Telling the Old, Old Story · TOOS handbook.docx 3 23/11/2019 Narrative Theology Narrative Studies...

Telling the Old, Old Story

23 November 2019 Old Deanery

TOOS handbook.docx 2 23/11/2019

Contents Narrative Theology ........................................................................................................................................ 3

Narrative Studies ....................................................................................................................................... 3

Narrative Theology .................................................................................................................................... 3

Narrative Biblical Studies ........................................................................................................................... 5

Narrative Preaching ................................................................................................................................... 5

Narrative Biblical Studies ............................................................................................................................... 6

Plot ............................................................................................................................................................. 6

Characters .................................................................................................................................................. 9

Style ......................................................................................................................................................... 13

Gaps ......................................................................................................................................................... 16

Narrative Preaching ..................................................................................................................................... 19

Inductive Sermons ................................................................................................................................... 19

Narrative Structure Sermon .................................................................................................................... 19

Story Sermons .......................................................................................................................................... 20

First-Person Sermons ............................................................................................................................... 21

Narrative Sermons -a Critique ................................................................................................................. 22

Bibliography ................................................................................................................................................. 23

Appendix A Studying Biblical Resources Forms ........................................................................................... 24

Plot ........................................................................................................................................................... 24

Character ................................................................................................................................................. 26

Style ......................................................................................................................................................... 29

Appendix B – Sample Sermons .................................................................................................................... 32

John the Baptist ....................................................................................................................................... 34

2 Kings 5 ................................................................................................................................................... 36

Palm Sunday ............................................................................................................................................ 39

God's Call to Jonah ................................................................................................................................... 42

I'd never have Chosen Us ........................................................................................................................ 44

Zacchaeus ................................................................................................................................................ 46

Outline of Session 10.00 Introductions 10.20 Narrative and Narrative Theology 11.00 Exploring Biblical Narratives 12.00 Narrative Preaching 1.00 Lunch 1.45 Practice 2.45 Sharing practice 3.15 Conclusion Image: Christ in the House of Martha and Mary by Vermeers c1655 from https://commons.wikimedia.org/wiki/File:Johannes_(Jan)_Vermeer_-_Christ_in_the_House_of_Martha_and_Mary_-_Google_Art_Project.jpg


Narrative Theology

Narrative Studies In the 1970s-1980s there was a surge in interest in "narrative" and its place in the Christian faith. So much of our inheritance involves narratives rather than systematic statements of belief or instructions for correct living. The art and power of storytelling is universal to all races, all ages, all time. Our oldest surviving literatures consist of inventories and stories. When asked about our life, our faith, our hopes we are as likely to tell a story as make a statement - to recount a testimony of what has happened to us that has revealed God. Narrative seems fundamental to being human and if being human is in the image of God maybe it is fundamental to God as well. Narratives by nature are specific and contextual rather than generic and propositional. They affect the heart and emotions as much as the head and the will. And yet they can cover big themes and eternal interests in a compact way, a verbal picture which speaks 1000 words. They are also open to greater interpretation and individual responses than statements, propositions and lists. They have the potential for greater ambiguity, ambivalence and reconstruction by the hearer and their reception is much less under the control of the author. It is understandable that those who want certainty, precision and control are less enamoured with narrative than those who enjoy creativity, imagination and exploration. Yet even the sciences are built on basic narratives. This interest in narrative can be seen in many disciplines from the mid-late twentieth century.

Narrative Theology Around the 1970s, theologians began to note that most people, when asked about their faith, recounted a story of their experience of God - their testimony. They didn't start by listing a set of beliefs or explaining the intricacies of the Trinity, incarnation or salvation. At a popular faith level, people were more interested in Christian biography than doctrinal texts.

A deeper understanding of God comes, narrative theologians began to claim, when the Christian narrative is retold and made by individuals into their own narrative. The Christian story is designed to become our own story - so that the story of Jesus' life, death and resurrection is not just a tale of the past but is the living story of each subsequent Christian's life. The Christian Bible can be seen as a story in 5 chapters that embraces the whole of history and the whole of the earth.

Chapter 1: The beginning in creation (Genesis 1-11), Chapter 2: The struggles of God's chosen people to be God's people (Genesis 12- Malachi), Chapter 3: The coming of Christ into the world to transform it (Matthew – John), Chapter 4: A new people of God are formed and seek to live as God's people (Acts – end of time), Chapter 5: The end – a new heaven and earth (Revelation).

We, today fit into chapter 4. We are part of this story and still await its ending. Christianity is not only about fitting ourselves into that overarching, metanarrative, it is also about letting that big story mould each individual story. The biblical narrative acts as a model for our own personal narrative and the hermeneutic for making sense of our life story. So, we are meant:

- to explore our ethics in the light of the Bible, and use it as a foil for our own decision making - to reflect on the biblical story as to the right and wrong ways to behave - to let this story replace the competing stories offered by our world and ourselves.


But we are also meant to see the story as our own at a much deeper level of identity - we are meant to realise ourselves called to leave our country and our kindred along with Abraham. We are to recall and give thanks for those Exodus experiences, when we are brought out from slavery and redeemed. We are to understand our own lives as a constant struggle against syncretism and the worship of the idols of the age. We will have our exile times. We are to hear Jesus' call to the disciples to "follow me" as a call to us. We are to see our lives as a walk to Calvary. It is a story of death and resurrection; a story of our reconciliation with God and each other. The Bible stories provide the framework to make sense of our disjointed experiences. However, by telling us stories, especially stories without an added moral we are required to act as adults, to use our own discernment to decide what is right and wrong and what lessons it has for us. Our problem is that we often expect scriptures to tell us, in black and white, what to believe, to do, to be; to tell us what is right and wrong. Biblical stories don't always work like that. Biblical stories reflect real life, which is messy and shades of grey. Right and wrong is not always clear. We have to extract from the particulars of the story and its ancient context, what it might say to the particulars and context of our story. We may not be meant to take the lessons at a simplistic surface level, but to think and reflect. Such discernment requires us to develop an adult faith. In summary Narrative Theology is about two things

a) the general narrative quality of human experience (Ricoeur, Crites, Hauerwas): It is our life story that makes sense of our past and combines past and present to enable us to construct our future. However, problems arise when individual narratives collide, my story versus your story. Conflict occurs when the plot of one narrative is opposed to another (e.g. in the abortion debate - one plot elevates a child's story over the mother's, and vice versa). How do we determine which narrative prevails without oppressing the other? Many post-modern philosophies reject metanarratives - stories that claim to apply to all - as the oppressive domination of one person over another. They prefer the freedom of the local individual story.

b) the specific Christian claim to provide a metanarrative - an over-arching story for all people and all times - which gives true self-identity. By aligning ourselves with the particular Christian metanarrative, our own story merges with a corporate communal story. (Mimesis, Frei)

The interests of narrative theology were formed by the twin theological crises of the 60's: a) One was the inability any longer to speak of God and revelation into the secular world.

Narrative theologians claimed doctrine had been placed above story. It had become a process of extracting the heart or kernel of the message while rejecting the story itself as mere packaging. Hauerwas claimed that story was primary, doctrines were simply tools to help us tell the story better. Form could not be divorced from content. Although a poem, a story and a list could be reduced to the same set of propositions, they were not the same thing.

b) The other was the crisis of identity for Christians in a pluralist, secular world. Was Christianity one possible faith narrative among many or did it touch on who we are at a deeper level? Narrative provided a new means of self-identity.

Christian narrative theologians tend to fall into two camps - those who seek to give a Christian structure to the world; - those primarily concerned with ethics, moulding a Christian lifestyle and behavioural pattern.


Narrative Biblical Studies Around the same time, biblical scholars began to introduce narrative critical tools (such as were used to analyse texts in English classes) into biblical studies to help them out of the impasse of historical criticism. Together and separately, theologians and biblical scholars woke up to the realisation that so much of the scripture was narrative. The theological implications of having narrative at the heart of our scriptures and the basis of our theology are still being reflected on. Christianity and Judaism have a large proportion of narrative in their sacred scriptures, more than most other religions. Only Judaism systematically turned its recollected history into a sustained and continuous story and elevated it to the level of sacred literature i.e. turned story into theology. A theology gained through narrative makes many claims:

that events and actions are important. This is a religion of doing as well as being

that God is interested in what happens on earth - the physical and material is valuable

that God is involved in what happens on earth - that he intervenes and affects daily life.

that this is a God of the particular as much as the universal raising the scandal of particularity - a God who chooses one nation in order to reach all nations (Gen12:1-3)

that rather than telling us what to believe and do, we are encouraged to discern for ourselves what is right and wrong.

Of course, scripture is not all story. There are propositions, statements, guidance and commands, set in dialogue with the story. But often these are set in a story framework which contextualises them.

Narrative Preaching This move towards narrative also affected homiletics, the study of preaching, albeit a little later. In the 70s and 80s there was a crisis in preaching. Church people began to question whether the 10-20 minute expository or thematic monologue was an effective way of communicating the faith. Were preachers reducing the bible to a trite, moralistic retelling of biblical stories? Treating the Bible narrative as if it were Aesop's fables with one main point; turning a gospel of grace into a set of detached statements or a list of dos and don'ts

e.g. "Abraham was a great man of faith who was prepared to follow God at whatever cost and was blessed accordingly - if we follow God at whatever the cost we too will be blessed". Not only does this preach a gospel of works and put Abraham on a pedestal that few can emulate, it patently ignores so much of the Abraham cycle. Abraham was often a man of anything but faith. His portrayal is more complex, nuanced and subtle.

Certainly, the biblical narrator has a message to communicate but he or she guides subtly, obliquely, suggesting and hinting. Once the story is released and read in a different context, the narrator cannot control the story. It will have depths and messages for the hearer of which the narrator is only dimly aware. It is the nature of narrative to opens possibilities rather than to tie down exact meanings. Theologically, making meaning is between God, the hearer and the story. The reader or hearer is expected to make their own decisions, evaluate the material and discover the faith for themselves. God's story is offered, but the exploring, understanding even rejection of it is the basis of our story. Our inclination and our longing is for security, simplicity, to be told what is right and wrong. The bible wants us to grow up, to learn that religion is not a security blanket, but a covenant relationship.

The risk of such a style of theology is misinterpretation. For instance, the Old Testament could be taken to justify polygamy, or it could be taken to show the harm caused by polygamy (see Jacob's family). Using story puts a high faith in people to discern truly. Narrative makes theology open-ended, subjective, complex, elusive and paradoxical. We have a risk-taking God.


Narrative Biblical Studies Narrative Biblical Studies Methods can be very useful in preparing Narrative Sermons. Here we will give a brief overview of some of the methods used and how they might help Sermon preparation.

Plot We will start with plot, not only because there is no story without a plot, but also because the plot or story line is often the most obvious thing we take away from the story. Because it is obvious and, on one level, particularised to each story does not mean it cannot be categorised. How does the plot achieve the 2 main things it sets out to do, namely:

a) keep you reading, (if the plot gets boring or predictable then the reader may give up) b) carry in some form or other the message, moral, lesson or reason for telling the tale?

Of course most stories contain many subplots as well all contributing to the main plot or adding interest. We could study the big plot of Genesis or the subplot of the Abraham cycle or the 'sub-subplot' of the sacrifice of Isaac. It should be noted that claiming a plot for Genesis or Mark assumes a unity in the text. This is in contradistinction to more extreme historical criticisms that see a cut and paste job and basic disunity. At the basic level a plot occurs when there are 2 or more incidents (actions or events) that are then related to each other. Two incidents without any connection (e.g. The cat sat on the mat. I came to the Learning and Development Day) are not a plot. However, our tendency is to seek out some kind of connection. Often the connections are temporal (When I came to the Day, the cat sat on the mat) or causal (Because I came to the Day, the cat sat on the mat) but there are many different ways of uniting incidents. Biblical plots tend to be fairly tightly written without many digressions. There are usually only 2 characters involved in each incident and an obvious connecting thread. Each instant in Abraham's life leads on to the next one. Occasionally there is an event that is neither causal nor sequential. At first this can throw us, and the historical critics are prone to see such events as later insertions into the text. Material that doesn't belong. The literary critic however is not so sure that the writers and redactors don't deliberately interrupt the plot at times. These extra events, although ancillary to the plot might well draw out some significance, pass the time or in some way enhance the main plot.

For instance in the big plot of Genesis, Genesis 18:22-33 where Abraham bargains with God doesn't seem to add much. The main story of Abraham could go straight from 18:16 to 19:1 without a hitch. A 'later theological reflection' cries the historical critic. But is the story superfluous? Or does it achieve many important things for the main plot such as:

allowing time to pass while the messengers travel to Sodom, giving the reader a sense of the distance that they are having to travel, keeping us readers in suspense;

reaffirming Abraham's close relationship with God which is central to the plot;

establishing that YHWH is a God who acts justly. This short passage casts a totally different light on what follows.

Yet while this small section of narrative contributes to the overall plot, it also has its own subplot 1. Elements of a Plot Classically a plot has a beginning, middle and end.

a) Beginning: The beginning of a plot usually contains highly important information for understanding and evaluating the plot to come. It provides the background information that


the narrator feels essential, (which is usually far less than we would like!). At a basic level this involves introducing the main characters, the setting and something of the conflict that will govern the plot. But not all information is given to us at the beginning. Usually more background details get revealed as we go along. This not only keeps us involved - we want to find out what more is to be revealed - but also gives a lifelike feel to the story. In real life we discover things over time not all at once. As biblical stories are master pieces of conciseness, all information should initially be assumed to be relevant! A close reading of the beginning is important. Always ask the question, 'why has the writer told us this and not something else?'

In Genesis 18: The beginning of the plot indicates - the 2 characters involved - YHWH & Abraham; - the setting and place of the scene - same as before. - the seeds of the conflict - 18:16-21. YHWH is going to test Sodom and Gomorra.

b) Middle: This leads into the body of the story with its unfolding conflict and eventual climax.

The story usually builds steadily to a main climax, although there may be many sub peaks or false peaks, and unexpected twists in the plot that help to build up suspense. Suspense and conflict are important for retaining interest and involving the reader as well as reinforcing the message. In Genesis 18 we have seem to have two peaks to the story.

