Second Sunday of Easter (Year 3, NL)

Richard Hays has said for years that he's working on something about "echoes of scripture in the Gospels." But life intervened, so he has produced this slim volume as an appetizer.

Touch me and see, said the prisoners. Shake my hand and discover that I am human like you.

The story goes that God got a body. I’ve often pondered the relationship between incarnation and pain.

My father died about three years ago. As May comes around, the azaleas spring to life, and I remember my father's passing. Just as sure as the tulips and dogwood blossom, my mind wanders back to my dad. Even when I begin to open up to these strange and wonderful stories of Easter, struggling with the notions of recognition and revelation, I think about the last few months of my father's life.

It’s been seven years, and I cannot access Jesus' word of peace. The tears still sting and slosh over my pail of remorse.

The story of the disciples on the road to Emmaus is a favorite of mine. I love the image of pilgrims traveling together, struggling to understand tragedy and loss. I love that Jesus enters the story as a pushy traveling companion who sidles up beside them and talks their ears off for the rest of the trip.

And I love that it's not Jesus' incisive exegesis of the promises in scripture that open the disciples' eyes to his identity. It is his presence with them at a shared meal

Our eyes drink in the world around us, but our brains develop filters. I imagine Cleopas and his friend sifting carefully through what they have seen.

“People must believe what they can,” writes George MacDonald, “and those who believe more must not be hard on those who believe less.”

Faith is a gift. We don’t produce it ourselves. We receive it. And we certainly can’t brag about having more of it than other people do.

The appearance of a ghost can be explained in all sorts of ways. But when Jesus appears—bearing scars and hungry for a nice piece of tilapia—then we have to do more than merely rearrange some intellectual furniture.

At times I will again be struck by the smallness of the thing, of this bit of bread and sip of wine.

This winter I had the opportunity to observe a Caravaggio painting upclose and often: his Supper at Emmaus (1601) was on loan to the Art Institute of Chicago from its permanent home in London’s National Gallery. From the Century offices, it was only a few steps across Michigan Avenue to see this vibrant, dramatic painting.

The first disciples experienced Jesus’ resurrection not as some single triumphant fait accompli, but by fits and starts.

Appearing to two nobodies going nowhere is an interesting choice.