Tag Archives: the cross

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How Tarantino movies help me read the Bible better

tarantino movies bible

It takes a special sort of artist to be the subject of conspiracy theories that make their work more compelling. Not less. The Internet is full of bad conspiracy theories about art. Theories that draw from the same gene pool as the backwards masking movement from the early days of rock music. Theories that see ghosts operating in the machine. Theories from the Third Eagle of the Apocalypse. Theories are a dime a dozen. There are five that I choose to believe.

  1. Radiohead orchestrated a secret album within two albums called 0110 (previously).
  2. TV writers are trying to organise cross-overs between characters (not actors) from a range of programs that means most of the TV we consume is happening within the dreams of a character named Tommy Westphall from a show you’ve probably never heard of (previously).
  3. Pixar’s movies are all united in the same universe (previously).
  4. The Office UK and the Office US exist in the same universe and thus broke any laws of probability by the exact same day happening in two offices across the Atlantic (previously)
  5. Quentin Tarantino’s movies are all either set in the same universe, or are movies watched by people who live in that universe (more).

What I love about these is they are all (if true) demonstrations of intricate creativity being deliberately laid out over a significant amount of time with a huge degree of deliberation. If true they are the work of master craftspeople. People at the top of their creative games, and at the top of the creative game. The beauty of these theories (well not really the Office one – it’s just fun) is that you don’t have to notice them to appreciate the individual texts (movies and albums) involved, but when you do notice them, or experience them through the lens the theories provide, there is a greater richness in the experience and a greater appreciation of the mastery on display.

I choose to believe that Tarantino is a master story teller. A master of very deliberate decision making in the creative process. I think the best stories are layered. They reward multiple readings (or viewings). They get richer over time, not simpler.

My working theory in this post is that God is the ultimate deliberate creator. The ultimate story teller. And when we drill down into what makes excellent human story telling excellent we gain a new appreciation of the excellence of the story God has been telling since before the beginning of time that includes, but is not limited to, the story told by the Bible (I say this because I think a case can be made that the Bible is a demonstration of the story God has been telling through history since he created the world.

Tarantino’s approach to telling stories through deliberate and intricate plots helps me appreciate the story of the Bible.


Image Credit: IGN, The Intricate, Expansive Universe of Quentin Tarantino.

What the Bible is…

Like Tarantino’s movie corpus which includes all his films, occuring within one universe, the Bible is a collection of books put together across a span of time. Christians believe the creative intent behind the linking of these books and the stories and story they tell is the result of the deliberate creativity of a divine author – God – who doesn’t just deliberately author these texts with a particular creative intent, but all of human history.

The Bible is a set of books that work as discrete units with specific purposes that tell complete stories, books that form part of different genre based corpora (like the Law, the Writings, and the Prophets in the Old Testament. Just as Kill Bill is one story told over two episodes to give Tarantino more space, there are narrative based books of the Bible that come in two parts – like 1-2 Samuel, Kings, and Chronicles. The books in the Old Testament often include a variety of sources and references to other texts in their time – Proverbs, for example, includes references to several foreign kings whose collections have been included in Israel’s official collection of theological wisdom. Genesis contains Jewish versions of stories (like the flood) that are retold by other cultures with other emphases (see, for example, the Gilgamesh Epic). The Bible uses these stories with a particular agenda according to God’s purposes. The Bible doesn’t contain all the stories God is telling in his world, because: a) there isn’t enough room, as John says at the end of his Gospel…

Jesus did many other things as well. If every one of them were written down, I suppose that even the whole world would not have room for the books that would be written.” – John 21:25

b) every human life is a story, and part of this story. Like in Tarantino’s movie universe – All these stories – the stories told in the Bible, and the stories told in history through our lives, are connected through God’s meta-narrative. The story of his son. Jesus.

Like Tarantino’s movies, this story involves an act of hyper-violence. The story of the Bible (at least so far as it claims it is one story) is the story of the lamb slain before the creation of the world – and how that slaying plays out for each one of us. Are we slayers or was he slain for us? How’s this stuff from Revelation 13 for Tarantinoesque… Just let the symbolism of this stuff wash over you – the really important bit is in the bolded verse, but that only really makes sense in its context.