Abraham's first speech (3 verses) builds tension around the whole issue of God's justice. The repetition builds suspense to a peak and we breathe a sigh of relief when YHWH says 'yes'. That could be the resolution of the story - 'God is just'. But before we can sit back, Abraham is off again & the suspense rises - how many will God spare? 45, 40, 30, 20, 10?

The body of a biblical story is often highly structured. Key words and phrases hold things together. Repeated patterns and themes give unity and also surprise. Often elements work into the centre and are then reversed out to the conclusion (known as chiasm).

This Genesis 18 story falls neatly into 2 parts emphasising the two peaks. The first half has a long speech from Abraham in 2 parts of 4 lines (23-24 and 25) with repetition known as an inclusio. The crunch question follows the inclusio. The second set of statements v25 is more dramatic than the and has a series of short speeches reminiscent of a Middle Eastern market. Here is ruthless bargaining dressed in polite speech! If we look closely the speakers have only a limited set of phrases but they use them in different combinations. This creates unity without it becoming too repetitive. We could plot the plot something like this:

This marks against the verse number how much tension and conflict there is for the reader. Through the long slow speech of 23-25, tension slowly mounts to the big question at the end of 25. We sigh a sigh of relief at 26 when God says he will spare Sodom, although it's a qualified response. The tension then begins to mount again with each question from Abraham. Each answer gives a modicum of relief but overall the tension is rising. At the end of this story we are still left hanging unsure how the tension will be resolved. Dramatic irony is often used to create a tension that is present only in the reader's mind, the assurance that conflict is round the corner even if the characters are not yet aware of it. The

22 23 24 25 26 27 28 29 30 31 32 33

VERSE

CONFL

ICT


irony created by David passing judgement on Nathan's parable 2 Sam 12 is obvious to the reader, but David is (for the moment) ignorant. We begin to wonder what will he do when the tables are turned? .

c) End: A completed story with a clearly delineated ending leaves the reader feeling satisfied and

wise. However not all stories tie up the loose ends. This Genesis 18 story seems to be nicely settled - v33 suggests everyone goes home and lives happily ever after. But there is something unfinished about the scene, despite the appearance of a settled ending. Why does Abraham stop at 10? what if there are less than that number in Sodom (as indeed there are!)? Within the Pentateuch each story is part of a larger plot and the failure to close one narrative enables the larger plot to move along too. You need to keep reading.

An open ending can leave the reader with a challenge or a question. In the story of Mary and Martha we never know what Martha decides - does she give up fretting and join Mary or does she walk off offended? We are left to complete the story ourselves and come face to face with our own decisions. What sort of Martha are we?

2. Plot techniques.

There are many plot techniques and structures used in the Bible often borrowed from Biblical Poetry. The following are the most used forms:

a) Parallelism is where the same structure is used in the following section a b/ a' b' e.g. Gen 18: 29, 30, 31, 32 all have the same structure: Abraham says will you kill the people if there are x number of righteous people (a) God says I will not kill if there are x number of right people (b) (the number of x (40,30,20) is what distinguishes v 29 (a) from v30 (a') and v 31 (a'') etc.

b) Chiasm is where the structure is reversed a b/ b' a' e.g. Gen 18:25 Far be it from you (a) to kill the righteous with the wicked (b) should the righteous be like the wicked (b') far be it from you (a')

3. Basic Plots Classically plots are structured with a beginning, conflict, climax and denouement. Aristotle identify these as basic to Greek tragedy. They are central to murder mysteries but also many biblical stories e.g. The Good Samaritan. On a slightly different tack, Booker suggests that classical Western Literature has 7 basic plots that lie beneath the individual unique plots.

Overcoming the Monster (David & Goliath) Rags to Riches (Joseph) The Quest (Pilgrim’s Progress, Moses?) Voyage and Return (Prodigal Son, Resurrection) Tragedy (Samson, Saul) Comedy (Jonah?) Rebirth (Paul)

Plots for Sermons

All sermons have a plot. One "event" or point follows another in sequence, hopefully with some connecting link! Like a narrative a sermon has a beginning, middle and an end (eventually). The best sermon writers have always paid attention to the plot of their sermon, but until recently the focus was on the content - theology, message, the 3 points, rather than on what plot structure to use or how to vary the plot structure to keep interest. A good plot does not draw attention to itself but its allows the reader/listener to actively follow what is happening. The congregation should not be aware of the techniques used, but they will have enabled the sermon to communicate effectively. Craddock and Lowry are two key homileticians who have concentrated on sermon plots.


Characters The characters are really at the heart of the story - without the characters there would be no plot and no purpose. It is the characters therefore that must carry the weight of the message. In order to achieve this readers must react to and identify with the main characters as if they were alive. The moment the reader says I can't believe this, all is lost. What is realistic will of course vary with the genre. Within fantasy, pantomime etc. the realism of the characters is rather different from biography. Characterisation is designed to make us interact emotionally - love, hate, admire, identify with them. Good characterisation is an art that needs work. Physical descriptions (Height, complexion, clothing etc.) help us to visualise the characters. Emotional and psychological descriptions make the characters believable (or not). But describing the characters is never enough to bring them to life. We need to be shown them living - we need to see them act, speak and interact with others.

1. Physical description In modern novels we are often given a very detailed description of the character's physical and emotional make up often before they act or speak. Not so in the Bible. We are very rarely given a physical description of the characters and when we do it seems to be to advance the plot rather than to enable us to form mental pictures of them.

In 1 Sam 16 we do get a rare description of David - he is ruddy, handsome, young and has beautiful eyes. Because such descriptions are rare the seasoned biblical reader wonders why? 'Ruddy' means literally 'red' and it is used 3x in the OT. It is used of Esau the skilful hunter as a baby (Gen 25:25) and again of David in 1 Sam 17:42 "the Philistine disdained David for he was only a youth, ruddy and handsome". Does this reiterate youthfulness and his outdoor roughness - things that will be important for the story? Beautiful eyes, seems strange to us. Perhaps in the ancient world the eyes were considered a window into what was inside. Beautiful eyes may indicate a 'beautiful' character - just what we want after Saul. Lastly, he was handsome. Unsurprising if David is to be the ideal King but it may also explain why he becomes the people's favourite rather than Saul!

It seems in biblical narrative that descriptions for the sake of creating a visual picture are almost non-existent. What we are given much more frequently is a portrayal of the character's action and moods. The OT has a tendency to place more value on inward characteristics (c.f. 1 Sam 16:7)

2. Direct characterisation Live characters are never static. Our picture of them is continually revised as the plot progresses. In reading the later stories of David it is assumed that we are basing our understanding on the earlier chapters. As in real life we come to know the characters over time. Sometimes first impressions are deepened and confirmed; at other times they are surprisingly overthrown, but the fact that we feel surprise indicates success in getting us to identify with the characters.

Descriptions that tell us about the character, his or her mood or motives, are known as direct characterisations. They tell us something directly and unambiguously about the character. In biblical stories direct statements are usually given by the narrator or by the character 'God'. They may be a judgement of the person's nature or abilities as in "Esau was a skilful hunter, while Jacob was a quiet man" (Gen 25:27) In the story world such judgements and descriptions are intended to be absolutely reliable. When the narrator says 'Noah was a righteous man, blameless before God' , for the purposes of the story he is! (Gen 6:9)


But direct statements don't only come from the narrator and God. Other characters may make direct statements. Their statements are not so reliable and we have to weigh up whether to believe them or not - just as real life. Abraham calls himself dust & ashes (Gen 18:27). . When we weigh up the statement we will probably conclude that we are not meant to take this literally, it is a symbol of his humility (real or assumed for the negotiations!). When Shimei calls King David 'a scoundrel' (2 Sam 16:7) we have to weigh the statement up. Is David a scoundrel or is Shimei biased? Does such a description tell us more about Shimei's bitterness or David's villainy? The narrator gives us a rare clue by calling the speech a curse. Again when Abigail calls Nabal a fool (1Sam 25:25) we cannot take this for granted. She may be trying to curry favour with David and distance herself from her husband.

3. Indirect shaping of characters.

Most of the time however we are not told about the characters but simply shown them. We see them speak and act and have to form our own opinions of the characters, just as in real life. This is much harder work for the reader but engages them deeply in the story world. Actions

Actions are the most common means of biblical characterisation. As in real life we have to draw our own conclusions about personalities from their actions. In Gen 18:23 we are told Abraham approached God - this might indicate a boldness or a familiarity with God. From Jacob's actions we may well infer that he is a dubious unreliable trickster time. Even seemingly insignificant daily actions can tell us something about the character or the plot. It always pays to reflect on why are we told this piece of information. In 1 Sam 25:23 we are told of 3 actions by Abigail - she hurries, she gets off her donkey, she falls at David's feet and bows right down to the ground. This registers as an act of supreme humility so therefore we may conclude that Abigail is humble. She also seems to be an insightful person - she recognises David's greatness even though he is only a rebel outlaw. However the actions may also suggest she is a scared or worried person who needs to hurry and be excessive for self-preservation. But the text doesn't actual say "Now Abigail was a humble, insightful scared person". I, the reader, have drawn those conclusions and they may be wrong conclusions. The rest of the story may confirm whether I am right or have been misled, perhaps deliberately by the narrator. When David recalls Uriah on hearing Bathsheba is pregnant we don't know why he does so. It might be to confess his sin - you never know! Indeed, his friendly questions about the war, presents, food, drink etc. cover up the real motives- for a while! Actions are categorised as indirect characterisation because motives and personality have to be deduced by inference and continually modified. Actions never allow us certainty in the way that direct characterisation does, nevertheless actions can speak louder than words and convey a much more nuanced picture of a character.

Speech The other element of indirect characterisation is speech. Old Testament narratives are full of speech - not normal speech full of 'ums' and 'errs', distractions and irrelevancies. But highly edited, very compact and condensed speech. And again every word seems given for a purpose. As with actions speech doesn't give us the certainty of direct characterisation and we are left trying to assess the real motives behind what is said and how it is said.


The contents of the speech will often indicate the values and opinions of the speaker, their moods, their hopes, their nature. Justice it seems is important to Abraham in Genesis 18. Abishai appears to be is an impulsive man of violence. Abigail's words suggest she is a pacifier. The style of speech may also tell us something about the character. Is the style formal or informal? Is it terse or long winded? A command or a request? The response may indicate that a character is pompous or humble, of high status or a nobody. In our Genesis 18 passage Abraham takes on the style of speech of a subject addressing a king and a purchaser haggling in the market place. Thus his speech seems to indicate the complex relationship Abraham has with God. He is both subservient yet also intimate and equal. It is quite a different style of talking from the commands which Abraham uses to his servant in Gen 24. Compare also the way Abigail addresses David with the way Shimei does. Abigail is obviously trying to ingratiate herself and every other word seems to be 'my Lord'! Shimei however has no such pretensions. His first sentences are curt cries. Its particular important to note any changes of style such as how Jacob suddenly becomes deferential to Esau 'my Lord' (Gen 33:14). The problem with indirect shaping of characters is that we can never be sure our conclusions are reliable. Is Abraham really concerned with justice or is he just worried about his nephew Lot being wiped out in Sodom? We'll never know for sure. Is the reason Uriah refuses to go to see his wife because of his loyalty to the army as he says or is he suspicious of David. Does he perhaps suspect that there is some foul play? Does he wonder why David doesn't immediately send him back? Why 3 days of partying? More often than not, there could be a variety of reasons why a character acts in a particular way. If we want a fresh reading of a well-known text its worth asking whether there is another interpretation possible for the evidence. Does Abraham stops bargaining at 10 lives because he fears he has pushed God too far already, or does he believe there are at least 10 righteous people in Lot's family so has won. Or does he consider the next number downwards would be 0.

Flat and Rounded Characters

Most of the characters we have been exploring are portrayed as real people - rounded characters. Their character unfolds throughout the story and we see them as ordinary people with a complex mixture of good and bad. But biblical narratives also contain flat characters (servants, the people of Sodom, Lot's wife) - stereotypes which never change or grow. These often provide background or foils for the main characters highlighting some element of the plot, character or message. Abishai is a flat character - the stereotypical rash young man. He shows up David's magnanimity.

Narrator But there is one other character that we often overlook - the Narrator, the one who tells us the story. The Narrator is a construct of the story, someone within the text telling it to us and so not to be confused with the author. The author writes the story and puts the words in the narrators mouth but it is the narrator who tells the story. In biblical stories the author usually remains anonymous, hiding behind the narrator. But the narrator also remains hidden in most biblical stories, rarely making a judgement. Thus leaving us to form our own opinions. But the narrator does wield a lot of power. The narrator knows more than us and chooses what actions and speech to reveal. This is most obvious when Kings is compared with Chronicles. The narrator of Chronicles tells us nothing of Bathsheba, of David being defeated by


Absalom. Watch out for narrator's asides and judgements. In Gen 18 we are told God leaves when we thought it was Abraham who had approached God. Shimei curses rather than says things. Watch out for when we see inside a character in a way we wouldn’t in real life.

As a general principle the bible equates the narrator's viewpoint with God, but we may want to be a bit more critical of the narrator and the author behind. Whose stories are we not hearing, what bias does the narrator/author have?

Characters and Sermons There has been very little written in preaching manuals about characterisation and yet it is a subject worth considering in preaching preparation. There are many types of characters that could be explored:

The characters of a parable (the Good Samaritan, the victim, the Pharisee, the inn keeper)

The characters of a narrative (Abraham, Isaac, the angel)

The speaker of a prophecy (Isaiah, Micah, Amos - as implied author if not actual author)

The writer of an epistle (Paul, Peter, John again as implied author if not actual author)

Inanimate things that are given characterisation (Floods clap their hands and hills sing Ps 98:8, the waters act like an invading army and the earth cowers before them in Gen 7(

If characters are the main carrier of message then we need to explore the character to engage with the message of this text in order to be able to hear what it may be saying to us today. A simple direct and indirect characterisation chart (see Appendix A) can help us explore a range of messages. As characterisation is opaque and ambiguous there is always room for a new reading of character and it is this which transforms sermons into a direct word for today rather than a tired old interpretation heard many times before. By reflecting on a character, imagining oneself as the character - Ignatian style - it is possible for familiar figures to come alive again. Subversive readings that depart from standard interpretations can become transformative readings if they ring true to life and do not distort the material that is in the text. So be adventurous. Again the way biblical characters are depicted can influence how we depict them in our sermons. Do we describe characters directly or indirectly thus requiring our congregation to think for themselves? The growth in first-person sermons has led to some writing on how to preach characters.


