Saving
Private Ryan is one of my favorite movies. It's a powerful World
War II film about a small band of U.S. soldiers who are ordered to
journey behind enemy lines to retrieve Private James Ryan after three
of his brothers are killed in separate engagements (and all within
days of each other). Ryan's would-be rescuers are initially resentful
of their dangerous task, questioning why the life of a single
ordinary soldier—who they've never even met—carries more weight
than all of their lives combined. Somewhere along the way, though,
the mission becomes more than just saving Ryan: The band of searchers
also seek personal redemption, desperately striving to accomplish one
decent thing, to regain a measure of their humanity amidst a
multitude of unspeakable acts, to “earn the right to go home.”
It's an incredible story about sacrifice and redemption with several
unforgettable scenes.
Stay
with me. I'll do my best to come to the point shortly.
Now
suppose, for a minute, I ask two people (We'll call them Kate and
Greg) what Saving
Private Ryan
is about. Let's pretend Kate has only seen the film once, while Greg
is the movie's all time “biggest fan.” How about we go a bit
further and say Greg has seen Saving
Private Ryan
no less than 100 times, he knows every line, and can even do a spot
on Tom Hanks impersonation. His enthusiasm for the film has prompted
him to become a World War II history buff who can elaborate in great
detail about nuanced 20th Century European politics, precise troop
deployment and military tactics during the invasion of Normandy, and
he can even tell me what Himmler's favorite color was. Greg went so
far as to become fluent in German, so he wouldn't need any of the
subtitles. Now suppose our first person, Kate, after only one
viewing, can more or less tell me what the movie is about (though she
may have forgotten some of the character's names and certain details
here and there) while Greg, on the other hand, is completely unable
to explain the plot (even in the most simplest terms). Lets say Greg
(who, remember, can act out every individual scene) earnestly
describes Spielberg's
gritty war film
as a “romantic comedy.” Anyone who's seen the film, with its
graphic violence and sombre tone, knows Greg is way out to lunch with
his description. Given what we know about Kate and Greg, which of the
two would you say has a firmer grasp of the story? Now suppose we're
talking about a
much more significant story than Saving
Private Ryan.
A similar occurrence to what I've just described with Greg, our
fictional “movie buff,” unfortunately seems to happen way too
often when Christians attempt to tell the story of God. They may be
extremely well versed on several of the individual components, but
they're, in many cases, tragically unable to identify the main beats
of the narrative or even the overarching point of it all.
The
Disconnect
One
of the reasons for this inability to see the big picture is due to
the disjointed way in which we typically learn the
story (or better said, the way we learn the stories).
N.T. Wright, in How
God Became King,
discusses how we tend to miss the forest for the trees in our reading
of the four gospels, and I think the same can be said for our reading
of the whole story. In Sunday School, we're taught moral lessons from
the biblical characters' exploits (courage in the face of
persecution, for example, through the tale of Daniel and the lion's
den, learning to trust Jesus as Peter steps out of the boat, etc.).
And then later in “big church,” we learn important theological
concepts like the nature of the Trinity, the sufficiency of the
cross, and so on (We tend to work backwards, though, using the
stories as explanations and evidences for the important doctrines
that we've isolated and to reinforce our resulting sophisticated
theological models). Unfortunately, we quickly develop tunnel vision
(the kind that has allowed Christians through the ages to justify the
genocidal underbelly of “manifest destiny,” slavery, segregation,
rabid nationalism, social isolation, consumerism, apathy toward
refugees and immigrants, pursuing safety and security over the
Gospel, etc.). The simple truth is we tend to live our lives based on
our
perception
of what the story is about (including where it's all headed), even if
the narrative we're operating under was merely Frankenstein-ed
together in our subconscious from all the loose bits and pieces.
