People have asked about the prodigal son’s mother, but I’ve never heard anyone ask what Jesus’s parable would look like if the two sons had different mothers. But that’s what I’ve done in this play.
I believe Jesus told this parable to deliberately target honour violence. Compare it, for example, with Deuteronomy 21:18–21, the law of the “stubborn and rebellious son.” It has a very different ending.
What’s more, if you look it up, you’ll see that just before that law there’s another one about a father dividing his property between two sons. Except in Deuteronomy 21:15–17, the sons have different mothers.
That was my hook. And it puts a whole new light on the older son’s words at the end of the parable:
I’m not sure who exactly out there might be looking for a theatre play about the book of Esther, but if you are and you’re reading this, please do get in touch in with me. Because I’ve written one and I’d love for it to be performed. It’s titled: I Will Hide My Name.
For people who don’t know the book of Esther: Haman, the highest official in Ancient Persia, interviews a Jewish prisoner, who appeals to him to spare her life and that of her people. But why is this prisoner wearing the robes of royalty? And does Haman even realise?
For people who already know the book of Esther: Before approaching the king, Esther appeals to Haman to revoke his decree to annihilate her people. He scorns her petitions for peace and only too late does he realise she’s the queen.
Yesterday I spent the whole morning setting up the living room.
clearing stuff off the piano, taking the cover off and lifting the lid;
setting up a t-bar on a microphone stand, putting in pencil mics and connecting them to a pre-amp;
placing a proper camera on a tripod, positioning an iPad (as a second camera) on top of a box, on top of a stool, and then angling it via use of a laptop riser stand (in the featured image for this post, you can see a reflection of the iPad in the piano’s music rest);
collating music books and hymns, printing copies (because books are cumbersome and prone to closing themselves when you least want them to);
bringing down a stool from upstairs that doesn’t creak when I sit on it and shift my weight;
disentangling the living room’s extension flex to serve the iPad whilst it finished charging;
connecting my laptop to the pre-amp and my husband’s computer speakers (the very top of the laptop is just in view behind the piano and tripod).
Oh — and I did a few practice runs before hitting record.
Before Coronavirus, yesterday had been fully booked; playing the piano would have been off the cards. As for spending most of the day setting up a recording studio in my living room, that would have been out of the question.
Like many of the Old Testament prophets, Isaiah spoke about injustice, calling the people of Israel and Judah to account for their actions and appealing to them to change their ways. And I know it’s a cliché but: many of his words, written hundreds of years ago, are deeply resonant today. Things like ending oppression and showing hospitality to the poor.
The thing is though, many Christians reading this passage would frame themselves as being in Isaiah’s shoes; they would use his words to call non-Christians and other parts of the church to account. Yet there comes a point when you can’t escape the fact that at least some Christians are wrong to claim the moral high ground. At least some Christians must be campaigning for causes which aren’t actually just.
So as I thought about this passage over the last couple of weeks, I began to move away from framing it in terms of “Don’t oppress the poor” (which is good advice any day of the week). Instead, I thought of it in terms of “Don’t engage in wasteful campaigns.”
This is a short story / sketch based on the events recorded in Luke 2:41-50. It is told from Mary’s point of view. You can read it and/or listen to me reading it here; to save the mp3 file (~15MB), right click on the audio and use “Save As..”):
We went to Jerusalem again this year to celebrate Passover. It was the third time we’ve been able to do so since Joseph and I returned to Galilee, but still it conjured so many emotions for me.
On the one hand it was good to be amongst family and friends, walking with them and seeing the children play together. On the other hand it reminded me of all that I missed during the years we were in Egypt. I heard the young mothers asking questions of the older women, receiving good advice and homely encouragement. It stung to be reminded how I didn’t have that community and I tried so hard not to begrudge them.
This poem draws on the story of David and Bathsheba, which is detailed in 2 Samuel chapters 11 and 12. A commentary on the poem, what inspired me to write it, and what I’m trying to say with it, is available here.