Style Studying style involves looking at how a particular narrative is written. It is concerned with the techniques of communication, the words that are chosen and how they are placed within the narrative. We are usually much more concerned with what is written, than how it is written. However studying the how is important for two reasons:

a) it can help us uncover more of the what that we may have missed due to over familiarity b) it can teach us the art of communication and enable us to preach the stories better.

The biblical stories are terse, yet well-crafted so that every word seems carefully chosen. A wide variety of language and rhetorical techniques appear. The main problem for us, however, is that we know so little about ancient Hebrew literary style and what we do know is lost in translation. However, with caution we can study the style through interlinear bibles, commentaries, and more literal translations.

1. Sound and rhythm The first element of style in oral storytelling involves how it sounds. Sound and rhythm probably acted not only an important aide memoire but also kept the audience attentive. Although we don't know what Hebrew sounded like, rhymes and alliteration can still be spotted in the Hebrew.

e.g. Genesis 1:1 begins "Bereshit bara" - an apparently intentional alliteration. Gen 1:2 has the rhyming tohu wabohu ('formless void'?) probably a meaningless but evocative phrase (like 'higgledy piggledy' with attitude) while 1:11 has 'sprout sproutings' and 'seeding seeds'

Puns and plays on words are very common in Hebrew (Micah 1:10-16 is an endless string of puns!)

2. Sentence style Literary stylistic features are easier to spot. The way the sentences are styled can be very instructive:

Inclusio/ Envelope (repeated phrase at the start and end of a section) Abraham's first speech has 2 inclusios 'Indeed will you sweep away', 'Far be it from you'. This indicates a highly structured speech. Abraham knows his rhetoric - how to persuade and condemn! It not only holds the speech together but it also separates and highlights the main point which is outside the inclusio: Namely will God spare this place? Will God do justice?

Parallelism Parallelism is a common Hebrew poetic device and the cornerstone of Hebrew poetry. In basic form it involves the repetition of one line or phrase by synonyms in the next. (a b a' b') e.g. Ps 89 I will sing of your steadfast love... forever; ...I will proclaim your faithfulness to all

generations. (a b) I declare that your steadfast love is established forever; your faithfulness is as firm as the

heavens. (a' b') Parallelism occurs in Gen 18:25 (slay the righteous with the wicked/ should it be so for the

righteous and the wicked.)

Chiasm - A very common variation on parallelism is to invert the second parallel part which is known as chiasm (a b b' a'). So in Gen 18:25 we have

Far be it from you to kill the righteous with the wicked (a b) Should the righteous be as the wicked, far be it from you. (b' a') In Gen 1:9-10 The chiastic order is "waters - dry land / dry land - waters" (a b b' a'). Similarly

Gen 1:27 has chiasm "humanity - image / image - humanity (him)".

A refrain A refrain is important for conveying the key point. "And God said Let..." occurs relentlessly in

Genesis 1, drumming home the point that God brings everything into being. Similarly the final refrain "And there was evening and there was morning, the x day" gives a sense of order to the creation. c.f. the ominous refrain of Judges: "There was no King in the land and everyone did what was right in their own eyes"


Choice of words The choice of words can be important, with layers of meaning - metaphors, metonymy, key

words etc. Genesis 18 has some very clear key words such as 'righteous' and 'find' which are repeated over and over.

Identifying stylistic elements is not the main point of such study. It must always be asked why is a particular stylistic device used? Is it aesthetic - to please the ear and keep the audience/ reader's attention, or does it have a bigger role in communicating the message and theme of the passage? Genesis 1 is highly structured language and very poetic. The style reinforces the message that creation is not a chance or random occurrence but a planned, logical ordered event. There is a pattern to creation, a pattern of order out of chaos and the style reflects this.

Structure All biblical stories are structured in some way. Plot and structure are interrelated but plot is more concerned with structured content while stylistic structure is concerned with the pattern in which the elements of the story are put together.

The biblical techniques of chiasm and parallelism play in an important role in this new analysis of biblical structure, with the suggestion that whole stories are arranged along such lines. As a minor example the book of Jonah can be seen as structured using antithetical parallelism:

a Chapter 1: The Consequences of Disobedience b Chapter 2: Jonah's Monologue of Praise

-a' Chapter 3: The Consequences of Obedience -b' Chapter 4: Jonah's Dialogue of Complaint

Again the fact that there is, or at least is perceived to be, a structure is not the most important point. Finding structure to the text is really only helpful if it sheds light on what is going on. In using parallelism the writer is drawing attention to how the parallel elements mirror and match each other. If Jonah is written in a deliberate parallel structure then we are meant to read chapter 3 in the light of chapter 1, comparing and contrasting the differences that occur when Jonah is obedient and disobedient. Similarly we would be expected to read chapter 4 in juxtaposition with chapter 2. A good storyteller will not, of course, leave the structure to carry the weight of the message alone. Therefore we should not be surprised if uncovering a structure does not lead to startling new understandings of a passage. However it may more often lend weight to one or other of our interpretations and thus guide us in assessing what the original author/ redactor/ storyteller may have wished to communicate. Structural critics take narrative structure in a different direction. They look for the basic, deep (usually dualistic) structure underneath the story e.g. good/evil or harmony/disharmony. As an example Exodus begins in slavery i.e. disharmony and results in freedom i.e. harmony for the people of Israel. But the story goes on because this harmony is in turn threatened in the wilderness by lack of food and water, the people's grumbling, God's wrath etc. The conquest restores the harmony of safe living but brings new evils and disharmony. So while the surface story progresses with many specific unique details underneath there is one common deep structure that all the stories share. Another structural tool often used is Griemas' quest notion. The task of the structuralist critic is to seek to delineate the quest which a main character(s), will have to perform and the tasks that need to be


undertaken to reach this goal. The story is complicated by the helps and hindrances of others along the way. Structural critics will often use the following diagram to map the underlying structure:

e.g. the story of the Exodus

Time The first thing, and most difficult thing to grasp is the interplay of our (external) time with the story's (internal) time.

In our external time the story is unfolded progressively - one word at a time, one incident at a time and the narrator makes use of this fact to keep us in suspense. (We are not meant to read the end before the beginning although we may do so if the suspense is unbearable or boring)

The internal story time however is much more flexible. The narrator can move back and forwards in time, skip a hundred years or dwell on a few minutes in great detail.

It is worth reflecting on how the narrator uses time. If the narrator summarises or compacts time then that time is probably fairly insignificant to their message and the time simply provides a backdrop or link between sections. However if the story dwells on a day or an hour or a moment then we can conclude that this time is highly significant, even if the importance eludes as at present. So, for instance, we are told very little of Jesus childhood (although Luke and Matthew provide some birth narratives) –

Jesus' first 30 odd years are quickly passed over, In contrast the last 3 years of Jesus' life take several chapters and the final week of his life may get almost half the Gospel.

Occasionally the story time may be stopped all together, put on hold while the narrator gives us an aside or lets us see what is happening somewhere else.

Dialogue is one way of slowing down time, it most approaches our own, external time. We are present listening, a fly on the wall, and our time and the story time run in parallel for a brief moment. Dialogue, therefore, has the power to immerse us more in the story than any summary overview can do. Yet this is in fact an illusion. No biblical dialogue is real speech nor does it ever take 'real' time. There are none of the preliminaries, idle chatter, unnecessary words that are part of our everyday encounters. Nevertheless, dialogue is the closest to real time that the story achieves and as such is usually slower than the rest of the narrative. If slowed down time is significant then we should expect dialogue to carry the message and theme of the story, rather than mere padding for the story.

In the Genesis 18 passage time is drawn out - often excruciatingly so, by dialogue. Moreover there is a ping-pong effect to the pace. The story starts off leisurely with long, padded sentences by Abraham, but the sentences get terser and terser as the tension builds. Each stage we wonder if, this time, Abraham has overstepped the mark. The narrator could have summed the whole speech up (e.g. 'Abraham bargained with God to spare Lot' but instead chose to give us 5 rounds of dialogue.

God Rescue from slavery Israel

MosesPharoah & Advisors Aaron/ his staff

Destinator Object-task/ goal Destinee

Subject - main characterAdversaries Helpers

Destinator The Quest (object/task/goal) Destinee

Main characterAdversaries Helpers

requires the quest those who benefit


Like plot, we can map the internal time as to how fast or slow it appears. Jonah 3 starts with speech 3:1 which, as we have noted, is slow time. It is followed in v3a by Jonah going to Nineveh which may have taken days or weeks or months but a lot longer than the time it takes to read this verse. However the amount of time is insignificant and therefore omitted – time is sped up to get us to the next significant moment. In v3b time is suspended as the city is described. Of course our external time is not suspended and the effect of the description is to make us feel that some time has passed since Jonah set out. In v4a time has definitely slowed down from v3, but the verse still covers a whole day. Time only slows down fully when Jonah begins to speak in v4b. The effect of his speech is a flurry of activity by the Ninevites so that time is sped up again in v5. Sometime clearly elapses between the Ninevites action in v5 and the King hearing in v6. But how much time is one of the enigmatic elements of this story. Questions are rightly asked about whether Jonah, as prophet, should have gone first to the King and whether this time lag is significant. The King too acts with some speed to take the posture of mourning and issue a proclamation, but then at v7 we slow down for 3 verses as the proclamation is read out to us. Time is possibly sped up slightly at the end as God changes his mind. If slow time is significant we should look for the themes of the passage in vs1,2,4 and particularly 7-8-9 which the narrator draws out.

Space Space too is important for creating atmosphere and for symbolic purposes. As with plot and character details we tend only to be told what is necessary for the story. Therefore if we are told about place and space it is worth pondering its significance.

In Genesis 18 we are not told where the story takes place. It is clearly some way from the oaks of Mamre 18:1 as Abraham journeys with the men in 18:16. Yet it is same way before Sodom as the men continue their journey alone in 18:22. The exact place is not revealed until long after the event in Genesis 19:27-28. Then we suddenly discover that it is some cliff, hill or mountain range with Sodom and Gomorra lying directly below oblivious to their fate being argued above.

Place is not the only significant part of physical space in the story. The characters use of space and their postures within it are important. Abraham is standing before YHWH in v22 yet in v23 the narrator is at pains to tell us that Abraham approaches YHWH - suggesting a move into an intimate, private and personal conversation. Note theologically that only Abraham returns to a particular place! YHWH is not confined to any place but carries on his way.

Gaps Gaps are a hugely important element in the story and we have already noted one in Jonah 3. When information is omitted from the story we are obliged to fill in the details ourselves. We have to use our imaginations and become involved if we are to continue to make sense of the story. What did happen in the time between Goliath and David becoming a mighty warrior in Saul's camp? We are not

S

PE

E

D

Fast

Slow

1 2 3 4 5 6 7 8 9 10

JONAH 3

The slowerthe time the

more important

the content?


told, but we wonder and consciously or unconsciously we fill in the gap. Gaps are important for reader engagement, but more than that they are significant in enabling the story to address each reader individually. Each individual or community will fill the gaps in their own unique way and the way they do so, will reveal much about that person or community. Gaps in the story occur in many areas:

- we may have gaps in the plot, which leave us wondering what happened and when - we may have gaps in a person's character details and be left wondering why they acted as they did - we may have gaps in time and space that leave us briefly dislocated.

Our traditions tend to fill the gaps and in doing so elevate their own interpretations to the level of scripture. I have met people who claim that in the parable of the wedding banquet the man was thrown out because he failed to wear the garment provided by Christ. Matthew 22:11-14 does not say why he was not wearing the right garment, but Augustine's filling of the gap has become THE reason to many Christians today. Similarly most sermons assume that the rich young man (Mark 10:17-22) went away sad and did not do as Christ asked. Again the Bible does not say. He is at least obedient. Christ tells him to go and he does. Certainly he was shocked and sad, but the fact the story is told may be because he did obey and so his story was known in the early church. By paying careful attention to the gaps in the story and the many possible ways they could be fulfilled can cast a whole new light on a story. Much more important is the way gaps can let us fill the story in a way that is meaningful to us. How does Martha respond to Jesus' invitation to join Mary at his feet (Luke 10:38-42)? How would we respond (go away and sulk, or sit down and enjoy). How would we respond and what might God go on to say to us as a result?

Style and Sermons

Rhetoric or the way we structure language for the purpose of convincing others has fallen out of favour in preaching. We don't want to be manipulative spin doctors. Yet all speech involves some degree of rhetoric. Rhetoric that covers poor content and bad theology will in the end be self-defeating. It only fools some of the people some of the time. However, good content and right theology alone does not make a good sermon. Poor rhetoric can destroy even the most exciting of messages. Simply in speaking we will use rhetoric whether we realise it or not, so it behoves preachers to check out and improve their rhetoric. Our congregations are getting too many persuasive message from advertising, social media and politics. We have to compete with all this and we need all the tools rhetoric can give us. Rhetoric and style are important for sermons because

a) they give the sermon an aesthetic quality that makes listening enjoyable. If someone is enjoying the sermon they are likely to be more willing to engage even if it is uncomfortable or challenging .

b) rhetoric and structure are the means by which the message is communicated and they can emphasise or undermine that message.

Words are the foundation, the be all and end all of sermons so they are worth paying attention to. If you want to be a good preacher, love language, explore expressions, play with phrases, worry about words. Words are the tool by which you will fulfil your sermon aims so keep your tools in good order.

Consider the right word for the occasion. Is something cold, icy, freezing or arctic? Does God speak or does he invite or does he thunder from Mt Sinai? A thesaurus is invaluable to help find synonyms and metaphors. But don't go overboard, the bible is sparse on description.


