In the Education for Ministry (“EfM”)[1] program we engage in a process called “reflection” (“theological reflection” to be precise). In this process, we take a close look at a thing or a story, an incident from life, a passage of scripture, or an object we use everyday. One of the best group reflections I ever took part in started when someone put their mobile phone in the center of the table and said, “Let’s talk about this.”
In part of the process, we draw on what are called the “four sources” to illuminate the subject of our reflection. The sources are experiential – this is the “Action” source: things we do, think, and feel; positional – our attitudes, opinions, beliefs, and convictions; traditional – drawn from our Christian heritage, scripture, liturgy, hymnody, and so forth; and cultural – popular songs, movies, novels, commercials and advertisements, politics, etc.
I’m mentoring a study group in my parish, eight well-educated adults seeking to better understand their faith. We’re using some academic materials from a program well-known to Episcopalians. At our last meeting, nearly all of them commented on and complained about the “high falutin'” academic language used by some of our authors. I thought of that as I read Paul describing his missionary efforts as not proclaimed “in lofty words or wisdom.”
Today, as we step further into the season of Lent, this season of self-examination when we liturgically join Jesus for his forty days in the desert, we are treated to what is traditionally known as the “Fall of Man.” Genesis, chapters 2 and 3 set out the Bible’s first story of human temptation and the first act of human disobedience in the garden of Eden, brilliantly portrayed by the Victorian-era lithographer Max Klinger in the etching on the cover of your bulletin in which the serpent presents Eve not just with an apple but with a mirror, a looking glass in which to examine herself. 
Many years ago, when I was a child growing up in Las Vegas, Nevada, my dad and I went fishing on Lake Mead. I was five years old, but already a pretty good swimmer. After we’d caught a few bass, we decided to go swimming. 
A few days ago, the Kansas state house of representatives did a horrendous thing. They passed HB 2453 granting public and private employees the right to deny services, including unemployment benefits and foster care, to same-sex couples on the basis of “religious freedom.” When I read this morning’s words from St. Paul to the Romans, I wanted to address that legislation. However, two other Episcopalians had already done so with more authority than I could muster and said precisely what I would have wanted to say. The bishops of the Episcopal Diocese of Kansas and the Episcopal Diocese of Western Kansas issued a joint statement apropos of this legislation:
I have been known to say that I really don’t care for St. Paul. He often seems arrogant, and way to sure of himself. He admits to boastfulness and too often holds himself out as a paragon for others to emulate. 
Paul’s use of the “body” metaphor is so well known it’s almost a cliché, but it was brought into clear focus by an article published (apparently) nearly a year ago by the blog Viral Christ, but brought to light on Facebook the past couple of weeks. 
A couple of weeks ago our choir and the brass quartet offered a really lovely service of Advent Lessons and Carols on the evening of Second Advent. We had things set up a little differently than you usually see our chancel and I hear later that someone had asked, “What’s all that Catholic stuff doing on the altar?” I was confused by the question because we always have “Catholic stuff” on the altar!
For that reason, icons are typically not realistic; they are very “wooden,” very simple, almost cartoonish. Much is left to the viewer’s, the prayer’s imagination. I love to pray with icons and with other “visual aids,” with paintings, photographs, candles, flowers, all that “Catholic” stuff. It is one of the beauties of our Anglican tradition that we understand worship and prayer to be an activity of the whole person, to engage all of our senses. “Taste and see that the Lord is good,” the Psalmist wrote. (Psalm 34:8) We take those words seriously and so we don’t exclude any form of prayer or spirituality; we don’t distinguish between what is catholic or what is protestant. If it’s helpful in prayer, if it offers an aid to our understanding or our relationship with God, we thinks it’s fine. We draw on the catholic tradition, on the protestant traditions, on the orthodox tradition, even on non-Christian traditions. We’re willing to say “Yes” to anything that aids our connection to God.
The Mary painting is by Sandro Botticelli, a Renaissance Florentine painter of the late 15th Century. In his painting, Mary is a Medici princess! She’s all decked out in these Renaissance robes, standing in a beautiful palace in front of window looking out over a lovely formal garden. Not very a very realistic depiction, of course, since she was a 1st Century Palestinian peasant girl! In any event, what is important is not how she’s dressed, but the emotions the painting conveys, and not only hers but also the angel Gabriel’s.
The paintings of Joseph are, first, a painting by an 18th Century German Bohemian painter named Raphael Mengs. Other than this painting, I don’t know this painter, but I did see this painting in the Kunsthistorisches Museum in Vienna. It is notable, first of all, for it’s depiction of Joseph as a relatively young man. Usually in art, Joseph is portrayed as an old man because of a legend that he was very old, had been previously married, had other children (who are those identified in the Bible as Jesus’ brothers and sisters), and passed away early in Jesus’ life. Scholars generally disagree with that: most now believe that Mary was probably only 13 or 14 years of age, Joseph perhaps 16 to 20. 
The second painting of Joseph is by another 18th Century painter, the Frenchman Georges de la Tour. De la Tour is more conventional. He portrays Joseph as an elderly man, bald with a bushy beard. He appears to be in bed and to have fallen asleep while reading; a book is in his hand. The angel stands next to him; the scene is lighted by a single candle standing on a bedside table between them. We cannot see the candle, but only its light on the angel’s face and on Joseph’s. Joseph appears to be waking up, but not quite awake. He seems to be in that in-between, liminal stage — not quite asleep but not quite awake. I don’t know about you, but if someone tries to get me to do something when I’m just waking up like that, they’re going to get a resounding “No!”
Friday was a Holy Day in America! It was a day when all across the nation thousands, if not millions, of people breathed prayers of thanks. It was a day when all across the nation thousands, if not millions, improved the lives of many, many others. It was a day when news organizations from the smallest local radio station to international broadcast and cable conglomerates asked Americans across the nation, “How did you participate?” Yes, Friday was a Holy Day in America!
