As church leaders, we have our ears, hearts, and words. We pray that God will use them. But we also have limitations--time, energy, and ability. And even though we feel helpless, like we can never do enough, sometimes being the person who takes the picture, who tells the story is our most important job.
“You have to grow tougher skin, Carol,” my colleague told me when I invited him to lunch and asked for his advice on a church matter. I inhaled deeply. That was the same response I heard repeatedly for the first ten years of my pastorate. Whenever I got frustrated, well-meaning friends and colleagues would tell me that I needed to miraculously grow some sort of Teflon epidermis.
Algebraic preaching—that’s Frederick Buechner’s term for preaching that may make sense on some abstract level but that depends on terms like “salvation,” “atonement,” “savior” and “died for your sins” that are likely to skim over people’s heads. Until the preacher connects such words to human experiences, to the “wretched and liberating moments” of life,” wrote Buechner,
There is a particular authority that comes from privilege. When a white man steps into the place where he belongs, he has an internal power with which he was born. He is entitled. Like royalty, he sits on the throne naturally, because that place is caught in his blood. But an entirely different power emerges from women who have been told that they are not allowed to speak in church—and suddenly rise behind the pulpit. Something flares up from deep inside of them, and when they have a safe space, the words can come out of them with force and fury.
At a reception to launch a new collection of Lucille Clifton’s poems (The Collected Poems of Lucille Clifton 1965-2010), the editor of the volume, Kevin Young, described coming across a folder in Clifton’s archives at Emory University. The folder had been labeled “Unpublished Poems.” That label had been scratched out and replaced by something like, “Poems that really aren’t that good and should probably just be thrown away someday.” That label too had been scratched out and replaced with “Bad poems.”