Consider whether to make the point in a dramatic or understated way. Sometimes the bible uses hyperbole as in Jonah, at other times it is deliberately low key.

Use concrete nouns and active verbs in the same way that the biblical writer does. Abstract concepts and passive verbs are infrequent in biblical narrative. "God is love" appears occasionally, but "God loved" is more common. There is an activity and an engagement.

Part of using the right words is using the right pattern of words, joining words in powerful ways. Poetry has much to teach us in this area. Poetical and rhetorical devices are all about communicating and evoking. Indeed many of the stylistic devices used by the biblical narrator and mentioned in the Glossary have been directly borrowed from Hebrew poetry, but can also be used in prose. Consider using the following in your sermons:

Repetition and Key words. It is said that people remember 10% of what they hear, but this jumps to 60% if something is repeated three times. So repeat key phrases and weave key words in.

Rhetorical questions, require the congregation to engage and make a point without needing to spell it out.

Allusions. If everything is spelt out, the congregation feel like little children and act accordingly. Sermons that hint or allude are better at drawing people into a shared but unspoken field of knowledge and give a sense of we are all in this together.

Alliteration, assonance, rhyme are all pleasing to the ear and memorable. They enhance the enjoyment of the event and therefore the alertness to the sermon. They can also set and communicate the tone very effectively, but again don't go overboard. If people are noticing the alliteration then they are failing to hear the content.

Colloquialisms identify preacher and congregation and often provide a refreshing change to pious language

Write for speech. The rhetoric of speech is different from the rhetoric of written prose. Sermons are for hearing not reading. They should not sound like essays. In spoken language sentences are short, there are few dependent clauses, there are abbreviations (so write we'll not we will) and poor grammar (ignore the grammar check)


Narrative Preaching The effect of narrative on preaching, especially the New Homiletic theory, has been phenomenal. The problem with the 'old homiletic', it was felt, was that it had reduced preaching to principles/ morals/ lessons from the scriptures. By setting aside the stories and contexts, all that was interesting was lost and sermons become moralistic, often judgemental and a rather dry address to the head, rather than the will. The result was the flourishing of a variety of types of sermon influenced by narrative. The following are a sample:

Inductive Sermons One of the seminal turning points that started the New Homiletic was the publication of Craddock's As One Without Authority 1971. This is a robust defence of preaching but as the title shows, approaches the task in a rather different frame of mind. Craddock argues that the preacher has the privilege of grappling all week with the text and discovering its treasures and then cannot understand why the treasures seem dull to congregations. The task of the preacher he suggested was not to hand over the disembodied treasures, but help the congregation dig for the treasure themselves; to take the congregation on the journey of discovery that the preacher has gone on, so that they discover for themselves. That which is discovered for oneself is more likely to be owned, than that received second hand. He called this inductive preaching.

The aim is to repeat in the pulpit the journey that the preacher has been on during the week:

The conception of the sermon: initial grappling with the text, points that stand out and questions that it raises

Playing with the idea: Teasing out the questions and discovering helpful resources from reading

Arriving at Clarity: Pulling things together "… see if the method of personal preparation and the method of public proclamation are not, in terms of movement, much the same. It is too often the tragic fact about preaching that after the minister comes to a conclusion about a matter, it is that conclusion he announces, exhorts, illustrates, and repeats. Given the opportunity, the congregation could arrive at that conclusion, and it would be theirs. And it would bear fruit." Craddock As One Without Authority.

For examples see:

Craddock 'Looking around during the prayer' https://www.youtube.com/watch?v=BdJAlaEa4Ww Craddock 'Can I also be included?' https://www.youtube.com/watch?v=cHSTaNyA83Q An interview https://www.preaching.com/articles/a-preaching-interview-with-fred-b-craddock/

Narrative Structure Sermon Lowry was responsible for first suggesting the idea of a narrative structured sermon. Like Craddock and Buttrick he found the 3-point sermon dry and didactic with an ethics basis. He asked whether we were concentrating too much on the points and not enough on the moves as Buttrick before him had suggested. But he went further and asked what sort of moves, what structure should the journey called a sermon take? Using literary theory, he noted that so much of the bible had a narrative structure i.e. it begins with a conflict that worsens and is (hopefully) finally resolved. Consider the story of the Good Samaritan in this light. The literature we read for fun, the books we call a 'good read' also most often follows this pattern, as do oral story tellers in traditional cultures as it works for hearing as well as listening. So, he suggests a sermon structure that begins with a problem, which becomes worse until we reach a climax and resolution – the good news of God. The advantage he suggests of such a plot is that it engages us in the suspense and carries us along to its conclusion.

https://www.youtube.com/watch?v=BdJAlaEa4Ww

https://www.youtube.com/watch?v=cHSTaNyA83Q

https://www.preaching.com/articles/a-preaching-interview-with-fred-b-craddock/


Such a structure for a sermon may result in a story format for the sermon (see below), but narrative homileticians are quick to point out that narrative preaching is not about telling stories but about a particular structure suitable to many styles of preaching. The problem/ resolution is not the only plot structure. Bookers 7 basic plot structures above could also structure a sermon. Arguably Craddock's inductive sermons follow the quest structure, to take the congregation to their own discoveries.

Strengths: Engages and keeps attention, is interesting and grace filled Weaknesses: The problem and difficulty can overwhelm the resolution and solution

For examples see: Tom Long 'Out of the Loop: The Changing Practice of Preaching Part One: The Homiletical Plot'

https://www.workingpreacher.org/craft.aspx?m=4377&post=1947 or Dr Dave Ward 'Preaching a Narrative Sermon' http://wesleyansermons.com/2013/03/18/preaching-

a-narrative-sermon-by-dr-dave-ward/ Concordia Theology's explanation of the Lowry Loop http://concordiatheology.org/sermon-

structs/dynamic/narrative-structures/lowry-loop/ John the Baptist Sermon in the Appendix

Story Sermons The story sermon has become more popular as a result of the issues raised by narrative homiletics. If the Bible is what we preach - how does the bible teach us to preach? Certainly not in 3 point propositional sermons but predominantly in narrative and poetry. If that was how Jesus preached, perhaps we need to take note. Story sermons tell a story which may be a reconstruction of the biblical story or some other form of parable, fable etc. They are not just structured like stories, they are stories. They require the congregation to enter into the story and the story world with their imaginations, and let the story impact on their own life story. Congregations, however, were so used to being told what to believe and what to do that many initial story sermons were seen as threatening or plain baffling by the congregation – "what was the point? The preacher should at least clarify the moral! Tell us what to believe." This the homileticians felt was the nub of the problem. Congregations had been spoon fed for so long, they could not take

https://www.workingpreacher.org/craft.aspx?m=4377&post=1947

http://wesleyansermons.com/2013/03/18/preaching-a-narrative-sermon-by-dr-dave-ward/

http://wesleyansermons.com/2013/03/18/preaching-a-narrative-sermon-by-dr-dave-ward/

http://concordiatheology.org/sermon-structs/dynamic/narrative-structures/lowry-loop/

http://concordiatheology.org/sermon-structs/dynamic/narrative-structures/lowry-loop/


responsibility for their own learning and decisions. Even Jesus had this problem. His parables were deliberately open-ended but the disciples kept asking for explanations. However, good stories are best left open-ended. Mature Christians need to take responsibility for their own faith. If the stories have to be explained the whole point is lost. A story that could be appropriated by everyone to their own circumstances becomes narrowed to a single message if it is explained. Nevertheless, introductions are still needed to orientate congregations to story style preaching and to help them learn to hear God for themselves.

Strengths: Engages the whole person, text centred, not moralistic, treat as adults, very powerful Weaknesses: Can be obscure and ambiguous, can be self-indulgent, or manipulative

For examples see:

2 Kings 5 and Palm Sunday in the Appendix

First-Person Sermons One particular form of the story sermon that has become popular is the first-person narrative. The preacher adopts the persona of one of the characters in the story – perhaps a disciple or a minor onlooker and "tells the story" from their perspective. The tools of characterisation used by biblical writers are an excellent example of how to bring characters to life with a minimum of words and can help develop this type of sermon. Craddock's inductive sermons can often give a structure to this type of sermon as the character and his/ her insights gradually unfold. On the whole the theology of the Bible is that people are not stereotypes neither plaster-cast saints nor vaudeville villains but rounded characters. Care is needed not to flatten the characters so that their humanness is lost and the first-person sermon can bring a character to life as a real person. We noted above that Abraham is often portrayed as a paragon of virtue who exhibits an outstanding degree of faith. As a result, the congregation see a faith far beyond what they can attain in real life. The biblical picture is very different! More than once Abraham's lack of faith puts Sarah in danger. Is leaving home for exotic travel necessarily a huge step of faith? Is there another interpretation for Abraham's actions and words...? There are, though, several dangers with this type of approach. If the portrayal is not real to life, stereotypical or simplistic then this type of sermon can be cringe inducing and embarrassing for the congregation. However more often, this type of sermon is very powerful, even in the hands of amateur storytellers. This is why all of us can try this type of sermon with reasonable success even if we do not see ourselves as storytellers. In creating the character, though, a huge amount of licence and imagination is needed. We need to fill the gaps, round out the character and the event and put a certain perspective on it. In the process we can give the impression that our interpretation, our gap-filling is scripture. It can be important, therefore, to mark that this is just one perspective and not definitive. This can be done by statements such as 'it seemed to me…', 'I wondered if..' as well as more overt markers. For examples see

Sarah's Story and Zacchaeus in the Appendix


Narrative Sermons -a Critique Not only are stories themselves open to varying understandings, filled with gaps and ambiguities, but the very stories themselves are open to criticism. There are always two sides to a story. A story is told by a storyteller, it is not a neutral event. It is biased, it is interpretative. It has a point of view and an ideology. A story-teller does not objectively tell "the facts" but instead s/he first selects "facts", weeds them, invests them with importance and then implies connections. In short, a storyteller manipulates data to create a plot, an interconnectedness, a significant story. But another storyteller chooses different "facts", different significance, and different links. We can see this all too clearly in Matthew 28. From one piece of data - an empty tomb, two stories are told, two competing stories. Because the gospel writer is a Christian one story is applauded while the other is ridiculed, but both story exist in competition. There is a danger that narrative preachers, theologians and biblical scholars overlook the competing stories in the desire to tell THE story. We cannot and must not unlearn the message of the historical criticisms - the bible is not a watertight unity it consists of many differing stories - stories in dialogue, stories in conflict. Certain alternative stories the bible stamps out and we are left with only whispers (e.g. the story of child sacrifice). But just as often, the bible keeps the alternatives, juxtaposes them, puts them in dialogue. Job against Deuteronomy, Wisdom against Torah, Lament against Praise, Judgement against Mercy. And in the end subsumes them in a bigger more complex and nuanced story. We too need to hear alternative stories and live in the uncomfortable place of juxtaposition and dialogue. We need to remember that in our narrative preaching we too are suppressing certain stories and normalising others. This is often a critique of narrative preaching, but it is true of all preaching and requires a certain humility and self-examination. Another danger is that we get carried away with narrative and our story telling skills that we lose sight of theology and message. The strength of stories is that they do allow the hearer to make their own meaning, but nevertheless, the biblical narrators always had had something they wished to communicate and the story had a goal and a purpose. It went somewhere. We still need to have an aim and a goal for narrative sermons as much expository or thematic sermons. And before we go overboard on thinking that all that we will listen to this week is narrative we need to remember that our faith and our theology comes in many genres. Narrative may be the pre-eminent genre but it is not the sole genre and our sermons should reflect the fullness and variety of scripture.


Bibliography Narrative Preaching

Allen, O. Wesley, The Renewed Homiletic (Minneapolis: Fortress Press, 2010)

Allen, R.J. Patterns of Preaching: A Sermon Sampler (Missouri: Chalice Press, 1998)

Craddock, F., As One Without Authority rev. ed. (Missouri: Chalice Press, 2001)

Elliot, Mark Barger, Creative Styles of Preaching (Louisville: John Knox Press, 2000)

Eslinger, R., Narrative and Imagination: Preaching the Worlds that Shape Us (Minneapolis: Augsburg, 1995)

Garner, S. C., Getting into Character: The Art of First-Person Narrative Preaching (Michigan: Brazos Press, 2008)

Graves, M., The Story of Narrative Preaching: Experience and Exposition (Oregon: Cascade Books, 2015)

Graves, M. and D.J. Schlafer, eds, What's the Shape of Narrative Preaching? (Missouri: Chalice Press, 2008)

Green, J. B. and M. Pasquarello III, eds, Narrative Reading, Narrative Preaching (Michigan: Baker, 2003)

Lischer, Richard. “The Limits of Story.” Interpretation 38 (1984): 26-38.

Long, T., Preaching and the Literary Forms of the Bible (Philadelphia: Fortress Press,1989)

Lowry, E. How to Preach a Parable: Designs for Narrative Sermons (Nashville: Abingdon Press, 1989)

Lowry, E., The Homiletical Beat: Why all Sermons are Narrative (Nashville: Abingdon, 2012)

Miller, Calvin, Preaching: The Art of Narrative Exposition (Grand Rapids: Baker Books, 2006)

Schlafer, D., Playing with Fire: Preaching Work as Kindling Art (Boston: Cowley Publications, 2004)

Steele D., The Next Voice You Hear: Sermons We Preach Together (Kentucky: Geneva Press, 1999)

Wright, John W. God's Story: Narrative Preaching for Christian Formation (Downers Grove: IVP, 2007)

Narrative Theology Frei, Hans, The Eclipse of Biblical Narrative (New Haven: Yale University Press, 1974)

Grenz and Olsen Twentieth Century Theology (Leicester: IVP, 1992) see 'Narrative Theology' p271-281

Hauerwas, Stanley 1981: A Community of Character: Toward a Constructive Christian Social Ethics. (Indianapolis: University of Notre Dame Press).

