version of history, tradition, and mythic heritage. The stories themselves were changed by their very purpose and in turn changed the manner of representing myth in future narratives. Moreover, the emphasis on the Ossian epics as authentic tales from the past, as ‘fragments,’ served...
6 comments
Read more