Maybe
to me the story is best described as a low-budget indie film that
gives an artsy close-up of my own “personal salvation” (in which
the original widescreen narrative is conspicuously truncated, I'm the
main character, and passages like Jeremiah 29:11 were obviously
written with me in mind). It could also be more of a buddy comedy
that follows me and my wisecracking, pocket-size Jesus as I’m
“tossed to and fro” on a wild romp through relativism (In this
version I'm too “authentic” for organized religion, so I pretty
much improvise the story all by myself as I go). Perhaps I see the
story as the feel good movie of the summer that whimsically
chronicles my prosperous “best life now.” Maybe I’m at the
other end of the spectrum, and it’s an intense thriller that’s
built around a great escape theme (where my role in the unfolding
narrative is to hunker down in this present liberal “hellhole,”
withdraw from society, gather as much “helpful intel” from
questionable pseudo news sources as possible, and wait for the hero
to suddenly and dramatically break me out and relocate me to a beach
in Tahiti). Perhaps I see the story of God unfolding like a political
propaganda film that equates the U.S. to the kingdom of God and
nationalistic endeavors of “making America Great again” with the
Great Commission (in this script, the epic “spiritual battle”
between the elephant and the donkey is center stage). I guess I could
even see it as a bizarre sci-fi, in which the audience is frequently
asked to suspend its disbelief, as nothing in the story makes any
sense (I’m looking at you, Joseph Smith). Some say it’s a “love
story.” We're probably getting warmer (It ends with a wedding after
all). But if it’s a romance, it’s no Sleepless in Seattle
or The Notebook by any stretch. It would have to be much more
one-sided, something like When Hosea Met Gomer.
Establishing
the Story's Important Landmarks
Back
when I was an art student, my figure drawing instructor would teach
us to roughly block out our construction lines and basic forms before
drawing in the details and shading. One of the marks of a novice is
how they're always too eager to move on to the fine tuning before
laying a proper foundation, and it shows in their finished
composition (No amount of shading can make up for a poorly
constructed and disproportioned figure). The figure we're drawing
here is Jesus. He frames the unfolding story from Genesis to
Revelation. He's the Author, the Protagonist, the Beginning and the
End.
So
here's my best attempt at identifying the main beats of his story:
The story began with God (the only Hero in the narrative)
He
created an Ideal universe by the power of his Word
Humans
were made in his image as his representatives
(God's plan is to reign over his creation through his human
administrators). They were instructed to multiply and fill the earth.
A
single law was given…
Followed
by rebellion/exile/bondage/death
(With
the rejection of the Tree
of Life, all of creation was broken and heaven and earth were
torn apart)
A
broken man and his family were chosen as representatives
to a rebellious humanity (God is set on his original plan to reign
over his creation through his image bearers). He promised to multiply
them and bless the whole earth through this man’s Seed.
An
expanded law was given…
Followed
by continuing cycles of rebellion/exile/bondage/failure
God
sent his Son, just as he promised, as a descendant of the man
“who believed” and as a stand-in for his inadequate
family. He accomplished on their behalf the task of keeping
God’s law and reconciling the Creator and his broken creation (by
way of his life, death, and resurrection). As the only obedient
image-bearer (the perfect Representative), he reclaimed the
family of faith’s original birthright and vocation (which also
happened to be humanity’s original birthright and vocation) and
dealt a fatal blow to rebellion and death.
Everyone
who acknowledges God’s Son as the rightful King is invited to
participate in his kingdom as redeemed and restored
representatives. These redeemed kingdom people—who are collectively
an extension of the King, his “body,” his “church,”
his “bride”—are the true family of faith as they are
marked, empowered, and led by his Spirit and instructed to multiply
and fill the earth (by sacrificially and incarnationally declaring
and demonstrating the story of what God has accomplished through his
Son).
He
writes his law on renewed hearts...
And
by God's grace, his renewed people inherit
obedience/reconciliation/freedom/LIFE (and the mended become menders).
All
authority has been given to the King. He oversees his advancing
kingdom, through the power of his Spirit, as he's presently seated
at the right hand of the Father.
The
human rebels who tragically opt out of God’s active
redemptive plan for his universe, along with the instigator, will
be judged by the King upon his physical return (at which point he
will “make all things new” by raising the dead/swallowing
death up forever, banishing evil from his universe/fully restoring
his creation, completely reunifying heaven and earth with his
presence, and submitting everything to his Father).
I
see the story
of God as a big-budget (considering that the Director has
literally poured his blood, sweat, and tears into its production),
sweeping, redemptive story of how God is taking back his rebel world
through the person and work of Jesus.
Core
Themes
There
are several significant themes threaded through God’s story. I’d
like to briefly highlight a few. Redemption and restoration are among
the most frequently reoccurring themes: that is taking something
spoiled, spent, wasted, and ruined and making it new again (usually
at great cost). God’s propensity toward redemption and restoration
is illustrated on just about every page of Holy Scripture. He is
gloriously inefficient in his stubborn refusal to simply scrap broken
things and start again.