Hauerwas, Stanley and L. Gregory Jones, Why Narrative? Studies in Narrative Theology (Eerdmans, 1989)

Stroup, G. The Promise of Narrative Theology (London: SCM, 1981)

Narrative Art Bar Efrat S, Narrative Art in the Bible (Sheffield: Sheffield Academic Press 1989)

Booker, C., The Seven Basic Plots: Why we tell Stories (London: Bloomsbury, 2005)

Fokkelman J Reading Biblical Narrative: An Introductory Guide (Westminster John Knox Press 1999)

Gunn & Fewell Narrative in the Hebrew Bible (Oxford: Oxford University Press 1993)

Malbon E.S. & McKnight E.V. The New Literary Criticism and the New Testament (Sheffield Academic, 1994)

Powell M A What is Narrative Criticism? (Minneapolis: Fortress Press. 1990)

Alter R. & Kermode F. The Literary Guide to the Bible (Massachusetts: Harvard University Press, 1987)

Ryken & Longman A Complete Literary Guide to the Bible (Michigan: Zondervan, 1993)

Creative Biblical Storytelling Goldingay J After Eating the Apricot (Cumbria: Solway/ Paternoster Press, 1996)

Goldingay J Men Behaving Badly (Cumbria: Paternoster Press, 2000)

Dennis T. Lo and Behold (London: SPCK, 1991)

ter Linden N. The story goes… 5 volumes (London: SCM, 1999-2002) - Dutch originals 1996-2002


Appendix A Studying Biblical Resources Forms Plot

A (more) Literal Reading of Genesis 18:22-26 showing plot elements 22 And turned from there the men, and went to Sodom. And Abraham (was) still standing before YHWH

23 And Abraham approached and said,

"Indeed will you sweep away

The righteous with the wicked?

24 Perhaps there are fifty righteous in the midst of the city;

indeed will you then sweep away? inclusio with the start of the section

And will you not spare the place for the sake of the fifty righteous who (are) within it? key point

25 Far be it from you to do such a thing, a

to slay the righteous with the wicked, b

and should it be so the righteous just as the wicked? b'

Far be that from you! a' chiasm plus inclusio with the start of the section

The one judging the whole earth, will he not do justice?" key point

26 And YHWH said,

"If I find in Sodom fifty righteous in the midst of the city,

then I will spare the whole place." some relief from plot tension but not complete

27 And Abraham answered and said,

"Behold, I pray. I have undertaken to speak to the Lord and I (am) dust and ashes. Market place

28 Perhaps will lack the fifty righteous five? a1

Will you destroy on account of five the whole city?"

And he said, "I will not destroy if I find there forty-five." b1

29 Again he added yet again to speak to him and said

"Perhaps will be found there forty." a2

And he said, "I will not do (it) on account of the forty" b2

30 And he said, "Do not I pray be angry Lord & let me speak.

Perhaps will be found there thirty" a3

And he said "I will not do (it), if I find there thirty." b3

31 And he said, "Behold I pray I have undertaken to speak to the Lord.

Perhaps will be found there twenty" a4

And he said, "I will not destroy on account of the twenty." b4

32 And he said, "Do not I pray be angry Lord & let me speak indeed once more

Perhaps will be found there ten" a5 (why does Abraham stop here?

And he said "I will not destroy it on account of the ten." b4 a1-a4/ b1-b4 have limited vocabulary but variations in the repetition for retaining interest.

33 And YHWH went away when he had finished speaking to Abraham and Abraham returned to his place.


A Plot study of Jonah 1 Beginning The plot beginning is somewhat confusing.

verse 1 would suggest not a narrative but a prophesy (such as Isaiah, Jeremiah) verse 2 continues this illusion, and perhaps without us realising it sets up the main task around which

the plot will revolve. verse 3 however shatters the illusion - this is not a prophecy with narrative inserted, but narrative

with a prophetic beginning. And, as if to confirm this, verse 3 continues with a rapid series of actions which makes it quite clear that the narrative is well under way and God's instruction is being defied. (flee, from the presence of YHWH, Tarshish, a ship). Something has gone awry.

The beginning manages to introduces the characters, the task to be achieved and the conflict that will prevent that goal. But it does these things in an unusual and unexpected way that overturns our expectations. This is one of the main themes God does not act according to our comfortable expectations. This message works at many different levels in the story.

Middle: The plot is constructed by a series of interweaving patterns:

a) There is perhaps a chiastic pattern of speaking, which while not exact, is nevertheless suggestive. In chiasm it is the central unit that is most important, i.e. the first time Jonah opens his mouth. His answer may feel somewhat of an anticlimax. It is an orthodox statement of faith that hardly answers the sailors questions. Note also that God begins and ends the piece.

God to Jonah v2 Captain to Jonah v6 Sailor to Sailor v7 Sailors to Jonah v8 Jonah to Sailors v9 Sailors to Jonah v10 Sailors to Jonah v11 Jonah to Sailors v12 Sailors to God v14

b) There is a spiralling downwards and inwards movement, which indicates the downward spiral of disobedience. God is traditionally up (v2) and Sheol down. Jonah is called to arise but goes down. At first Jonah actively goes down. But God can play this game too and his final downwards movement is God's action - things are about to change, the pattern is breaking up.

Jonah goes down to Joppa v3 He goes down into the ship v3 He goes down into the hold v5 He goes down into sleep v5 He is hurled down into the sea v15

He is swallowed down into the fish 17

c) There is a growing pattern of violence in the storm which reaches a climax in v13 and a sudden release in v15. As soon as Jonah touches the sea, it becomes dead calm (the 2 actions are directly juxtaposed in Hebrew). Though there is calm in the physical realm, in the human realm there is even greater awe. Jonah has been a prophet to the sailors.

Ending: The ending of verse 17 is a typical example of an ending of a scene in a larger plot. It ties up certain ends - the threatening storm is over, the sailors are safe, God is worshipped and Jonah got his just desserts. But the main goal of preaching to Nineveh is no nearer completion and the chapter ends not with Jonah being swallowed up, full stop, but with Jonah being swallowed up for only 3 days and 3 nights. We want to know what happened next.


Character Characters in Jonah 1 1. Direct characterisation of Jonah:

v1- Jonah is 'the son of Amittai', is the only direct characterisation and sonship is really irrelevant. It establishes the genre of prophecy and categorises Jonah as a prophet - a description that the narrator and God clearly agree on, even if Jonah is not so sure.

As usual, outward appearance is not imparted and direct characterisation is sparse. We are given no guidance on reading Jonah, leaving a story very open to our own interpretation, to making Jonah a mirror of ourselves. Despite the fact that Jonah is a by word for rebelliousness, the text doesn't say this and there may be other ways of making Jonah their own for non-rebellious readers.

2. Indirect characterisation: Action and Speech

Starting with actions, Jonah begins out a string of hurried activity. 'He arose, he went down, he paid, he went into, he went to sleep' n order the narrator says 'to flee to Tarshish from before YHWH' but why is not revealed. We long to know why - is he afraid, is he angry, is he indifferent, is he in the depths of clinical depression, is he sullen or rebellious, does he think he can escape God in gentile lands and at sea or does he mistakenly think somehow that this fulfils God's call? All of these are possible interpretations.

Throughout the story Jonah faces a series of choices as to how he acts - go to Nineveh or to Tarshish, to pray to his god or not to pray, to help the sailors in their distress or to run away into sleep - each choice tells us something of his character and inactivity is as significant as activity. When the going gets tough Jonah goes down into the recesses to sleep (v6). Why does he refuse to help with the bailing or to pray? Is this avoidance and denial, trying to escape the storm; or is he, a land-lubber helpfully getting out of the professional's way? Is it selfishness or disinterest? Or the first sign of a suicidal wish, a preference to die? Or a flash back that happened before the storm started?

Turning to speech, Jonah, oddly, says nothing until halfway through the chapter. The piety of his speech is surprising – 'I fear YHWH the God of heaven who made the sea..'. So much for the suggestion that Jonah thinks he can escape God at sea the place of chaos. Has he suddenly seen the error of his ways? Is he being hypocritical and if so is he aware of his hypocrisy? Or is he being evasive, refusing to answer the main question - 'why is this evil happening?' or is this a sign of his disdainful contempt for these pagans who are not God's chosen people? What is his tone? When he says 'throw me overboard' - is he generously self-sacrificial – let me die to save you? is he calling their bluff so that they leave him alone? is he suicidal? or is he simply passively indifferent to his fate? Why doesn’t he jump, why does he put the onus on the sailors to make the decision?

Is he a rounded character with the normal mixed motives, good and bad at war within him and some change or development goes on through the chapter? Or is he a flat stereotyped character - the parody of a prophet and that the genre we have before us is something like satire.

3. Other characters:

The study could go on to explore the other characters in the chapter

The sailors caught between offending God or dying in the storm. Their fear turns to awe (the same word in Hebrew). The stereotype pagans alone recognise God.

God is described by Jonah (is he a credible witness?). In his actions is he a spoilt brat throwing a tantrum because he did not get his own way? Or must he smash through Jonah's defences to redeem him? Or is he simply demonstrating that he controls the sea? IS the fish the ultimate punishment or the means of preventing drowning?

The narrator who comments subtly on the characters v3 'flee', v4 'hurl', v5 'fear', v14 'cry out'

Character Analysis Biblical Reference: Character Chosen:

Direct Characterisation Comment: e.g. David is a scoundrel (2 Sam 16:7)

Made by: Shimei

All possible Significances/ Reasons for this comment Shimei might be a prophet speaking God's verdict on David – some other characters think God may be behind this. It may be a true judgement of his character or Shimei might be jealous, vengeful, bitter, wanting to get on the good side of the new regime or…. He is 'of the house of Saul' 16:5. It may not be a true judgement.

Indirect Characterisation – Actions Action: e.g.Abigail hurries (1 Sam 25) Abigail falls at David's feet

Verse: v18, 23 v23,24 (3x)

All possible reasons/ motives for this action. Possible interpretations. Questions She may be scared as she has been told David will do evil to her house (v17). What does she hope to do? Pay for peace with her gift? Is this brave? Is she protecting herself or her husband? This suggests humility, submission, worship, supplication. Is this fear, sycophancy, flirtation, true respect?


Indirect Characterisation – Content and Form of Speech Speech (verbatim): e.g. Abraham says "Let me take it upon myself"

Verse: (Gen 18) v27,31

All possible reasons/ motives for this action. Possible interpretations. Questions Probably the language of supplication. Does Abraham consider himself insignificant /lowly before God? Is it daring language? Does he sense he is pushing God too far? Or is it the politeness conventions of ruthless market place bargaining and not submission at all

Conclusion Rounded Character (If so what feelings do we end up with for the character?)

or Flat Character (If so what is the character's role in the narrative?)

Style Style in Jonah 1. Word Repetition:

Key words are frequent and contain the main themes. There is also some delightful word play on them. An interlinear or commentary will help you see these words obscured in English e.g.

fear - There is a play upon the various meanings of fear from fear to awe, combined with touches of irony. Jonah is never said to be afraid in contrast to the sailors who show fear and awe.

great - is a key word lost in translation, The following items are described as 'great' - the wind v4; the tempest v4,12; fear v10,16; fish v17. This is no ordinary wind, fear, fish but an enormous fish and a Herculean wind. The continual repetition creates hyperbole.

hurl - this is a violent word and comes quite out of the blue in v4. God's hurling invites the sailor's hurling of cargo (v5) but it is only when they discover the right object to hurl that peace comes.

2. Repeated phrases. God's 'Arise! Call out! v2 is echoed in the Captain's 'Arise! Call out! v6 We sense the irony in this - the failure to arise and call out is the very reason for the predicament

3. Personification. The ship ispersonified in v3 and 4. It is almost as if the ship becomes a living being which Jonah hires to aid and abet his escape. But it does not pay to aid someone fleeing YHWH and the ship soon begins to fear that God will break her into pieces (Hebrew of v4 ) to get at Jonah deep within.

4. Sound and Rhythm – Good commentaries will enable one to discover how sound is used within a narrative. For instance in v4 there is assonance in (hishbah lehishaber). Sassoon finds it onomatopoeic creaking planks.

5. Structure Note the chiasm of the crucial opening verse 3:

But Jonah arose to flee to Tarshish from the presence of the Lord and he went down to Joppa and he found a ship going to Tarshish and he paid her fare and he went down into her to go with them to Tarshish from the presence of the Lord

Irony abounds - Jonah claims to fear God, while the idolatrous sailors genuinely do fear God.

A Quest map might look like this:

6. Time A Time graph might look like this

God Cry out against Nineveh Nineveh/Jonah?

JonahJonah, the ship the sailors, the fish

Destinator Object-task/ goal Destinee

Subject - main characterAdversaries Helpers

S

P

E

E

D

Fast

Slow

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

VERSE

The slowerthe time the

more important

the content


Style Chart Keywords

Note down keywords with verses (the more frequent, the more likely to be a key word!). You may need a commentary as translation can obscure this. Then ponder the possible significances of the word.

Keyword Occurrences Significance

Structure

Note you might find several quests going on in different plots and sub plots.

Time and Space

Try plotting time. Does time go fast (1 sentence covers a lot of time) or slow(several sentences cover a very short time). Leave a gap if there are gaps where we don't know how much time has elapsed.

What spaces does the story take place in. Give space and verses:

Destinator The Quest (object/task/goal) Destinee

Main characterAdversaries Helpers

requires the quest those who benefit

Fast

Slow

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

VERSE

SPEED


A Glossary of Poetics The following are terms that you may find used when talking of the 'style' of Hebrew narrative and poetry. Without knowing

Hebrew many of these stylistic points (e.g. assonance) are hidden from us, others such as chiasm may be lost in translation -

nevertheless an appreciation of Hebrew style can still be obtained from the English version and commentary.

alliteration The repetition of a consonant at the beginning of words. bereshit bara Gen l:l

anaphora A word repeated at the beginning of several consecutive phrases.

Ps 150

apostrophe An unexpected address to some imagined entity. Ps 114:5-6

assonance Repeated vowel sounds tohu wabohu Gen 1:2

chain The use of the concluding point or word of the sentence to open the next, thus setting up a logical chain that drives the starting point on to the conclusion.