Good Friday is a day that almost doesn’t need anyone to preach on it – the story speaks for itself. As I was flicking through passion hymns in the book my church uses, I found one I hadn’t heard before by Vicky Beeching called “O Precious Sight”. The last verse is about resurrection, but if you leave it out and just contemplate the first three verses, there is so much there.
So I recorded a cover version and made a video set to photos I’d taken on various travels. It’s not perfect – the photos aren’t all in perfect focus, my singing has room for improvement and I’ve discovered glitches iMovie that means the video flickers in a couple of places. (Sigh.) Nonetheless, I offer this short video for those contemplating Jesus’ cross and the salvation it means for us.Continue reading O Precious Sight (by Vicky Beeching) – a contemplative video for Good Friday→
I don’t want to write a long commentary on this poem, but I will say that as I wrote it, I was reminded of C.S. Lewis’ sermon The Weight of Glory (bold emphasis is mine):
It is a serious thing to live in a society of possible gods and goddesses, to remember that the dullest and most uninteresting person you talk to may one day be a creature which, if you saw it now, you would be strongly tempted to worship, or else a horror and a corruption such as you now meet, if at all, only in a nightmare. All day long we are, in some degree, helping each other to one or other of these destinations. It is in the light of these overwhelming possibilities, it is with the awe and the circumspection proper to them, that we should conduct all our dealings with one another, all friendships, all loves, all play, all politics. There are no ordinary people.
It felt fitting to have the image of steps leading into light as the setting for this poem – the sense of journey and pending entry. But there’s an added layer too: the picture is one I took in a stairwell at Manorbier Castle in Pembrokeshire, which was used in the 1988 BBC adaptation of Lewis’ The Chronicles of Narnia: The Lion, The Witch and the Wardrobe (and which I loved watching when I was growing up). This castle is Cair Paravel, where – in another life, perhaps not so far from our own – Peter, Susan, Edmund and Lucy were crowned kings and queens.
“How do you know me?” Nathanael asked. Jesus answered, “I saw you while you were still under the fig tree before Philip called you.” John 1:48 (NIV)
In recent months I’ve listened to people talk about the destructive relationships that they’ve left, whether that was with their partners or their churches. In some of them, there was a realisation that the person or religion they thought they knew and had fallen in love with, was never there at all. It left them with a cold, shaky, uncertain feeling.
In recent months I’ve had a growing sense of what might be called the opposite: that the one who I needed most was alwaysthere, even when I didn’t realise.
I was tasked with writing a prayer of adoration for Pentecost – and came up with these ways of describing the Holy Spirit. For a while afterwards I wanted to put them to a picture, though it’s hard to find images for the Holy Spirit that do justice to this wonderful person of the Trinity. Imagine my delight then, when I was able to photograph a lectern hanging, whilst visiting a small village Methodist church.
Luke chapter 1 from the pocket New Jerusalem Bible, published by Darton, Longman and Todd
I was contemplating what it must have been like for Elizabeth the mother of John the Baptist. She went through childbirth in her old age, knowing she would not live see her son minister and having to wrestle with the religious and political tensions of her culture. It can’t have been easy. This is an imagined letter written from Elizabeth to Mary (her cousin and the mother of Jesus), inspired by the events told in Luke’s gospel chapter 1, verses 5-25 and 57-80.
Elizabeth, a delighted mother whom God has mercifully remembered in her old age,
To Mary, my dear cousin and blessed mother to be,
Peace be with you.
It seems but a day since you returned to Galilee, and yet I know it has already been some three months. Please forgive me for taking so long to write to you.
When the time came, John was born with mercifully little difficulty. As much as I was overjoyed to know that I would bear a child, and that I could be certain of this because the message had come from an angel of God no less, I have not always had confidence in this promise. I have had to entrust myself to God’s faithfulness each and every day that my frail body would have the strength to carry and deliver this little life into the world. But now it is done and he is here.
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