At Wondering Fair, we love the little story. We understand a universal God through the gritty particulars of animal instincts and awaiting adoptions, of breastfeeding babies and ‘Black Friday’ blues. Through the prism of our everyday experiences, we sense thin places where the eternal breaks into the everyday. The Divine Score resonates through the humility of crotchets and quavers, and we pause long enough to hear the music. Perhaps we may even recognise the Creator playing in the least expected places.
But not necessarily. Like a sonata, we may add note upon note of immanent experiences, and never understand the transcendent song. Our apprehensions from below may be beautiful, but we require revelation from above to take ethereal sounds from the unknown God and return them heavenward in a reverent cantata of praise. To switch metaphors and put it simply, our little stories only make sense in light of the Big Story. So as this new year is taking form, and that we may not miss the forest for the trees, I thought it timely to tell the old, old story once again. But let’s begin with you: what kind of story are you in?[1]
Ever feel like an actor without a script? From the day you entered the world with a cry, you sensed that you’re part of something bigger: an epic story of sorts. But what kind of story are you in? A comedy or a tragedy? A meandering Indie flick? Or a sweeping drama like Tolkien’s Lord of the Rings, with a battle to fight, and where love wins? How to tell? Stories abound: I’m a cosmic accident; I’m just an animal; I’m a reincarnated lost soul; I’m the experiment of a disinterested deity. Which, if any, is the true story?
What if there is a story that just fit? A story that embraces your own story, and everyday experience? A bigger story that makes sense of how we got here, of life’s meaning, the heart of our problem, and the solution to it all? What if there is a Director who isn’t silent, who has told us stuff we could never work out for ourselves, even about what happens when you shut your eyes for the last time?
We all live according to the story we think we’re in. So take a chanc
e and step into the following epic: a story with five scenes.[2] It’s a basic summary of another story, The Bible, which Christians believe is the Director’s take on how all our stories hang together. Let’s start in the present though.
Look around. Describe the world. What do you see? Good stuff? Like friends, footy, flowers, mountains, concerns, travel, Thai food, and so on. (Is there another planet where you’d rather be?!) But is that all? Flick on the news. What about the not so good stuff? Like addiction, depression, divorce, death, rape, corruption, war, global warming, poverty, pollution, and on it goes. Do you ever get the sense that something’s gone wrong? That this is not the way it’s supposed to be?
Why is that? We’re thirsty for a perfect world, but what can satisfy? Maybe it was good, or will be good, but right now it’s messed up. Let’s enter the Director’s Epic Story, right at the beginning, and it’ll start to make sense. …
Scene #1: Designed for Good. The epic starts with God. Drop the images of a distant deity wilding lightning bolts. This story’s Director is passionate and relational, an artist who paints an Oasis and plants us there. And in the beginning, God created the Heavens and the Earth. Why? Well, He made us to love God, love each other, and cultivate the world as good gardeners should. (Imagine connection with your Creator, society in harmony without selfishness, and work which you enjoy that helps the world thrive.) This is the form in which we find freedom. But just as love is only real when it isn’t forced, the Director gives us all a choice. And clearly we’re not in Eden anymore.
Scene #2: Damaged by Evil. “Who’s God to tell me what to do?” So we, the actors, rebelled against the Director and tried writing our own script in a form we preferred. We’ve eaten the forbidden fruit, and tried to play God. Meaning? We’ve ignored and despised God, abused each other, and vandalized the planet. That’s sin—missing the mark for which we were made. We’ve turned inward, and act like the universe revolves around us. And we’ve built our lives around good stuff that can never satisfy like God: relationships, sex, status, sport … our symptoms differ, but the syndrome’s the same. The result? The world’s damaged, our relationships are divided, and our identity (our heart) is a mess. We’re broken, and we break. Worse, we’re to blame. God is loving and just, so what’s a passionate Director to do?
For that, you’ll have to tune in on Friday The Epic Story Part II.