Rom 5:1-5

chiasmus a b b' a'. The order is reversed in the following repetition Ps 127:2a

complementarity A common way to do justice to complex truths is to stress first one and then the other.

a God/ b Humanity

duplication The repetition of a word or phrase immediately to convey emotion

Gen 22:11, 2 Sam 18:33

ellipsis The omission of an earlier word, phrase or idea because its use is implied. This creates space for the insertion of new words/ideas

epiphora A word repeated at the end of several consecutive phrases. Use a

Ps 136

hyperbole The exaggeration of a point. Jam 3:6

inclusio A repeated phrase or line at the beginning and end. Ps 8; hallelujah psalms

irony This occurs when there is a contrast between meaning and reality. There can be verbal irony in words or dramatic irony in events

2 Sam 6:20

keyword A word that is repeated several times and acts as a one word refrain

merismus Two extremes used to indicate the whole, i.e. everything between those 2 extremes.

'heaven and earth',

'mountains and valleys' =

whole world

metaphor The description of one thing in terms of another Ps 18:2

metonymy The use of an attribute to stand for the whole sword = war Ex 5:3

parallelism The chief characteristic of Hebrew poetry involves the repetition of a line by a similar line following to create one verse.

Ps 34:1

paronomasia Play on words, puns Gen 2:5-7, Mic 1:10-15

personification The portrayal of abstract ideas through human characterisation Ps 49:14

refrain A phrase repeated at the end of divisions Ps 80 'God return to us'

Ps 136

repetition Repetition occurs at many levels in narrative and is especially important memory aid. It may be via a refrain or keyword, it may be by means of a similar but slightly different story. Variation within repetition is important to avoid monotony

rhetorical question A question that implies what the author wants and expects no answer

Ps 8:4

similes Comparison of two objects (like/ as) Ps 42:1

synecdoche A figure of speech whereby a part signifies the whole or the whole a part

'Samaria' for Israel

'tree' for fruit Gen 3:6

Based on classification by P.P. Jenson 1997


Appendix B – Sample Sermons There are many books of sample sermons and they are worth reading to inspire and challenge us. For copyright reasons the full sermons below are my own. I present them not to blow my own trumpet (too much), but in the hope they might show how an ordinary preacher can adapt the methods. You are welcome to adapt them for your own voice. Do make them your own rather than reading mine! Exodus 3:1-12; 4:13 'Here I am…. send Claude" from D. Steele The Next Voice You Hear: Sermons we Preach Together (Kentucky: Geneva Press 1999)

Reader 1: The thing about burning bushes is They get our attention! It's not that Yahweh God Loves showing off, Or anything like that…

Reader 2: "For my next trick, I present…. A burning bush!"

Reader 1: Burning bushes come in many forms, In all sizes and shapes We are going about our own business, Like Moses there at Horeb and suddenly our attention is captured…

Reader 2: By the number of homeless ones in town Or the treatment of the misfit at work Or the weeds in the church garden Or the suffering of a good friend

Reader 1 We see a need By george something needs to be done Gee someone has got to start caring! …Something must be done And lo and behold, we are there, Standing at our burning bush. God has captured our attention, Pinpointed a particular need. At work… in the neighbourhood… at church… In the family… in the world Someone has to start doing something! That is clear in burning bushes But who is going to do it? That is not so clear Who will tackle the job? That is the part of the message We have trouble understanding the need is clear But the name we keep hearing As we stand by the bush Must be a mistake

Reader 2: Moses! Moses! Reader 1: Here I am Reader 2: Moses, go down to Egypt Land

Tell old Pharoah Let my people go.

Reader 1: Right Lord, something must be done in Egypt

Someone must help your people there Thank goodness you see the need Its about time you got round to acting Congratulations Lord! I'm all for the project. Here I am, Lord, But send Dottie.

Dottie: Here I am Lord, But I'm already serving on 3 important

committees Send Gladene

Gladene Here I am Lord But I'm working full time Send Dave

Dave: Here I am Lord But its not in my job description Send Claude

All: Who's Claude? Reader 2: Here I am send Claude

It is natural one supposes To feel somewhat inadequate When confronting burning bushes It is natural, one supposes When we really have our attention Directed to a crucial need in human life To feel our own resources Are not sufficient …

NB the people in the central section should be actual members of the congregation substituting their own excuses.


"God's Daring Plan" by Barbara Brown Taylor in Elliot Creative Styles of Preaching (Kentucky: John Knox Press, 2000)

Once upon a time - or before time, actually, before there were clocks or calendars or Christmas trees—God was all there was. No one knows anything about that time because no one was there to know it, but some-where in the middle of that time before time, God decided to make a world. Maybe God was bored or maybe God was lonely or maybe God just liked to make things and thought it was time to try something big.

Whatever the reason, God made a world—this world—and filled it with the most astonishing things: with humpback whales that sing and white-striped skunks that stink and birds with more colours on them than a box of Crayola crayons. The list is way too long to go into here, but suffice it to say that at the end when God stood back and looked at it all, God was pleased. Only something was missing. God could not think what it was at first, but slowly it dawned on him.

Everything he had made was interesting and gorgeous and it all fit together really well, only there was nothing in the world that looked like him, exactly. It was as if he had painted this huge masterpiece and then forgotten to sign it, so he got busy making his signature piece, something made in his own image, so that anyone who looked at it would know who the artist was.

He had one single thing in mind at first, but as he worked God realized that one thing all by itself was not the kind of statement he wanted to make. He knew what it was like to be alone, and now that he had made a world he knew what it was like to have company, and company was definitely better. So God decided to make two things instead of one, which were alike but different, and both would be reflections of him - a man and a woman who could keep him and each other company….

John 21:1-19 "Follow Me by Deneise Deter-Rankin in Eslinger R. Narrative and Imagination Preaching the Worlds that Shape us. (Minneapolis: Fortress Press Minneapolis,1995

Jesus said to them, "Come and have breakfast"." Now none of the disciples dared ask him "Who are you?" They knew it was the Lord"

One morning over bagels and bran flakes, sipping muddy coffee all alone (it's Saturday and the kids are somewhere else) she looks him square in the eyeballs, then says, "Do you love me?" And in the bottom of his 'This is the First Day of The Rest of your Life" mug, coffee grounds make fickle patterns for him to study – intently – while he remembers what it was like when they met. Not once had he given any thought to 'settling down'. Life was just one big sea he rowed in his boat, dragging the tempting waters with his net to see what variety, what shapes and sizes he could haul in. It was a smorgasbord. A parade of hormones and moods and passing fancies. Until that gentle command, her crooked finger beckoning him, "Follow me" dragged him into the future.

And he wakes up 10 years later to the person across the breakfast table asking "Do you love me?" and he wants to say "What do you want from me? We're married. Two kids. Two cars. Two-car garage. Two TVs. Bills paid. A VCR. Camper. Disney World…

When they had finished breakfast, Jesus said to Simon Peter. "Simon, son of Jonah do you love me, more than these?" He said to him "Yes Lord you know that I love you."

She gave thousands. Nobody knows how many thousands. Well almost nobody. Somebody has to know. Because she wrote the cheque and wrote a note to whomever she doesn't know who knows she wrote the cheque for thousands and said "This is an anonymous donation." She gave thousands to her church to build the new gymnasium. The Baptists and Methodists have one. And they say they let poor people use it too. Besides you want your kids and grandkids to have one. A safe place. To play basketball and volleyball. For Jesus.

And she writes another note, suggesting, merely suggesting, mind you, that the walls be painted a certain colour. That the hardwood floor patterns go like this (hand drawing enclosed). That the light fixtures be this kind of light fixtures (photo attached). These are anonymous suggestions. She doesn't want to interfere. But thousands of dollars is a lot of money. And she wants to see the church do right. By her. By it. Certainly.

A second time he said to him. "Simon, son of Jonah do you love me? He said to him "Yes Lord you know that I love you.

Some days he thinks that if he has to look inside another ear or nose, or down another throat, he'll scream. Or laugh. Or walk right out the Fire Exit Only door and never come back. His mother was the one who wanted him to be a doctor…

John the Baptist Context: Preaching to Ordinands in training. It was preached in 2001 after 9/11 and the

invasion of Afghanistan.

Style: Lowry's Homiletical Loop. Readings were Mt 3:1-12, Is 11:1-10 and Rom 15:4-13.

1) Ugggh Conflict: John the Baptist hell fire and brimstone

One of my classes last term, tried to tell me that the Old Testament people got God all wrong. First Testament people, they told me, didn't understand that God is

a God of love, not fiery judgement. The First Testament got it wrong. The New Testament sets it right Really?

In those days, not any days, but those momentous, end of times, Roman occupation days

Days of terror and tyranny, destitution and despair, hopelessness and hostility

Lo in those days there appeared, one in the wilderness, wild and unkempt.

Who was this Man? they asked Had God finally broken centuries of silence? Or was this just another crank?

And what was the message of this voice crying in the wilderness? "Hey man, God loves ya"?

No to a demoralised and desperate people he cried "Repent!" As if…. as if it was all their fault, as if all this was some divine punishment? Did John really mean that?

2) Oops Complication a) Pharisees not so bad

And who among his hearers deserved to be called "You brood ofvipers, dead wood for the axe, chaff for the unquenchable fire. Who deserved that?

The Pharisees? Its so easy to fall into anti-Semitic propaganda, What if the Pharisees were the SSMs/ Readers of the Temple

Lay people desperate to hold onto God in an irreligious world Lay people committed to serving God with all their being

Lay people unswerving in their love for God In Matthew's gospel its not the Pharisees who kill Jesus.

Ok, so they are a little suspicious of Jesus, but wouldn't you be, if he walked into your congregation? And is a bit of suspicion really worthy of such hell fire and eternal

damnation from John?

Complication Oops b) Matthew's Jesus just as bad

"Ah", I can just hear my class saying, "ah but John the Baptist wasn't Jesus" He was sort of Old Testament too, he didn't know that the God of Jesus

wasn't like that." Really? For Matthew, John is the one preparing the way.

Preparing the way for the one who comes to winnow the wheat and hatchet the trees.

John is the forerunner, the foretaste, the entrée John's message is Jesus' message, John's task is Jesus.

There is barely a word of John's that does not appear on the lips of Jesus, including 'you brood of vipers'.

Whether we like it or not, Matthew's Jesus also proclaims a fiery end of times judgement.

Matthew's Jesus lays the axe at the tree root, proclaims the second coming in judgement, the end of the world.

Give me Luke any day.

Complication Ooops c) Advent penitential judgement

It sounds so benign - the advent message "Jesus is coming" But who can endure the day of his coming and who can stand when he

appears? If John the Baptist is not worthy to untie his sandal,

not worthy to be a menial slave at the foot of the Christ, who am I to seek the coming of Christ?

No wonder advent is a penitential time, no rejoicing at the coming prospects.

Complication d) Judgement today – our world, ourselves

So what does John sound like 2000 years on,


No second coming yet, though a 1000 generations believed it nigh No end of the world - just unquenchable fires and hatchets in too many

hands But only the cranks are crass enough to cry out "Behold the judgement of

God - on the Americans, on the Taleban. As if it were all their fault, as if it was some divine punishment?

I once knew a young disillusioned American. Who fearing a fiery nuclear end,

disenchanted with the progress of his peace groups. Fled to NZ full of dreams, full of the hope. Here in safety he would set up a utopia - no more violence, no more war -

the dawn of a New Age. Only how can you build a brand new world when you have a violent temper

and abuse your wife? And there's the rub.

We long for the coming of the Kingdom but find in ourselves bad fruit, shadow sides, compulsions that start fires and wield hatchets.

Is judgement just another name for sowing what we reap? But will that do for my class? Where's the love of God?

Where's God's mercy, only hope for trees that never quite bear fruit that's good enough.

Must we live a fiery advent God and ditch it Christmas morning?

3) Aha Sudden Shift: Is judgement to be feared

Where's the mercy in the entrée. The love of God in the forerunner?

I wonder, just wonder if its right there in the axe at the root of the tree

in the winnowing fork on the threshing floor in the unquenchable fire.

For from the ashes of Jerusalem arose the remnant of hope From the winnowed wheat the finest bread is made

From the stump of Jesse comes forth the shoot of life

4. Whee/ Yeah Unfolding Gospel : Judgement is the beginning of life

Perhaps there's another word for advent judgement that is more biblical. More Old Testament if you like. Not judgement but discipline, pruning, sifting, refining.

Fires for dead branches, new shoots are for spring. Rare the tree that cannot benefit from pruning Rare the tree without its shadow side

And rare the tree that does not weep at the legacy of axe. But in that is our hope, the hope of Pauline unity.

In the new branch from the old roots – same stock, new life Maybe John's fiery message really is the foretaste of the Kingdom

The only possible preparation for Isaiah's Christmas vision A new world where the

The lion can lie down with the lamb And a new born baby shall lead us all.


2 Kings 5 Context: Preaching to middle class congregation in Bristol 2003. Aim: To encourage people to take the plunge, and see that choosing rightly involves setting self

aside. Readings: 2 Kings 5

Introduction

Once upon a time there were 3 doors maybe you remember the story

There were three doors and a young prince stood before them.

a young prince in a long line of young, and not so young, princes Choose rightly and he'd win his golden princess

Choose wrongly and his fate would be worse than the weakest link In the background a voice gently hums - all that glitters is not gold

He steps forward… Ever wondered why they took the plunge in the first place?

Why those hapless suitors didn't turn around and ride off into the sunset looking for easier kingdoms to win?

A fairy tale, a Shakespeare play, or a parable of life. Choices. Decisions.

Sooner or later we all have to take the plunge The big plunge

- which school, which University, which job, - which investments, which business decisions,

Or the little everyday plunges - what to buy, what to give,

- where to go and what to do first. Today, tomorrow, this week we'll have to take the plunge

or turn around walk away and how long can we keep on walking?

And somewhere the fear, maybe behind the next door lies the monster. But whatever your decisions are there's one factor the stories forgot

Fairy tales may have morals but they don't have God And that makes all the difference

It raises the stakes for the first thing. Every decision a spiritual one

No decision too small and none too big that God doesn't want a hand in it Yet there's no guarantee he'll mark an x on the right door.