People worshiped the dragon because he had given authority to the beast, and they also worshiped the beast and asked, “Who is like the beast? Who can wage war against it?”

The beast was given a mouth to utter proud words and blasphemies and to exercise its authority for forty-two months. It opened its mouth to blaspheme God, and to slander his name and his dwelling place and those who live in heaven. It was given power to wage war against God’s holy people and to conquer them. And it was given authority over every tribe, people, language and nation. All inhabitants of the earth will worship the beast—all whose names have not been written in the Lamb’s book of life, the Lamb who was slain from the creation of the world. – Revelation 13:4-8

We all play a part in God’s story – either we’re on team dragon or team lamb. And God’s story centres on this one particular violent event. Deliberately. As Peter puts it in Acts 2 when he speaks to the Jewish crowd the narrative of Luke-Acts holds responsible for killing Jesus…

This man was handed over to you by God’s deliberate plan and foreknowledge; and you, with the help of wicked men, put him to death by nailing him to the cross. – Acts 2:23.

This chapter comes soon after (but in volume 2) Luke records Jesus telling us how to read the Bible as one intricate story with one agenda.

“He said to them, “This is what I told you while I was still with you: Everything must be fulfilled that is written about me in the Law of Moses, the Prophets and the Psalms.”

Then he opened their minds so they could understand the Scriptures. He told them, This is what is written: The Messiah will suffer and rise from the dead on the third day, and repentance for the forgiveness of sins will be preached in his name to all nations, beginning at Jerusalem.” – Luke 24:44-47

This mind opening that Jesus performs for his disciples is something like that light that turns on when you hear the theory that Tarantino’s movies are all connected. It’s what happens when you’re given the key to understanding a bunch of stories you’d never quite connected.

Look. The Bible’s writers could have made all this stuff up. Maybe. I’m familiar with the argument about puddles that some people believe does away with the need for an intelligent designer in a fine-tuned universe. And I’m really advocating a view of a finely told story… And this construct Jesus suggests for reading the Bible actually does work, it gives us (or at least me), a particularly satisfying approach to an ancient text, tracing myriad threads through the Old Testament to the foot of the Cross and the feet of King Jesus. This could be the work of some very clever humans. It could be an artificial frame to put around a bunch of random text – as a hole in the ground is a random frame that perfectly encompasses a puddle… But bear with me for a moment.

Consider the crucifixion of Jesus as a massive triumph of deliberate planning. The orchestration of literature, events, and human behaviour. Masterfully woven together. Where written story (the Old Testament) and human history come together in an utterly sublime, but yet totally surprising, way. I love reading essays like I, Pencil (which is also a YouTube video now), or a recent article about Thermos sending a hot coffee by freight across the US, and all the things that have to fall neatly into place in the supply chain to get that coffee from farm to mouth.

I love thinking about the intricacies and deliberation required to achieve certain desired results.

I love the idea that true creativity is about finding an intricate, elegant (aesthetically pleasing), or deliberately and aptly selected (sledgehammers can be creatively applied) approach to achieving such results. This is why I love Rube Goldberg machines and OK Go film clips and uphold them as archetypal forms of creativity or ingenuity. It’s why I enjoy Tarantino movies and the theory they all take place in the same interwoven universe. They are examples of intricate, elegant, and deliberate story telling. But they are not the ultimate version of this sort of storytelling…

What is more intricate, elegant, and deliberate than having human history unfold in such a way that a specific person, born in a specific place, to a specific category of mother, killed by specific people, in a specific way, with specific events plausibly surrounding this specific death? That sounds a little like a potential plot line for a Tarantino movie. The ‘deliberate’ planning involved to get Jesus to the Cross blows my mind…

Consider the deliberate marshalling of human history and events both local and geo-political in order to have Jesus killed through an unexpected agreement between a particular surviving people group from the Ancient Near East (whose very survival was unlikely) – Israel – who believed that being hung on a tree was a sign of God’s curse and their bitter enemy – the occupiers – Rome –  the most powerful human empire and propaganda machine the world had ever seen, who used crucifixion as a violent symbol in a PR war to keep sedition at bay.

