Luke

Luke 10:1-11, 16-20

One of my seminary teachers once said that if you can’t think of anything original to preach, you should tell Bible stories—they have enough power to turn people’s hearts toward God. This may not work with every text, but it certainly works with the drama and wisdom of the story of Naboth and the story of the woman who washes Jesus’ feet with her tears.

One of my seminary teachers once said that if you can’t think of anything original to preach, you should tell Bible stories—they have enough power to turn people’s hearts toward God. This may not work with every text, but it certainly works with the drama and wisdom of the story of Naboth and the story of the woman who washes Jesus’ feet with her tears.

The Bible is full of strange things—oil cruets and flour containers that never become empty and young bodies that are restored to life at a word from Jesus. Are we supposed to believe that these things happened? Maybe the ancient peoples did, but we moderns suffer under the curse of Bultmann’s lightbulb: we know why the light switches on. We are cursed by rationalities that prevent us from seeing the Bible as one overarching story in which our own lives play a key role.

Of the four evangelists, Luke alone writes an actual exit scene for the risen Jesus.

Several years ago I attended a museum exhibit featuring the works of Vincent van Gogh. It was not an altogether pleasant experience because there was a man in my group who had a peculiar way of taking in each painting. He would stand about an inch away and then move slowly from one side to another, examining each strand of canvas, each dollop of paint. After he had scanned the entire surface of the painting, he would turn and make his way back across with his right ear about an inch away from the canvas. He examined every single painting in this manner.

Several years ago I attended a museum exhibit featuring the works of Vincent van Gogh. It was not an altogether pleasant experience because there was a man in my group who had a peculiar way of taking in each painting. He would stand about an inch away and then move slowly from one side to another, examining each strand of canvas, each dollop of paint. After he had scanned the entire surface of the painting, he would turn and make his way back across with his right ear about an inch away from the canvas. He examined every single painting in this manner.