We're still left with the choice, we've still gotta take the risk and make the plunge.

But in the background there is music and there are stories Stories of those who took the plunge,

and won or lost. Stories not neatly wrapped in simple morals

but there to help us none the less Enigmatic, mirroring life

helping us to take responsibility Stories like 2 Kings 5.

3 people taking the plunge. 2 choose well, one didn't.

At least the odds are better than the fairy tale. 3 people take the plunge - and Gehazi got it wrong. Why?

Here are some stories to play in the background while you make decisions this week.

Listen closely for your have to write the moral at the end and things may be more complex than expected.

The Slave Girl's Story

Our stories begin as God's stories so often begin not with the high and mighty Naamans,

not even with saints and heroes of the faith Elishas But with the nobodys, the nothings

Our story begins with someone so insignificant she has no name Yet without the slave girls and the servants there would be no story at all

The story starts with an orphan in a foreign land Her parents killed by those she slaves for

Enriched at her expense A young girl believing in a God who'd failed to save her

a girl with no future and little hope And now she faces a choice

Keep quiet and save her people from future Syrian raid? Or put herself aside and have compassion on the enemy

And what, she wondered, did she have to offer anyway


A half-remembered story of a prophet from another world? A tale of faith and hope and God.

But what had God done for her? Nothing in her life gave guarantee of faith

What if God couldn't save? What if God wouldn't save?

What if Namaan returned frustrated, angry, bitter - unchanged? What fate 'ld be hers, then?

It came so close! The stakes were high,

Which door to choose? Better perhaps to remain silent for everyone's sake?

Why take the plunge?

Naaman's Story

'Why take the plunge?' was Namaan's dilemma too. He'd started out with such high hopes

Here at last was the answer With 300 kilos of silver, 100 kilos of gold

He'd buy his way out of his problems But he'd been passed from pillar to post

Sat interminably in waiting rooms And never been given an interview People don't do that to Naaman's, not if they want to live

These foreigners are so barbaric And then snub of all snubs, he'd been told what to do by a servant

As if he hadn't bathed at home, in mighty rushing rivers What could the little murky puddle of the Jordan do?

It seems the prophet couldn't be bothered to do things properly What hope of his God?

Why take the plunge? 'What's the harm?', his servants say.

'What's the harm, Naaman bellowed, when the tabloids get hold of the story?

What's the harm of putting one's self on the line? What's the harm to reputation, career and prospects of appearing a

fool?

But that's only the half of it This God had rejected his money and demanded his life

Seven dips, seven perfect dips in the river Jordan, The seven dips of dedication - that's all he asked

Money cannot buy the grace of God, there's only one price and it’s the same for everyone

Give up the security, give up the protection, give up the old gods And for no guarantee it'll work

The stakes were high, Which door to choose?

Better perhaps to return home, pride in tact, hanging onto old securities Why take the plunge?

Gehazi's Story

'Why not take the plunge?' asked Gehazi What did he have to lose?

Elisha hadn't a clue He'd 've starve to death without Gehazi to do the finance

And here he was, offered the fortune of a lifetime Israel's fortune stolen in the first place

Now freely returned Didn't the law require, Gehazi mused,

Didn't the law require that free will offerings be given to prophet and priest.

What couldn't they do for God with this gift behind them.

Besides it'd be bad for Naaman's faith to think that God was some Santa Claus

Would he really remember the Lord if it cost him nothing? Better by far to take a small gift. Two talents of silver, two changes of clothing

Hardly a dent on Naaman's fortune A win-win situation

No risks at all if he could pull it off

sound convincing deceive a prophet


No… risks…. at… all Which door to choose?

Better perhaps to put self aside and scrimp and save and limit the work of God?

Why take the plunge?

Conclusion

Why take the plunge 3 people did - and Gehazi chose unwisely.

But this is no fairy tale where the monster takes all. The End God's in this story and that makes all the difference

There's no 'the end' to this story. Just a new chapter to follow A new chapter for Gehazi,

A new role, a new chance A chance to choose more wisely

A chance to buy again the grace of God that costs nothing but your life And as for us, facing our own decisions

There's no cross over the door, just stories to guide us Enigmatic, foolish, risky

And yet they carry hope Hope that small choices, hard made

can …. in the hands of our God be mighty acts of healing


Palm Sunday Context: Preaching a middle class congregation in Cambridge 2013. Aim: To invite people to find themselves in the Easter story and re-orientate their story to

Christ. Readings: Luke 19.28-40

Introduction

So here we are at Palm Sunday Lent is almost over

Easter eggs beckon But first there's Holy Week - the triumphal entry

but triumphant for who? The 3 days of temple teaching

The poignancy of Maundy Thursday The brutality of Good Friday The emptiness of Holy Saturday

Advent, Christmas, Lent, Passiontide, Easter, Pentecost

7 months the church takes to tell her story 5 months of ordinary time

and the story begins again. And maybe, sometimes, we feel like we've heard this story before

and before and before will it be any different this year?

Christmas and Easter - glorious celebrations God with us, Immanuel

God's love triumphant over all we throw at him It's hard enough, really getting into them

without worrying about Advent, Lent and Passiontide? And, speaking only for myself, however hard I try

Christmas and Easter tends to be all it is Lenten avoidance of chocolate biscuits

and counting my Christian Aid blessings was just a bit patchy this year.

Stories mould and shape us There's our own individual story

the ravelled plot of our lives, the ups and downs that bought us to this place, this pew today

and there's the stories we recite to ourselves I'm not good enough for God but at least I'm better than him or they're out to get me, but I won't be got

And there's the stories society throws at us Apocalyptic stories of an ecological nightmare or an Islamic conspiracy Nationalistic stories that declare the country's going to the dogs

but at least we're superior to Cyprus Political stories that claim we must tighten our belts

That cutting benefits will be our saviour We abide in our human stories

And even when we know God has a story too God too easily becomes a bit player in our story after all, isn't he's really an Englishman…

No wonder the Church has to tell its story again and again God's Passiontide story is so radically different

its freedom but not as we've known it it's a love so utterly other

that none of us have even begun to grasp it no matter how often we've heard the story

This week we hear the mother of all stories, that challenges every story And today God offers it to us, to be our story.

We are invited to step once more into the Easter story And its only by abiding in the story this week

that we'll ever really grasp the love that is Easter Sunday.

Palm Sunday

So here we are once again at Palm Sunday We've lived or failed to live Lent

We're here in whatever mood life's left us Joyous and upbeat, sorrowful, angry, bitter, hopeful or afraid

And we see once again Jesus setting out ahead of the disciples, going up to Jerusalem

9 chapters ago Jesus set his face to Jerusalem Stepped out on the long, slow road to the cross

Just as we set out, perhaps unknowingly on Ash Wednesday Much has happened since then


As a church we've walked through all of James' sermon series Searching the Self

Fruitful Fasting Active Accounting

the paradoxically difficult but fruitful disciplines of faith and for us and for Jesus there's been a cross shaped shadow over

everything But now we are on the cusp of arriving

Perhaps we find ourselves part of the rag tail bunch of disciples struggling behind in that long, hot arid desert climb to Jerusalem. or perhaps we've the privilege of being commissioned by Jesus

to do what the Lord needs but the instructions are mysterious and we haven't really a clue what we're meant to do.

or maybe we're the owners of something Jesus seeks will we let him take what he needs?

or perhaps we're already in Bethany and we've heard a rumour that Jesus is coming

shall we go out and see? out of joy… or curiosity

or is there much too much to do at home. or are we t'other side of town oblivious to everything?

Are we the disciples spreading our cloaks? reaching out to set him on the donkey

praising God joyfully for the deeds of power we've seen or are we in the crowd looking on, feeling left out

or utterly embarrassed by this ever so un-British display of emotion. Or are we with the Pharisees wishing the dratted crowd's 'ld shut up

Passover's a dangerous time The city's already battened down against the hordes

Prepared for the drunken riots, the sectarian clashes Fortified by another detachment of Romans keeping the Passover peace

in their heavy handed way Peace there might be in heaven, but there certainly won't be peace in

Jerusalem if the crowd keeps this up much longer What fool 'ld let his disciples call him king at Passover?

Israel's story

For you see behind our story there's always an older story Behind Holy Week is the story of Passover

a story at odds with the story of Rome and reality A story of God, setting his people free from Egypt

rendering powerless, the powerful Pharaoh giving hope to the hopeless

It led into a story of a shepherd boy turned warrior king David who conquered Jerusalem - and chose to abide there

a golden age, God's age of peace, and prosperity. But golden ages never last long in this world

and the kingdom turned in on itself, divided and fell So the story continues with the destruction of Jerusalem and refugees

unwelcome then, as now, in makeshift camps far from home and so their prophets told the old stories all over again

dreamed dreams of God setting his people free of hope for the hopeless of a new David once again overthrowing the Philistines a David who'd return triumphant and victorious yet humble and riding on a donkey

By and by the people did return to Jerusalem but the dreams weren't fulfilled

the Persians, then the Greeks, then the Romans ruled over them and there was never any peace

high hopes; deep disappointment but every now and then someone revived the old story

indeed barely 100 years before Jesus came riding on his donkey, a small group of Jews, the Maccabees entered Jerusalem with palm

branches, kicked out the Greeks and cleansed the temple. only to lose it all to the Romans

and now here comes another who chose to ride on a donkey…

Our story - touch in to each of these

Story within story The story of Israel within the story of Jesus, within the story of God

and today God offers it to us, to make it our story


Come abide in this story this paradoxical story of God setting us free

of joy mixed with suffering of hope for the hopeless in the midst of disappointment

wherever you are now you fit in this story And on Palm Sunday it doesn't matter

Whether we are with the disciples or the Pharisees Come Good Friday the disciples are no better than the Pharisees

It doesn't matter whether we are in the middle, on the edge or right off the Palm Sunday picture

A lot's going to happen to Jesus this next week And at some point, if not now, Jesus will be wherever we are

whether in joy, or in sorrow, in fear, disbelief or hope And when he reaches where we are, there'll be an invitation to

walk with him the rest of the road to Calvary and beyond If we will abide in the passion tide story, find our place in it

Then we too will rise on Easter Sunday, finally set free

and we will know that as the Father has loved Jesus, so much has Jesus loved us.


God's Call to Jonah Context: Preaching to ordinands who have just completed placements. 2000 Aim: To encourage people to keep on responding to God Readings: Jonah 3, Hebrews 9:24-28, Mark 1:14-20

Take 1 – an eager Jonah

Scene 3, Take 1: Roll the cameras The cameras pan across a burnt and barren desert.

A shimmering sun shines down and a young man strides purposefully across the screen.

In the distance dazzling white walls dance a mirage, a mighty metropolis in the middle of nowhere.

The steps quicken this is a man with a purpose, a man in a hurry. Called by God, given a second chance,

a repeat performance, this man has learnt his lesson.

With eager step he hastens to the appointed task, the fulfilment of his vocation, the person he is called to be.

No sooner has he entered the great towering gates than he calls out this urgent message,

the prodigious plea for penitence. (from offstage:) CUT. Don't like it. Try again

Take 2 - a reluctant Jonah

Scene 3 Take 2: Roll the cameras The cameras pan across a burnt and barren desert.

A shimmering sun shines down and a young man, his head hung low, drags his feet and dawdles across the screen.

In the distance dazzling walls dance a mirage and the leaden steps get slower… and slower….

With heavy heart he enters the towering gates of this distasteful task. Called by God, compelled by God

he has come for he can do no other. And boy does he know it.

Surly, sullen, resentful, he stops far short of his goal. In a choked congested cry he delivers a mangled minimalist message in

obedience and high tails it back out of the gate.

(from offstage:) CUT No try again

Take 3 – an angry, bitter Jonah 3

Scene 3 Take 3 The cameras pan across a burnt and barren desert.


In the distance dazzling white walls dance a mirage. He stops, sparks sear from his eyes as he stares at the loathsome city,

the violent, vicious, victor of his nightmares. The murdering, malicious, metropolis that had so cruelly destroyed all he

held dear, whose wickedness had reached to heaven.

Fear and dread that once had driven him to flee now burned in bitter anger.

Through the towering gate he strode smouldering resentment kindled finally to great outburst

a thundering condemnation: Forty days, FORTY DAYS (from offstage impatiently:) CUT

Take 4 - the disciples

(SIGH) Scene 3 Take 4 The cameras pan across a burnt and barren hillside.


In the distance dazzling blue water dances a mirage. He hastens his steps for this is a man with a purpose, a man in a hurry.

Called by God, he hastens to the appointed task, the fulfilment of his vocation, the person he has ever been.

No sooner does he reach the shore than he calls to the fishermen. A call loaded with vocation.

Without pause - for (theological) reflection - the young men jump from experience to action. Preposterous!

Was it the irresistible call of the Master

or the boredom of a banal existence.


Or the need to be needed? Who knows?

but unlike Jonah these men needed no second call.

If only it were that simple. If only we were to proclaim the good news of the Kingdom of God and

everyone were to leave their nets and follow… If only we had to cry out injustice and the world would repent in sackcloth

and ashes… If only it were as easy as the bible stories suggest… Or do they? What if our biblical stories are not about call at all?

What if the call is only the beginning, a smoke screen for the real work of God?

What if, our eager, unreflecting, obedient fishermen are an ironic counterbalance to the dismal deserters who flee in failure at the end of the gospel?

What if their real vocation is still hidden? What if Nineveh is a parody, a preposterous perversion of reality? Nasty

Nineveh responding to reproof in a way God’s people never did. Absurd. Ridiculous. Outrageous.

No wonder Jonah stayed to watch. God might be hoodwinked, but Jonah never.

It wasn’t real, it wouldn’t last, just you wait and see… And now, now only in chapter 4 could the real work begin.

The work of transformation, the work of vocation. Jonah, God’s people’s representative had responded,

maybe eagerly, maybe reluctantly, maybe with mixed motives, take 1, 2, 3 or 4. It doesn’t matter.

Jonah had responded and God could begin. Begin to transform Jonah into the person he was called to be.