Consider the sheer unlikelihood of the rise of Christianity amongst both Jews, with their views on crucifixion – theologically driven, and ancient, and Romans. Jews looked at crucifixion through the lens of Deuteronomy 21, which says:

“If someone guilty of a capital offense is put to death and their body is exposed on a pole, you must not leave the body hanging on the pole overnight. Be sure to bury it that same day, because anyone who is hung on a pole is under God’s curse.” – Deuteronomy 21:22-23

While Romans had the rhetorical power of the cross hammered into them by its use in events like the crucifixion of Spartacus’ army in 73BC. Where 6,000 Roman slaves were executed and displayed for all to see on the Appian Way – a 200km highway between Rome and Capua.

Consider that crucifixion was so violent and barbaric that Roman citizens were not permitted to be crucified. That sort of cultural aversion had to be developed in order for the cross to have its inverted rhetorical power in the Christian story. In order for its sheer unlikelihood as a means of heralding and coronating a king to be significantly subversive.

That’s the level of intricacy in this story’s supply chain.

That’s the sort of creativity involved in God’s story-telling.

Even if the puddle theory could be applied to this level of fine-tuning – there’s a sublime amount of creativity applied to weave all these elements together across genres, languages (from Hebrew to Greek (via Aramaic), through different political regimes (the nomadic patriarchy, the Jewish monarchy, exile under Assyria, exile under Persia, the return from exile, exile under Greece, exile under Rome), and to link them with an incredibly consistent application of tropes, and amazingly intricate intertextuality (both inside and outside the Biblical canon).

Whatever the explanation for the creative force behind this intricacy – be it a cabal of human editors working over that span to advance some sort of nefarious agenda (or simply for creativity’s sake), or divine (and I’m not sure the human alternative is all that plausible, even if I’m a sucker for creative literary conspiracy theories) – it is sublimely creative and exciting. It is deliberate, intricate, and elegant.

This is what sets the Bible’s story apart from the rest, in the same way that Tarantino’s movies sit apart from contemporary works or those within similar genres. But here are three areas where appreciating the deliberation and creativity in Tarantino’s movies helps me to get a sense of the greater creativity at play in the pages of the Bible – a much older text.

Intertextuality

One of the interesting implications of the Tarantino theory (certain parts of which have been confirmed) is what it means for all the movies from our real universe that Tarantino references in his “realer than real” universe and also in the “movies that exist within the realer than real” universe. His movie universe is a movie universe where most of our texts also exist (in order for them to be referenced in whatever homage he chooses to pay them). Curiously. The Bible exists in the Tarantino universe. Pulp Fiction hitman, Jules Winnfield, quotes Ezekiel as he shoots his victims. Only. He doesn’t. This is what Jules says:

“The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother’s keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.”

Ezekiel 25:17 actually says:

I will carry out great vengeance on them and punish them in my wrath. Then they will know that I am the Lord, when I take vengeance on them.”

That’s a distraction from this concept of intertextuality. Intertextuality – speaking to, and with, other texts from within a text, is a sure-fire way to create intricacy and integration.

There’s quite a bit of language in this video that claims to contain every pop culture reference Tarantino makes in his movies. This “definitive guide” goes beyond mentions of other cultural artefacts within Tarantino’s work to explore the way he pays homage to a wide variety of texts. Here’s how the characters in his movies (and the movies of Robert Rodriguez) are interconnected.


Image Source: The Adventures of an Insomniac

The Bible is chock full of cross-references – interactions with other cultural texts, for sure, but the incredible number of cross references between the 66 books that became the Christian Bible is quite amazing. There are 63,000 cross references in the Bible depicted in this graphic.

Bible-Cross-References-Infographic

Some of these cross references are more hefty than others – but the way the Bible links the words of the prophets in the Old Testament with the actions and words of Jesus is pretty stunning story-telling (more stunning if the connections are what actually happened, not just things creative writers invented – and I believe they are). This sort of intertextuality is Tarantino on steroids – that definitive guide to Tarantino, impressive though it is, contains 179 examples. Examples from one guy. From 18 of his movies. This infographic depicts about 352 times the number of references Tarantino managed, from 66 books, written by about 40 authors. The Bible’s intertextuality, in my opinion, is significantly more impressive because of the integration of the creativity of so many people, over so long, to tell a coherent story that also does both pop culture references and references within the universe of the Biblical texts.