Dave Benson
[1] See http://issuu.com/nikanddaveabroad/docs/epic_story, http://thebigstory.org.au/ and http://issuu.com/nikanddaveabroad/docs/big_story for a graphical take on The Epic Story.
[2] Adapted, with permission, from James Choung, True Story: A Christianity Worth Believing In (IVP, 2008).





Regardless of culture, I’m sure you’ve played it. The concept is simple. One person (usually the most mature) is deemed ‘it’, and the others run and hide. Then you find them. Got the idea?! But don’t be fooled, there are more mysterious elements at play. For instance, I’m expected to count out loud. They want to know I’m coming. Granted, they always look for a dark, obscure place to hide—behind the door, or under the blankets. But if I take too long, they’ll always supply hints: a knock on the wall, a little voice ironically crying out “We’re not in here!” Abbey in particular has a mischievous sense of humour. Her favourite version is when I describe my plans in advance, saying which room I’ll explore next: “I know, Abbey’s hiding … in … HERE!” At which point I’ll lunge into the laundry, all the while knowing she’s two doors down in the guestroom. By the time I go to where I always knew she was, she’s bursting at the seams with a big smile, waiting to be grabbed almost unawares. Much tickling and laughter ensues. Even as I’m ‘it’, there’s reciprocity: it’s less about hiding than being found. My nieces need to know they’re wanted, desirable, and worth seeking. The anticipation only adds to the excitement.
There’s something deeply human, and deeply Biblical, in all this. Jesus “the saviour of seek” loved to tell stories of lost-and-found. And the technique differs depending on the hider. Take Luke 15 with three parables of seeking. The sheep is hiding by accident; it went astray. So the shepherd leaves the ninety-nine in safety and risks his neck to recover the one. His familiar voice echoed across the hills, “Ready or not, here I come.” And as dumb as the sheep was, I’m sure it didn’t mind being slung over his shoulders and carried back to safety. Same goes with the silver coin. Nine coins in safe-keeping, but one is missing. It’s hiding, in the dark. So the owner lights a lamp, scours the whole house, and in the very last place you’d expect, there it is. She picks up the coin, and calls a party! Laughter ensues.
More deceptively resourceful than Don Roberts from Hinckley, we are each prone to hide. The Bible tells this story of a God who seeks. And when we grow too old to play and don’t want to be found, he shifts technique to a “rhapsody of indirection”—left-handed power condescending in love. At Christmas we remembered how light came into the world, even as we hid in darkness for fear of exposure. But if we desire to “live by the truth” then we’ll reciprocate: we’ll come into the light (John 3:19-21). Only, of course, if we want to be found.




“That’s a strange question!” your average university student might reply. “When you die, you die. The plug’s pulled out, and the lights go out, that’s it: the eternal void. If there was something more, we would have discovered it by now. There would be proof, right?”
Even for Amortals, death is hard to ignore. Every second roughly two people around the world die—that’s 150,000 per day, 55 million per year. And contrary to popular opinion, they don’t disappear, pass away, fall asleep, or retire. They die. It’s not someone else’s problem. I will die. You will die. We could party hard and desperately grasp onto what life is left, but our last words may be tragic like whiskey merchant Jack Daniels. As he died from a blood infection, all he could say was “One last drink, please.”
But let’s get real. Apple will continue on with or without his vision. Jobs won’t be there to appreciate it, and within a couple of generations his name will be a footnote in a design textbook. I have to agree with Woody Allen, who quipped, “I don’t want to achieve immortality through my work. I want to achieve immortality through not dying. I don’t want to live on in the hearts of my countrymen. I would rather live on in my apartment.”
Philosophers and luminaries across history have spoken about hope in the face of death. But only one pointed to himself as the source of this hope. Jesus of Nazareth claimed “I am the resurrection and the life. Whoever believes in me will live, even though they die” (John 11:25). His last words came with confidence from a crucifix: “It is finished.”