One
of my personal favorites is the underdog theme. God has a noticeable
affinity for the long shot. He often takes the youngest, weakest, unskilled, outsiders, never gonna happen,
lowliest tribe, least likely, lost causes and losers and makes them into kings, prophets, freedom-bringing, giant-slaying, miracle-working, champions of God. He brings
his best news to shepherds, beggars, orphans, widows, the
marginalized, and the outcasts. In God's kingdom, “the last will be
first, and the first will be last” (Matthew 20:16), and the King
will wash their feet. “He has scattered those who are proud in
their inmost thoughts,” says Mary, the mother of Jesus, “He has
brought down rulers from their thrones but has lifted up the humble.
He has filled the hungry with good things but has sent the rich away
empty” (Luke 1:51b-53). God's own Son comes to us from a poor
family, a marginalized ethnic group, laid in an animal feed trough,
and raised in a hick-ville, backwoods part of Judea, formerly
uneducated, and, for all intents and purposes, homeless (“he had no
beauty or majesty to attract us to him”—from Isaiah 53:2).
According to Paul there is a method to the Creator's madness, “God
chose the foolish things of the world to shame the wise; God chose
the weak things of the world to shame the strong. God chose the lowly
things of this world and the despised things—and the things that
are not—to nullify the things that are, so that no one may boast
before him” (1 Corinthians 1:27-29).
Another
reoccurring theme in God’s
story (and the mechanism by which he carries out redemption and
allows for restoration) is this idea of substitution: a person or a
people standing in for others (this is no doubt difficult for
individualistic Americans to accept, but none of the story makes any
sense without comprehending God’s thinking on this). The first
humans were assigned the task of tending to the world and being God’s
go-betweens, his representatives or stand-ins to/from creation. Adam,
as our first father, acted negatively in this capacity. In God’s
mind, since all of humanity proceeds from this man, there is
continuity between Adam and us. All of humanity has inherited his
rebellion
against God, his failure in the garden (we all subsequently
contribute our own personal rebellion as well).
Redemptive
human substitutes (as a foreshadowing of the ultimate stand-in) are
often used of God to rescue by way of their own suffering. Joseph, as
an example, was rejected by his brothers, sold into slavery, wrongly
accused and thrown into prison, eventually vindicated, elevated, and
ultimately used to rescue his family, the people of Egypt, and most of the Near
East. According to Joseph, the whole thing was God’s plan to turn
evil back on itself, to bring about good.
Abraham
and his family, which eventually became a nation, were also said to
serve as a stand-in for humanity. God purposely used Abraham’s
family to retell the story on a smaller more intimate scale (he’s a
skilled storyteller who knows good stories need characters, faces,
and flesh for humans to connect). God promised to bless this family
so that they would be a blessing to everyone else. They were to be a
nation of priests, or go-betweens, leading the world back to the
Creator and mediating between the two. But, as Wright points out, the
proposed rescuers needed rescuing themselves. So Jesus (as the
descendant of Adam, Abraham, and King David) stood in for all of
humanity, but, more precisely, as the heir to David’s throne, he
stood in for Abraham’s family of faith (who, in a sense, was
standing in for the rest of humanity). That gets a bit convoluted,
but it’s important to understanding the progression of the story
(how the sub-story of Israel plays into the story of God). The
gospels make it clear that Jesus was standing in for Israel,
fulfilling their vocation, as he was depicted symbolically retracing
their historic steps (He was called out of Egypt, passed through
water, and was led by the Spirit into the wilderness for forty days,
and so on). At every turn, he was faithful where his ancestors failed
(he withstood temptation in the wilderness, he perfectly upheld the
law of God, he overcame in the garden). He’s Israel’s divine
do-over—and, by extension, he’s humanity’s do-over too.
Another
important theme that drives the narrative is God’s
desire and promise to dwell among his people. God is of course
everywhere to begin with (“omnipresent”), but he hasn’t made
his home, his dwelling, everywhere and in the same way (Just as a
husband and wife can simultaneously occupy a room, perhaps in a state
of disinterest or strife, and yet still fall short of the closeness
that God is after). Before Adam’s rebellion, the Creator and his
creation enjoy a state of indescribable unity. It’s far beyond just
occupying the same space.