As far as I’m concerned there are two options with the Bible. It is definitely an amazingly integrated story full of deliberation, intricacy and elegance – transcending a bunch of archaic genres that we aren’t particularly well equipped to grapple with. This story is either fiction, invented by a string of genius Tarantino like humans, operating across cultures, or it is truth, divinely authored through a string of genius Tarantino like humans. I like the concluding remarks from the essay I, Pencil mentioned above, at this point. I think what is true in this paragraph about the making of a pencil is truer about the writing of the Bible.

“I, Pencil, am a complex combination of miracles: a tree, zinc, copper, graphite, and so on. But to these miracles which manifest themselves in Nature an even more extraordinary miracle has been added: the configuration of creative human energies—millions of tiny know-hows configurating naturally and spontaneously in response to human necessity and desire and in the absence of any human master-minding! Since only God can make a tree, I insist that only God could make me. Man can no more direct these millions of know-hows to bring me into being than he can put molecules together to create a tree.”

The use of tropes (type-scenes, reoccuring metaphors, images, objects, patterns, or ideas) in both narrative and meta-narrative

Tarantino has certain trademarks – some more offensive than others – that reoccur throughout his movies. These serve to link the movies together as ‘Tarantino’ movies. They are part of his distinctives. They are part of his personality.

The Bible is chock full of trademarks, or motifs, that reoccur across different books. There are also threads that carry the narrative across these books, through the cross references depicted above, to link the books of the Bible as one unfolding story. That’s part of the added appeal.

Here are just a few.

1. Women who can’t conceive falling pregnant and giving birth to a miraculous child after being visited by a messenger from God, the child then plays a significant part in God’s rescue plan. Starting with Abraham and Sarah (Isaac), then Jacob and Rachel (Joseph), then Sampson’s parents (his mother isn’t named), Elkanah and Hannah (who have Samuel), Zechariah and Elizabeth (John the Baptist), then, of course, Mary – the most unlikely mother – gives birth to Jesus.

2. Animal interactions as indicative of God’s judgment, or humanity’s obedience to God. From the snake in the garden, to Balaam and his talking donkey, to Jonah and the whale, to Elisha and his attack she-bears, to Sampson and David ripping apart lions and (not tigers) bears as signs of strength, animals are a reoccuring plot device in the Bible.

3. Gold. There’s Gold in Eden, at the start of the Bible, and from there on, gold (and the jewels also mentioned in Genesis 2) becomes like a thermometer that tests the temperature of humanity’s relationship with the creator and his world. The gold is plundered from Egypt during the Exodus, used to make a golden calf when Moses gets the 10 Commandments, used to construct the Temple and the clothes of the priests, and then the temple treasures are handed over to the bad guys on Israel’s road to exile.

4. Character names as determinative puns. Right from Adam, whose name means “of the ground” to Jesus, whose name means “God with us” – the Bible uses character names to move plot, and indicate where things have changed – for example, when Abram’s name is changed to Abraham.

5. Numbers. The Bible uses reoccuring numbers – like 12 (tribes and disciples) and 40 (days of rain for Noah, years in the wilderness for Israel, days in the desert for Jesus) – to link stories and events.

There are also tropes within books. Genesis, which starts in the Garden, spends the rest of the book playing with the idea of ‘seed’ – including the weird story of Onan. Judges is full of people killing using improvised weaponry. 1-2 Samuel reads like a mafia novel – Kings (or Godfathers) rely on their hitmen (Abner for Saul, Joab for David) to carry off increasingly nasty hits. Quite a few books in the histories section involve stories about people building markers to recognise significant places or events that are said to “remain till this day”…

My favourite thread that helps carry the narrative is the good old “image of God” thread – which isn’t just about the ideal human and our relationship to God, but is a constant criticism of the idolatry of the nations that Israel keeps taking up. People are meant to be living images of the living God, but they’re so keen to make dead images (still, wooden, stone, or metal) of dead gods. This thread helps explain the prohibitions against making images of God, and the problems Israel have with being the people God wants them to be. The Bible is pretty clear that the things we make our gods shape us. When Israel is shaped by the living God things are good (this doesn’t happen often), when they are shaped by idols, they die. This carries through to Jesus, who the Bible tells us is the image of God. Who transforms dead people who have turned away from God into live people, reconnected with God. It’s a big story of recreation – the end of the Bible, Revelation, is a perfect world, with a Garden, where God is present with people restored to his image.