Jonah responded, Simon, Andrew, James and John responded,

We have responded and the real work has begun. The work of Christ-like transformation, redemption, vocation.

The becoming of the people we are called to be, made to be. Priests of the kingdom of God.

The question is not 'have we responded' but 'will we keep on responding?'

keep on proclaiming the gospel to ourselves & to others? Not just when the placement is good but when the ministry honeymoon

comes to an end. Not just when ministry is a privilege but when we are called to minister to

the unlovable, the arrogant, power hungry, obstructive, destructive, Ninevites in our world.

Not just proclaim the good news of the kingdom of God’s love but the harsh demanding news of judgement

Or should that be… the harsh news of the all-demanding Kingdom and the good news of

God’s loving judgement? And maybe it doesn’t matter that we fail along with the disciples,

that with Jonah we come half-heartedly, with mixed motives, on the second chance

Maybe its enough for the real work of God to begin. Our formation, our transformation, the transformation of the world.


I'd never have Chosen Us Context: Preaching to a middle class, fairly biblically literate church in Bristol. 2000 Style: first-person narrative. Aim: To encourage people to consider that God might want to use and choose them.

Reading: Genesis 12

I hope your imaginations are in good form and you can imagine yourselves back 4000 years ago.

The Call

Some men are impossible! You wouldn't believe the things my Abram comes out with and all in the

name of God He says, God's changed our names.

It seems he's to be A-bra-ham and me Sarah Why us I want to know. Why should God be so interested in us?

Wouldn't surprise me if he was imaging it. Wishful thinking if you ask me. Changing his name to Abraham - "father of

multitudes" with me barren and all. What sort of God would rub salt into the wound?

But then he always was one to think God talked to him. Thank goodness one of us remains level headed

Why would God want to talk to him? Why would God want to keep on talking to him? There's nothing special about him.

Yes, Abram always was one to think God talked to him... And sometimes God did...

but it was left to me to work out when... Like the first time it happened...

Abram comes up to me out of the blue and says "Sarai we're off. God's told me to go."

'Come off it' I said to him. "Come off it" "Like God told you that the Haran Harriers were going to win the

Mesopotamia Cup and God wanted us to have tickets. Come off it. You're imaging things.

Act your age, you can't go wondering off, destination unknown, like some teenager on a gap year.

You've got responsibilities. You've got to think of Lot's education.

You've got to think of the family herds. You've got to think of the pension fund.

Well it didn't do no good. Bless me, when he gets an idea in his head there is no budging him.

"Faith" he said, "Sarai you must have faith. Faith spelt R I S K" He always had itchy feet, my Abram.

Got it from his father. We were hardly married and he upped and offed with us all

Years we spent wandering around.. How I wished we could be like the others.

Coming back to the same town when the pastures ran out. Settling down, getting to know people, being a part

But he always wanted somewhere new. That is until we got to Haran. And now, just as we'd got settled, he wanted to be off again.

Couldn't tell us where. Just said "Trust me". There was no budging him, so off we went - sheep, servants, and nephew

- the Lot. Seems God didn't want us settled, seems God wanted us always seeking

Funny though, to think that God should call us I wouldn't have chosen us, if I was God.

The Wanderings

Well we'd been travelling for months when out of the blue, Abram comes up to me and says, "This is it. We've arrived"

"To our offspring God's going to give this land" "Come off it" I says to him. "Offspring?"

"You're imagining things. You've missed the boat. The Canaanites got here first and they seem to think God's given it to them.

Anyway why would God want to give us this land?" Well there's no budging Abram

"Trust me", he said "Have faith God has told me, God has told me he will make of us a great nation. He will bless us and

make our name great and in us all the families of the earth will be blessed...


Talk about a swollen head. "God blessing us that we might be a blessing" Whatever next. Well I did my best. I tried to bring him back to earth

Told him he might be a bit more of a blessing if he did a few jobs around the tent

But there's no budging Abram when he gets an idea in his head. Funny though, couldn't help hoping that Abram was right

Blessed to be a blessing. The world could do with a bit of blessing But us, why choose us? I wouldn't start with us if I was God.

And what if God really did want to use us What would it mean....

You know... sometimes I wish I had his certainty, Abram's I mean... that inner voice, that assurance... the faith to leave everything for God

If only God would speak out loud, put it in writing, let me know for sure You know I'd even settle for getting God's message indirectly through

Abram, if only I could be sure he wasn't imagining it. But somehow God allows leaves me to figure it out from common sense and

circumstance. Sometimes they are more reliable...

"Claim the land, that's what God wants me to do", said Abram And so we did, from top to bottom, straight into the arms of a famine

And still we went on, unwelcome visitors in a barren land Finally I flipped.

'Promises' I said to him. 'Promises! What sort of promises are they? There's no grass, there's no water, and soon there's no flocks.

And you call that blessing? Lets go back, please go back.

But there's no budging my Abram. God 'ad told him to go south and south we were going.

He would not give up on God.

Well we were in a right state by the time we got to Egypt. So much for the flocks and the herds and the wealth we'd set out with.

So much for Abram's faith. And then out of the blue Abram comes up to me and says 'Pretend you're my

sister.' "Come off it", I says, "Its not right, surely this time you're imagining it"

But there's no budging Abram. "Trust me" he says, "have faith, they'll kill me if you don't."

And when Pharoah's officials came, he just stood there. All those miles, all those years I'd stuck by him

And he just stood there, too afraid to say anything. Faith in God to protect him, faith in the promises, my foot,

Abram had faith no bigger than a mustard seed. When the crunch came....

Well, as for me I told God what I thought. "God of Abraham", I said, "What sort of God are you?

Promises - you call those promises? Blessings - you call this blessing?

Oh what I would have given for an inner voice of assurance, a word from God.... Nothing

And then when I had given up all hope, all faith, all trust, God answered, as he's always answered me, not in words but in events.

Seems I was right after all, seems this time Abram had been imagining it Next thing I knew, there we were, Abram and I back on the road, sheep,

servants, the Lot back on our journey, back seeking God

Blessed after all, in a strange sort of way. Yes I went back to him.

It wasn't his fault The officials would have come anyway

And they could have killed him. But I couldn't help wondering if we'd failed God, him and I?

What sort of faith did we have? What sort of blessing had we been?

Had we mucked it up, good and proper? And then I got to thinking Well what did God expect, if he chose people like us?

God ought a have known better He ought to a known what my Abram was like.

Perhaps he did? Perhaps he chose us anyway

Perhaps we were the models he wanted, Perhaps this was only the beginning... of a journey into faith.


Zacchaeus Context: Preaching to Ordinands in training – so rather more cerebral than would be

used for a church congregation. 2001 Style: first-person narrative. Aim: To encourage people to continue in their extravagant impossible dedication

because they are loved.

Reading: Luke 19:1-10

Introduction

How did I end up here, today, I've asked myself all week? How did I end up here, about to reveal my most embarrassing moment?

...ummm well maybe not my most embarrassing...

...but the most stupid, most extravagant, most impossible thing I ever promised ...and failed to keep...

How did I end up here, about to admit it all in public? Well, believe me I am only admitting it to set the record straight.

Indeed it's already public property, you know all about it... no thanks to Luke Zac, he said to me, Zac I am putting your story in my gospel,

a fitting conclusion, a grand ministry finale before HE climbs that long and lonely hill, love-

driven to Jerusalem. and so Luke did, without a by my leave.

And thus I find myself already the subject of your speculation so maybe I can be forgiven for speculating just a little more myself, now its

public property.

Ode to a tree and impossible promises

Not that it ever was very private - that intimate encounter played out in the presence of the whole population, in the presence of jealousy, fear, injustice, despair,

concentric worlds at war with each other. There never was the luxury of private faith.

only the inability to live publicly faithful. Oh the indignity of being caught by all, up a tree, up a tree, how undignified, me,

chief of customs O tree of my humiliation, forbidden tree, what prompted me - -

to run, heavens forbid, to you,

why did I think that I could hide privately within your canopy, you of all trees

For all know you are a fickle tree, known by its fruits, inferior figs, only fit for the beasts, what a place to die - the standard coffin wood tree.

O tree of my salvation, for so I thought, tall where I am small, Have you not got healing leaves, balm for the wounds of the time, evergreen hope for a world at war

O tree of contradictions, humiliation, salvation, a good tree, a bad tree, image of my soul. Yet no place for me.

"Hurry and come down” he said, “its not for you to hang upon a tree." So I came down, wrong foot first, straight into it.

Promises, promises, promises - how glibly we make them.

Decide in haste, repent at leisure, and what leisure I was given. Look Lord, half of my possessions I will give to the poor, and if I have

defrauded any one, anyone, anything 4x, 4x I will pay back How could I have been so stupid to promise God so much?

Astute businessman, couldn't I see he was after - everything? No, not everything, not my burnt offerings, not my glib praise and cosy

complacency, my self-absorption in the small world of my making while the wounds of the oppressed wept and expired.

No, not everything, just all. Couldn't I see where those extravagant promises would end up if I actually

fulfilled them? No job, no status, no security

Deskilled, defenceless, disorientated At the mercy of what ever need God sent to me Called to hope, pray, act with no resources left? I couldn’t do that, not when it came to it, I couldn’t go through with it

Why couldn't I see where I would end up (gesture to cross), if I promised God all? Couldn't I see I was setting myself up as public failure no 1? Couldn't I see I was about to fail the only one who ever put faith in me? Impossible promise to fulfil - why did I make you?


Why did I promise?

Why, why, why? Even now I wonder why I said it, looking deep within. Was it self defence? No promise at all?

All those crowds, murmuring, muttering, gnawed by jealousy. What if Jesus listened? What if he believed them?

What if he turned away, passed by, went on? See Lord, look at the sort of person I am, giving generously, restoring fully

whenever there is fraud, obeying the Torah (or something like it). See already I fulfil the injunction of Isaiah - honest I do.

Even now my words get distorted, pushed into the future. I didn’t say ‘I will do this’ but ‘I do, do this’, can't people read Luke's good Greek anymore?

I simply do my job, that's the way the job is, that's the way the world is It feeds my family and how can I help it if people are jealous of the

blessings God has given? Oh for the bliss of being vindicated when all the world is against you.

Was I driven by self defence... or was it good business acumen? Was I hanging on to that little known but oh so useful rabbinic ruling.

If a businessman should confess before trial, no fine can be imposed. Very useful when the world is closing in upon you.

Or... or was it simply shamefaced guilt. Oh what dishonour, oh what shame, to have the past catch up with you in

the presence of almighty God. There he was, standing, staring, saying not a word, while all around the

deafening whispers ricocheted their accusations: Sinner, sinner, SINNER, SINNER!

How fear and guilt drives us to do anything, say anything, promise anything, just to earn our own reprieve.

And how quickly those promises fall away when the eyes are turned elsewhere.

How fickle the vows fuelled by fear Was it self defence, shrewd calculation, shamefaced guilt under the scorching

condemnation of a fearsome God that led me to such a rash impossible promise?

No, no, no, NO! ....Well ok, maybe, there's a grain of truth somewhere in all of these,

lets not fathom the murky motives of my heart

Lets just say that none of those drove me, none were uppermost I made those rash, extravagant, impossible promises because.. I wanted to.

So what if I'd fail them? So what that they were naive, romantic and publicly foolish So what if I was signing my life away

Who cares? I did what I did.... because I had to.

Captured by the Love

I did what I did because I was caught up, bowled over, knocked out, engulfed by love. I will say it again, I know its corny, I know its trite. I promised my all because

he loved me first. I will say it again and again and again

because it is the hardest thing in the world for me to hold on to. No-one loves the chief tax-collector

That God loves you that I can believe.... but who would love me? And yet, Jesus, Lord, Son of Man calls me by name. No longer ironic:

'"Zacchaeus" I name you "Clean, innocent"', for so I was named. Yes Jesus, Lord, Son of Man did not pass by

Jesus, Lord, Son of Man, changed his plans. Chose not to pass through,

Chose to reside, Chose to make himself at home without a by your leave.

Why me? "Why him?" muttered the crowd, Why me? Because.... simply because.

And the only fit response was to lose all to find it To promise all, to give all.

To turn from my own self absorption, and love a war torn, embittered, love less world, with the extravagant self-giving love of God

And Jesus smiled, Today, today salvation, healing, hope to an oppressed world has come Can't you feel the laughter crinkling out of the corners of the page,

Barely suppressed in the twinkling of the eyes He knew, oh how he knew that I was promising the impossible.

He knew how romantic, extravagant, unattainable were my pledges and he cared not a jot.


He knew that I would never trust the security of his love enough to forgo all other securities

He knew I would never give up self to the point where I would rescue the oppressed, defend the orphan, plead for the widow and repay the defrauded as much as I yearned for

But failure diminishes his love not an ounce, Jesus smiled, because in these impossible promises, I had given permission.

Permission for him to turn vows into fact, to fulfil by his power every good resolve and work of faith

Permission for him to take my life from me, that I might find it Permission to send me even here, that my private failings, publicly exposed

might bring hope to the world.

No more rash promises

And now? what now? Now I know better, now I am wiser, more learned, more cynical

No more rash promises when God catches me out. No more failures! Will you follow me? Maybe.

Will you devote yourself to the service of justice? Occasionally. Will you give up all your possessions? Probably not. Will you hold onto hope when all seems hopeless? Hardly likely.

Well, at least I'm honest! Yet though I hide, still he finds me, catches me out,

gets under, over, round my defences, bowls me over with his love and before I know it I'm promising once again to give him my all, enabled to

love by his love. So what that I'll fail to deliver?

So what that I'm giving permission to end up anywhere? So what that its naive, hopelessly romantic, and publicly foolish?

Who cares? And once more God throws back his head and laughs, "Gotcha!"

Today salvation has come to this house Today I, the Lord can take one more step towards fulfilling every good but

impossible resolve. Today the oppressed have hope because I can work in your helplessness. Today my love will start to heal the world through you.

Telling the Old, Old Story · TOOS handbook.docx 3 23/11/2019 Narrative Theology Narrative Studies...

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