This
early idyllic state embodies God’s original intent, in which all of
creation acts as his temple, his dwelling (a fully unified heaven and
earth), and he reigns over the natural world through his human
administrators (Genesis 1:26, 28). We can see, then, how the
shattering of this paradise, due to human rebellion, causes
destructive ripples throughout all of creation.
After
the Fall (the rending of heaven and earth), God illustrated his
promised return, in the dwelling sense, through a number of
artifacts, icons, and “holy” places (the Ark of the Covenant, the
Urim and Thummin, the Temple, etc.). These were objects or locations
(in which heaven and earth symbolically intersect or “interlock,”
as Wright would say) that prophetically pointed forward to the scene
described in Revelation when paradise is restored, God comes to dwell
among his people on earth, and we see him “face to face.”
Solomon’s Temple (as the pinnacle of these holy spaces) illustrated
this same longing for a return to Eden, when creation effectively
functioned as God’s temple, with numerous pictorial examples of
trees, fruit, animals, and nature.
Jesus—a
genuine human who is also the exact image of the transcendent
Creator—is the ultimate example of heaven and earth intersecting.
He is “God with us,” and, as such, he naturally supersedes all
the illustrations that came before. In John’s Gospel, Jesus
describes himself as the
true Temple of God. He tells the Samaritan woman at the well (in
response to her question about where
one should worship the God who dwells in heaven) that a time is
coming (and has come) in which location will no longer be an issue.
Through the person and work of Jesus (which includes the sending of
his Spirit), God has extended this heaven-and-earth-intersecting
phenomenon (illustrated in “spiritual hotspots,” so to speak,
like the Temple, but truly realized in Christ) to everyone who wants
in. This present existence—being a Spirit-filled extension of the
Living Temple, a mobile, kingdom-bringing spiritual hotspot—is
merely a taste of what’s to come.
The
full consummation of this theme comes with the physical return of
Jesus and the complete restoration of his creation. At which point,
he will “dwell” with his people in a freshly restored and
seamlessly reunified, heaven and earth. The story of God, then, is a
long and painful round about trip back to the beginning. Well,
almost. It’s a bit more than just ending up back home where we
started. Paradise begins with the early seeds (two image-bearers and
endless potential) of what God ultimately envisioned and is finally
reborn with a whole city, made from “living stones,” of redeemed
and restored administrators who possess intimate knowledge regarding
the weight of rebellion, the sting of death, the high cost of
redemption, and the unfathomable distance our King will go to put
things back on track.
Simple
Steps Forward
We
might have added a third character to Kate and Greg: Let's call him
Phil. Phil has really only seen about ten cumulative minutes of
Saving Private Ryan (He
was in the bathroom, getting snacks, talking, and sleeping through
the rest). He probably still has a strong opinion about the story,
though. And if any questions come
up, Phil will likely ask Greg (he's the expert after all). One of the
most immediately helpful remedies for the mass confusion surrounding
the story of God is for all Christians to simply see the whole movie.
I’m a slow reader, myself, and getting through all 66 books can
definitely seem like a daunting task for a newcomer (especially
Numbers), but a through-the-Bible-in-a-year format (in which the
whole Bible has been conveniently broken up into 15-minute daily
readings that correspond to a calendar year) has really been helpful
to me (it’s exciting to start spotting repeating themes and
important parallels, especially when you progress through the Old and
New Testaments concurrently). There are also a bunch of great audio
and video options to have Scripture spoken to you on your computer or
smartphone if reading isn’t your thing (You can even find one with
a British accent for when you’re feeling particularly classy).
Don't be dissuaded by those who imply anything short of reading from
a page is somehow a less “spiritual” method of learning the story
(especially if you're an auditory or visual learner). I recommend
changing versions each year, too, in order to have a fresh look at
something that may already be familiar to you (I like the NIV and ESV
in most cases, but I also enjoyed reading God’s story by way of the
NLT this last go around). The big idea is to consume and metabolize
the story, though, in whatever format compliments your individual
learning style.