The individual integrity and brilliance of the parts but greater integrity and brilliance of the canon

I like some Tarantino movies better than others. I can appreciate things about his movies that I don’t like. But this Tarantino universe theory – and the ingenuity underpinning it – excites me. It opens up new ways to appreciate each movie. The connection to something bigger makes the individual movie richer. Each movie stands on its own. Each movie is a coherent and discrete unit. But they’re linked – not just by the name on the can. Tarantino. But by the use of tropes, by the intertextual approach, the signature style, all that stuff. The more aware of this stuff I am, the more I appreciate about Tarantino’s work.

It’s the same with the Bible. Each book of the Bible offers something different (maybe with the exception of Chronicles as they relate to 1-2 Samuel and 1-2 Kings). Each stands alone as art. Each is a work of creativity. Each has a relatively clear meaning and purpose – but this clarity becomes richer with time, the more one understands the creativity at play in the text. The books that take a narrative form stand alone as stories with beginnings and endings. With characters. With a purpose. With the artistic development of ideas and images. But what makes the Bible really sing is when each book takes its place next to the others as this unfolding story. God’s story. The story that brings all the tropes, all the threads, all the events, together in one person. Jesus. God’s king. The king anticipated by the Old Testament. The author writing himself into the story in order to be known. The master story teller who becomes part of the story, and dies for the sake of the characters he loves. That’s when the story becomes deliberate. Intricate. Elegant. And a model of creativity at its most sublime.

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Cicero (and Paul) on the cross

I’ve been trying not to go nuts posting stuff from my project. But here’s a cool contrast between Paul and Cicero that I think explains their differences when it comes to oratory.

Cicero on execution using a cross, Pro C. Rabirio Perduellionis Reo:

“Even if death be threatened, we may die free men; but the executioner, and the veiling of the head, and the mere name of the cross, should be far removed, not only from the persons of Roman citizens—from their thoughts, and eyes, and ears. For not only the actual fact and endurance of all these things, but the bare possibility of being exposed to them,—the expectation, the mere mention of them even,—is unworthy of a Roman citizen and of a free man…”

Paul on the message of the cross, First Letter to the Corinthians:

For the message of the cross is foolishness to those who are perishing, but to us who are being saved it is the power of God… we preach Christ crucified: a stumbling block to Jews and foolishness to Gentiles.

One of Cicero’s modern biographers, James May, said Cicero – who was martyred for his love for Republican, rather than Imperial, Rome – presented himself as.

“the patriot, true and unfailing, ready and willing to put his life on the line for the survival of the state—in fact, he is in a way the symbol, even the literal embodiment of the Republic.”

Here’s an example from on of his famous final speeches, the Orationes Philippicae:

“I defended the republic as a young man; I will not desert it as an old one. I despised the swords of Catiline; I will not fear yours. Indeed I would gladly offer my body, if by my death the liberty of the state can be immediately recovered, so that finally the suffering of the Roman People may bring to birth what it has long since labored to produce. For if twenty years ago in this very temple I said that death could not be too early for a consular, how much more truly will I now say, for an old man!”

I reckon 2 Corinthians 4 is Paul’s handbook to Christian persuasion…

Therefore, since through God’s mercy we have this ministry, we do not lose heart. Rather, we have renounced secret and shameful ways; we do not use deception, nor do we distort the word of God. On the contrary, by setting forth the truth plainly we commend ourselves to everyone’s conscience in the sight of God. And even if our gospel is veiled, it is veiled to those who are perishing. The god of this age has blinded the minds of unbelievers, so that they cannot see the light of the gospel that displays the glory of Christ, who is the image of God. For what we preach is not ourselves, but Jesus Christ as Lord, and ourselves as your servants for Jesus’ sakeFor God, who said, “Let light shine out of darkness,” made his light shine in our hearts to give us the light of the knowledge of God’s glory displayed in the face of Christ.

