I remember my grandmother giving me a cross necklace when I was confirmed. I was in the sixth grade. I wore it to school, and one of my friends asked me that if Jesus had been killed by a gun, would I wear a gun around my neck. I thought the question ridiculous at the time; my mother said the little boy “just didn’t know any better”; but now in hindsight, I’m afraid the question is a good one. Last year at the festival of flowers, just before Easter there was one exhibit consisting of displays of flowers all in the shape of crosses. I thought to myself, no matter how hard we try to imagine it, there is nothing beautiful about a cross.
In the ancient Near East crosses were used as instruments of torture and death for those who committed what was considered by the powers that be the ultimate crime: sedition, betrayal of the state. Death by crucifixion was the most horrible punishment conceived in the mind of Empire, designed to deter anyone else from similar conspiracy. And to make matters worse these crucifixions took place outside the walls of the city, on the highway, so all passersby could see the horror lest they harbored ill will against the state as well. To be killed and buried outside the city walls was a shameful thing. It meant that the life of the victim was of no account, out of community, lost among the stony rubble, vulnerable to scavengers, dug up by the dogs. Crucifixion was as much about shame as it was about death.
And yet, still these crosses hang around our necks and adorn our churches. Ironies at best, that even amid the shameful brutality of our world, God is there in imaginative reverie begetting from the darkness, violence and shame… life and hope and dignity. It doesn’t add up, this irony, but it is in truth all we have to hope for. So in this season we embrace the ambiguity of the cross: It is a reminder of the dark brutality of our world that wounds and shuns and shames; and it is also an outward and visible sign of a fragile but certain promise that our God is in solidarity with us in our darkest hours, and with all who suffer; that God suffers with all the crucified of our world…still shunned, still broken and still shamed. The cross bids us to remember and acknowledge the injustice and violence still rife among us…and…and, lest we lose sight… it bids us to hold fast to the promise that the good will stand with dignity yet… even if on shaky ground….and there is something beautiful about that.
Amen. I hope it’s not too shameless for me to post this poem as a reply. And hey, you helped me with the ending, so that erases some of the shamelessness, don’t you think? 🙂
From Cross to Empty Tomb
two potential symbols
for a movement destined
to change the world
the first stood
as an instrument
of roman brutality
domination and death
an object lesson for
those who challenged
imperial dominion
the second one
with much softer
insinuations signified
maternal love
womb-like deliverance
rebirth redemption
and resurrection
the first masculine
the other feminine
how different might
the movement be
how different the world
had patriarchs given
themselves to wisdom
and left the thunderbolt
of zeus alone
(c) 2009, Robert Gray.
Jim, the blog is (as always) fabulous.
Rob, the poem is (as always) also fabulous.
Y’all make a great team. You must both be in touch with your feminine sides. 😉
Hey, wait a minute!!!!!
And yes, I am well aware of what they say about men who use multiple exclamation points… 🙂
Arc of the Lily
The movements of the Madonna-
moment of maternity,
passion of the Pieta
are the same stance.
See first her skyward gaze
open-handed, empty, bloom to full arms.
Follow the arc of her head downward,
beholding the babe.
She wraps the cloth tighter
around hot baby flesh, gathering Him
to her face, her breast.
She wraps another cloth
around his still warm body
broken, gathering Him
to her face, her breast.
His head in her lap has the heft
of her newborn boy. Her hand drapes
over the man. Her white face turns upward,
a lily seeking rain.
-Loretta Watts
copyright 1999
[from, the best spiritual writing 2000, phillip zaleski, ed.]