It’s a little trickier if it turns out we’re Greg, the confused film enthusiast, who already considers himself an expert. It’s incredibly difficult, once we’ve firmly established in our mind that Saving Private Ryan is a romantic comedy, and spent years interpreting each of the individual grisly scenes with that understanding in mind, to then humbly step back and look again with new eyes. There are many of us who, like Nicodemus, need to unlearn what we've learned so we can start over from the beginning. Jesus of course commended the “Gregs” for their thoroughness in some areas. Greg's extensive historical knowledge, for example, could potentially give him a greater appreciation for the film (a depth that Kate may not experience with her single viewing and lack of background info). It's awesome if one has studied Hebrew and Greek and given a lot of thought to historical context and complex theological concepts. But Jesus also sternly rebuked the Gregs of his day for being overly attentive to small things while neglecting the “weightier,” or “more important,” aspects of the law (the aspects that reveal God's heart for “justice, mercy, and faithfulness”—Matthew 23:23). I've read and heard many respected teachers and theologians who, despite their extensive biblical knowledge, sometimes express gross ignorance about core themes of the story of God (as seen in many of their conclusions, allegiances, and endeavors). Our mastery of the individual components is pointless if, like Greg, we fail to comprehend the overarching story.
It’s a little trickier if it turns out we’re Greg, the confused film enthusiast, who already considers himself an expert. It’s incredibly difficult, once we’ve firmly established in our mind that Saving Private Ryan is a romantic comedy, and spent years interpreting each of the individual grisly scenes with that understanding in mind, to then humbly step back and look again with new eyes. There are many of us who, like Nicodemus, need to unlearn what we've learned so we can start over from the beginning. Jesus of course commended the “Gregs” for their thoroughness in some areas. Greg's extensive historical knowledge, for example, could potentially give him a greater appreciation for the film (a depth that Kate may not experience with her single viewing and lack of background info). It's awesome if one has studied Hebrew and Greek and given a lot of thought to historical context and complex theological concepts. But Jesus also sternly rebuked the Gregs of his day for being overly attentive to small things while neglecting the “weightier,” or “more important,” aspects of the law (the aspects that reveal God's heart for “justice, mercy, and faithfulness”—Matthew 23:23). I've read and heard many respected teachers and theologians who, despite their extensive biblical knowledge, sometimes express gross ignorance about core themes of the story of God (as seen in many of their conclusions, allegiances, and endeavors). Our mastery of the individual components is pointless if, like Greg, we fail to comprehend the overarching story.
Learn
to tell a 3-5 minute version of the Story of God from Genesis to
Revelation (Just thinking about the overarching story and how best to
tell it is incredibly good for us). Practice with other
Christ-followers, and ask for feedback (People aren't always hearing
what we think we're saying, so this becomes a very helpful exercise).
If we've succumbed to the story of God—been transformed by the good
news of his better kingdom—then we need to be ready to explain to
onlookers just exactly what's happening (not only within our own
lives, but what God is up to in the world and where it's all headed).
I've heard it said, "The Gospel found you on its way to someone
else." Become a great story teller, like Jesus, and share his
good news often and in everyday life. Be familiar enough with the
story to be able to contextualize the Gospel to your hearer's
specific brokenness (the story doesn't change, but what we emphasize
and how we deliver it should be customized as the Holy Spirit leads
us). Jesus addressed a promiscuous woman's underlying longing, for
example, by offering “living water” that would satisfy her true
thirst. In an earlier encounter, he told a jaded theologian that he
would need to start over and be “born again” (this time, by way
of the Spirit). Jesus also invited a young rich man of power to give
it all up and find his treasure and identity in the true King
instead.
A
film like Saving Private Ryan
has an actual story that the writer, director, cast and production
team are trying to tell. We, as the audience, aren’t at liberty to
just rewrite the movie as a slapstick comedy, a horror film, or a
western. We’re of course free to create our own stories, but we
shouldn’t commandeer or misrepresent someone else’s story. All
the more, we should take the time to get God's story right. Remember
that our understanding of the story will inform how we live our lives
(for better or for worse). So let's invest in developing a strong
foundation built around the main beats of the narrative and a firm
grasp of the overarching themes (It's all well and good to progress
on to deeper truths, but we should first get the basics down).
Ultimately, it's through the story of God that we come to know him,
know ourselves, and become known. As we faithfully read the script,
we find that God has written each of us into his epic redemptive
tale. But if we fail to see the story unfolding—what God is up to
in the world—then we'll undoubtedly miss our cue, and the story
will simply carry on without us.
“...beginning
with Moses and all the Prophets, [Jesus] explained to them what was
said in all the Scriptures concerning himself.” - Luke 24:27
(The
Bible Project
has a bunch of great videos that guide you through God's story
book-by-book. They just finished their through the Bible series, and
they also have some great theme videos. I highly recommend them as a
resource.)