But we have this treasure in jars of clay to show that this all-surpassing power is from Godand not from us. We are hard pressed on every side, but not crushed; perplexed, but not in despair; persecuted, but not abandoned; struck down, but not destroyed. 10 We always carry around in our body the death of Jesus, so that the life of Jesus may also be revealed in our body11 For we who are alive are always being given over to death for Jesus’ sake, so that his life may also be revealed in our mortal body. 12 So then, death is at work in us, but life is at work in you.

13 It is written: “I believed; therefore I have spoken.” Since we have that same spirit of faith, we also believe and therefore speak14 because we know that the one who raised the Lord Jesus from the dead will also raise us with Jesus and present us with you to himself. 15 All this is for your benefit, so that the grace that is reaching more and more people may cause thanksgiving to overflow to the glory of God.

Why don’t we see more thrones hanging on our church walls?

A while back I sparked a minor outrage in the Australian evangelical corner of the blogosphere when I suggested that if we were going to be the type of people who wore icons we should wear empty tombs rather than crosses.1 I’m wondering if instead of empty tombs we should wear thrones. If we really want to celebrate where Jesus is at now… actually, lets not make it a dichotomy, or a trichotomy. Lets do all three. Maybe a charm necklace with a cross, an empty tomb and a throne. If there’s one thing Christian culture likes its a bracelet to remind them of significant truths. This may not be a four letter acronym wristband (FLAW), but it could have better production values. You could make them out of appropriate precious stones, with cheaper versions so as not to be exclusive, in fact, in a “last being first, first being last” manner you could sell the cheap material for more. They would sell millions. Does anybody want to help me sell them?

We could do it Ezekiel style (chapter 1):

26And above the expanse over their heads there was the likeness of a throne, in appearance like sapphire; and seated above the likeness of a throne was a likeness with a human appearance. 27And upward from what had the appearance of his waist I saw as it were gleaming metal, like the appearance of fire enclosed all around. And downward from what had the appearance of his waist I saw as it were the appearance of fire, and there was brightness around him.”

Or Revelation style (chapter 4).

2At once I was in the Spirit, and there before me was a throne in heaven with someone sitting on it. 3And the one who sat there had the appearance of jasper and carnelian. A rainbow, resembling an emerald, encircled the throne. 4Surrounding the throne were twenty-four other thrones, and seated on them were twenty-four elders. They were dressed in white and had crowns of gold on their heads. 5From the throne came flashes of lightning, rumblings and peals of thunder. Before the throne, seven lamps were blazing. These are the seven spirits of God. 6Also before the throne there was what looked like a sea of glass, clear as crystal.


1 I reckon I would’ve gotten away with the basic idea of the post had I said “best symbol of our hope” rather than “best symbol of the atonement”…

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Stupidity, and rumours of stupidity

I’m calling for a retranslation of Matthew 24:6. We’re living in strange times. With strange people. Here are some media stories about public Christianity that have grabbed my attention in the last few weeks.

A UK judge ruled that a Christian sex therapist could not refuse his services to a gay couple.

‘Law for the protection of a position held purely on religious grounds cannot therefore be justified. It is irrational, as preferring the subjective over the objective. But it is also divisive, capricious and arbitrary.’

‘We do not live in a society where all the people share uniform religious beliefs.

‘The precepts of any one religion – any belief system – cannot, by force of their religious origins, sound any louder in the general law than the precepts of any other.

‘If they did, those out in the cold would be less than citizens, and our constitution would be on the way to a theocracy, which is of necessity autocratic.’

‘The law of a theocracy is dictated without option to the people, not made by their judges and governments.

‘The individual conscience is free to accept such dictated law, but the State, if its people are to be free, has the burdensome duty of thinking for itself.”

I didn’t know the English had a consitutional right to sex therapy. Forcing people to act against their conscience in the interest of “freedom” seems pretty odd to me.

But England is pretty messed up, just days later a Christian street preacher was arrested for privately telling (according to the reports) an off duty (gay atheist) police liaison officer that he believed homosexuality was a sin.

Whether or not homosexuality is a sin (I believe it is) is not the point here – whether or not we can voice opinions over things we disagree with is a much more important issue. I’m not sure why an atheist (which the complainant claims to be) would be offended that a God they don’t believe in thinks their conduct is sinful – especially when he defines every person as sinful, and every sin as essentially genetic (an inherited trait).

