The story of the wedding at Cana in John 2, the account of Jesus turning water into wine, is one of the best known episodes in the New Testament, if not the whole Bible. The author, John, tells us that this was the first miraculous sign by which God revealed his glory (v. 11). Ever thought about
what it means that the first sign God gives to reveal his glory, the substance of his character, is the production of alcohol?
Let’s set the scene. In the story, Mary, Jesus and his disciples are at a wedding. Some way through the celebrations, Mary alerts Jesus to the fact that the hosts have run out of wine, to which Jesus replies, “Woman, why do you involve me?” (v.4). I would love to know with what sort of tone Jesus said this, it seems like such a curious thing for him to say! Was he absorbed in a fascinating conversation that he didn’t want to wrench himself away from? Was he just generally tired of his mother’s interference?? I’m not sure, and we’ll never be sure, because his question is not answered. We don’t know why Mary involves Jesus here. She ignores his question, giving instructions to the servants simply to do whatever he tells them. They obey, filling some bath sized jars with water, which Jesus turns into fine wine.
How can it be that John associates this act with the revelation of God’s glory? I mean, seriously?? There’s a wedding. The party is in full swing, probably has been for days, and what started out as a copious amount of alcohol turns out not to be enough. The pressure is on the hosts to keep their guests fed and watered. Why should God help out?
Besides, by the time Mary intervenes, it’s quite likely that Jesus is surrounded by people who are
drunk or heading that way. As the master of the banquet says to the bridegroom in verse 10, ‘Everyone brings out the choice wine first and then the cheaper wine after the guests have had too much to drink…’ The presenting problem in John 2 is that both the good wine and the cheaper wine have been consumed. It’s all gone. It’s in this context that Jesus says, ‘Okay, you’ve run out of booze. Why do you involve me?’
We don’t know why Mary thought her son should be involved in this domestic crisis. John merely tells us that this spectacular deed – turning water into wine – is the first sign through which Jesus, God in the flesh, revealed his glory. Basically, John is telling us that the glory of holy God is revealed first and foremost in an act of extraordinary, controversial and extravagant blessing, something designed not to put Israel on the map or tighten up the moral code; something designed to keep the party going, or perhaps to get the party truly started.
The wedding at Cana is not about taking care not to overdo it (that’s for another time and place). And it’s not a story to tell if you want people to believe that the emphasis in Christianity is on sin.
According to John, God’s first sign to the world, his first attempt to show people what he’s really like, is to give them more of something they really enjoy, more wine and more of the best, more goodness, more fun, more life, more reasons to celebrate. He gives them more when they thought they’d had enough. Not mindless excess, but the overflowing abundance of life.
Why did Mary involve God? We don’t know. But God got involved at her request. The wedding at Cana shows us not only that God isn’t afraid to associate his glory with something earthy, like wine, but that the divine Creator submits himself to be moved by his creatures. Jesus told Mary that his time had not yet come (v. 4) yet at her prompting, he acts. Wine for them, glory for him. In some mysterious way, God’s heavenly glory is intricately connected with good things on earth. Next time you order a bottle for friends, remember that.
Madi Simpson









In my previous post, I suggested that in order to make sense of our little and everyday stories, we need a view from above. Like a cosmic director, God has revealed the broad contours of an ongoing script, and invites us to make sense of our lives from His perspective.
dom of peace and love. He called us to switch scripts, and align with God’s form to be forgiven and free. As the perfect character, Jesus stood in for our failures. He took the blame, and absorbed evil in love, crucified to cover our sin. He took the worst the world could throw at him, but after it all, rose from the dead—a real historical event worth checking out. This demonstrated that death was defeated, and the story would go on. …
ailure to God, turning from our way to trust the Director’s solution in Jesus, then a new act begins. God starts the process of healing us from the inside out—revealing the part only I can play—so we can go together in the power of His Spirit to help heal a hurting world. We partner with God to restore relationships and a broken planet. No waiting until the story’s happy ending, we have a mission right now to give the world a preview of the play’s final scene. Until we exit the stage, our role is to follow Jesus by absorbing evil in love, and reconnecting everyone with a good God who designed us to be free.
ng when Jesus will return, judge the world, and set everything right. We’ve all fallen short, so we need God’s mercy. As the curtain closes, every actor is brought back to give account for their actions. If you’ve accepted God’s forgiveness, your real story is just starting: a restored earth with no hate, pollution, poverty, or war. God—Father, Son, and Holy Spirit—will be the centre of it all, and we’ll be free in this love. But what should God do with those of us who reject Him? Everything good, true, and beautiful comes from God, so apart from Him, all that’s left is Hell. Hell is when we exclude ourselves from the Director’s plans for a do-over.
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?
e and step into the following epic: a story with five scenes.
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?