Things aren’t much better in the US – where a judge just ruled that the cross is a symbol for everybody – not just Christians. Much to the chagrin of atheists and Americans of other religions… here’s a section of the transcript.

MR. ELIASBERG: It doesn’t say that, but a cross is the predominant symbol of Christianity and it signifies that Jesus is the son of God and died to redeem mankind for our sins, and I believe that’s why the Jewish war veterans —

JUSTICE SCALIA: It’s erected as a war memorial. I assume it is erected in honor of all of the war dead. It’s the — the cross is the — is the most common symbol of — of — of the resting place of the dead, and it doesn’t seem to me — what would you have them erect? A cross — some conglomerate of a cross, a Star of David, and you know, a Moslem half moon and star?

MR. ELIASBERG: Well, Justice Scalia, if I may go to your first point. The cross is the most common symbol of the resting place of Christians. I have been in Jewish cemeteries. There is never a cross on a tombstone of a Jew.

(Laughter.)

MR. ELIASBERG: So it is the most common symbol to honor Christians.

JUSTICE SCALIA: I don’t think you can leap from that to the conclusion that the only war dead that that cross honors are the Christian war dead. I think that’s an outrageous conclusion.

MR. ELIASBERG: Well, my — the point of my — point here is to say that there is a reason the Jewish war veterans came in and said we don’t feel honored by this cross. This cross can’t honor us because it is a religious symbol of another religion.

Closer to home, a Geelong church had an Easter publicity stunt closed by police because it was offensive. They were trying to re-enact the crucifixion in a public space. Who thought that would be a good idea? Seriously. I know the crucifixion is important – but in terms of scarring (and scaring) little children in a public place the only way you could create more shock would be to crucify the Easter Bunny and tell them they aren’t getting any eggs.

I know the message of the cross is offensive – that doesn’t mean we have to go out of our way to offend people with it. Like this:

The minister of the church responsible, Sarah Keneally, said:

“When the police stopped it I looked behind me and there were about eight children … watching it and none of them looked distressed,” she said.

“I think it was pretty sad that a Christian group couldn’t express what Easter was truly about for one hour – it wasn’t like we were trying to take over the city or tell everyone they were going to hell.”

She said the group did not get a chance to talk with police before the display was shut down.

“They didn’t talk to us first, they just came and yanked the cord out of our amp and said we had to stop,” she said.

“We got through 40 minutes of Jesus hanging on the cross with two women mourning and instrumental music. I was a bit disappointed we weren’t allowed to have a one-hour demonstration.’

The Bible tells us to go and tell the world about Jesus.

“It doesn’t say to stay in a church and hope that everyone will turn up there because they won’t.”

Ms Kenneally said if the church conducts the same re-enactment next year it would consider cutting out the fake blood element.

“We would probably modify that a bit,” she said.

“We don’t want to, but if that’s what the public are saying, we would if we needed to.”

There’s a big difference between telling the world about Jesus and shoving a gory picture of his crucifixion in their faces.

What is the best symbol of the atonement

Many Christians (myself included) automatically default to the cross when answering that question. I’ve decided it’s unhelpful. The cross by itself is insignificant (symbolically) – Jesus could have died on anything, they could have drowned him, burned him, or drawn and quartered him – the cross was just a functional means to putting Jesus to death. The resurrection (as Paul argues in 1 Corinthians 15) is where it’s at for Christians. If there was no resurrection I wouldn’t be a Christian – and Paul says I wouldn’t be atoned for either.

The empty tomb is a heaps better symbol. It just doesn’t look as good on a necklace.

There’s a bit of a difference between “died and was raised” and “died, AND was raised” – I think too often we fall into the latter category – and indeed change our emphasis to “DIED…and was raised” – I don’t think Paul does that in 1 Corinthians 15, and I don’t think the creedal confessions do that either.
I’ve been thinking about this after a news report called Good Friday the most significant day of the Christian calendar, and following a couple of conversations, one in the real world, and the other at Gary’s blog where he warns about “bait and switch” gospels.

Your thoughts?