Papa is God the Father? | Episode 6 | TBN

Papa is God the Father? | Episode 6

Watch Papa is God the Father? | Episode 6
July 4, 2018
26:04

Restoring the Shack

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Papa is God the Father? | Episode 6

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  • [MUSIC]
  • 00:00:00.130 --> 00:00:02.250
  • MY NAME IS PAUL YOUNG.
  • 00:00:02.270 --> 00:00:05.010
  • AND I'M THE AUTHOR OF THE SHACK.
  • 00:00:05.030 --> 00:00:07.080
  • I WANT TO INVITE YOU ON AN ADVENTURE WITH ME
  • 00:00:07.100 --> 00:00:10.200
  • AND WITH THE BOOK.
  • 00:00:10.220 --> 00:00:12.020
  • A LOT OF YOU HAVE READ IT, YOU HAVE QUESTIONS.
  • 00:00:12.040 --> 00:00:14.270
  • SOME OF YOU HAVE JUST HEARD ABOUT IT
  • 00:00:14.290 --> 00:00:16.080
  • AND YOU HAVE QUESTIONS.
  • 00:00:16.100 --> 00:00:18.110
  • THIS IS A BOOK THAT ALLOWS US TO EXPLORE
  • 00:00:18.130 --> 00:00:21.060
  • RELATIONSHIP WITH THE FATHER, SON AND HOLY SPIRIT.
  • 00:00:21.080 --> 00:00:24.140
  • QUESTIONS THAT WE HAVE ABOUT HURT AND LOSS AND
  • 00:00:24.160 --> 00:00:28.000
  • GRIEF. QUESTIONS ABOUT WONDER AND BEAUTY AND JOY.
  • 00:00:28.020 --> 00:00:34.000
  • WHAT DOES IT MEAN TO LIVE A LIFE OF FAITH?
  • 00:00:34.020 --> 00:00:37.160
  • WHAT DO WE DO ABOUT DEATH?
  • 00:00:37.180 --> 00:00:39.190
  • WHY DO TRAGIC THINGS HAPPEN TO US?
  • 00:00:39.210 --> 00:00:43.240
  • THESE ARE THE QUESTIONS THAT WE WANT TO EXPLORE,
  • 00:00:43.260 --> 00:00:47.150
  • AND I WOULD LOVE YOU TO COME WITH ME.
  • 00:00:47.170 --> 00:00:49.210
  • THIS IS AN INVITATION.
  • 00:00:49.230 --> 00:00:51.110
  • [UPLIFTING MUSIC]
  • 00:00:51.130 --> 00:01:01.120
  • [UPLIFTING MUSIC]
  • 00:01:01.120 --> 00:01:08.260
  • [SOFT MELODIC MUSIC]
  • 00:01:13.000 --> 00:01:20.100
  • WHEN MACKENZIE ALLEN PHILLIPS FIRST GETS TO
  • 00:01:20.120 --> 00:01:23.290
  • THE SHACK, IT'S A RUN- DOWN, DILAPIDATED PLACE.
  • 00:01:24.010 --> 00:01:29.200
  • AND EVIDENCE IS FOUND THERE THAT HIS DAUGHTER
  • 00:01:29.220 --> 00:01:32.170
  • HAS BEEN ABDUCTED AND PROBABLY MURDERED.
  • 00:01:32.190 --> 00:01:35.120
  • THE SECOND TIME THAT HE GOES BACK, IT'S THE SAME
  • 00:01:35.140 --> 00:01:37.100
  • BROKEN DOWN PLACE.
  • 00:01:37.120 --> 00:01:39.240
  • AND HE'S GOING BACK MAYBE TO CONFRONT THE
  • 00:01:39.260 --> 00:01:43.090
  • PERPETRATOR, MAYBE TO MEET GOD.
  • 00:01:43.110 --> 00:01:48.040
  • BUT MACKENZIE GREW UP WITH THE SAME GOD
  • 00:01:48.060 --> 00:01:50.000
  • THAT I DID, DISTANT, UNAPPROACHABLE,
  • 00:01:50.020 --> 00:01:53.030
  • UNREACHABLE, WATCHING FROM THE INFINITE
  • 00:01:53.050 --> 00:01:55.220
  • DISTANCE OF A DISAPPROVING HEART.
  • 00:01:55.240 --> 00:01:58.230
  • THAT GOD DOESN'T SHOW UP.
  • 00:01:58.250 --> 00:02:01.040
  • AND IN THE BOOK, THAT GOD DOESN'T SHOW UP BECAUSE I
  • 00:02:01.060 --> 00:02:03.100
  • DON'T BELIEVE THAT THAT GOD ACTUALLY EXISTS.
  • 00:02:03.120 --> 00:02:07.040
  • FOR THE MOST PART, THAT GOD, THAT SINGLE DARKNESS
  • 00:02:07.060 --> 00:02:11.090
  • BEHIND JESUS IS THE GOD, THE ATHEISTS ARE MAD AT,
  • 00:02:11.110 --> 00:02:16.030
  • DON'T BELIEVE EXISTS, AND I AGREE WITH THAT.
  • 00:02:16.050 --> 00:02:19.110
  • IT'S ALSO THE GOD THAT AGNOSTICS HOPE DO NOT
  • 00:02:19.130 --> 00:02:22.150
  • EXIST AND CHRISTIANS WHO THINK THAT THEY BELIEVE
  • 00:02:22.170 --> 00:02:26.220
  • THAT THAT GOD EXISTS ARE TRYING TO FIND A WAY TO
  • 00:02:26.240 --> 00:02:28.280
  • JUSTIFY THAT GOD'S EXISTENCE.
  • 00:02:29.000 --> 00:02:31.170
  • BUT HE DOESN'T SHOW UP.
  • 00:02:31.190 --> 00:02:34.030
  • MACKENZIE, IN HIS FURY, TAKES THE PLACE APART
  • 00:02:34.050 --> 00:02:36.090
  • AND HE'S DONE.
  • 00:02:36.110 --> 00:02:38.220
  • AND HE WALKS AWAY, BUT A TRANSFORMATION TAKES
  • 00:02:38.240 --> 00:02:42.160
  • PLACE BEHIND HIM, AND THIS SHACK HE CAN SEE IT
  • 00:02:42.180 --> 00:02:46.240
  • FOR WHAT IT TRULY IS, AND HE RAISES HIS FIST ONCE
  • 00:02:46.260 --> 00:02:53.020
  • MORE BUT THIS TIME TO KNOCK, AND BEFORE HE CAN
  • 00:02:53.040 --> 00:02:56.040
  • EVEN KNOCK, OUT COMES FROM INSIDE THE SHACK
  • 00:02:56.060 --> 00:02:59.150
  • THREE PERSONS THAT HE DOESN'T RECOGNIZE.
  • 00:02:59.170 --> 00:03:02.070
  • THE FIRST ONE IS A LARGE, EMBRACING, JOYFUL,
  • 00:03:02.090 --> 00:03:08.210
  • AFRICAN AMERICAN WOMAN.
  • 00:03:08.230 --> 00:03:10.250
  • - CAR LEAVES IN 20 SECONDS.
  • 00:03:12.180 --> 00:03:14.220
  • - WE'VE GOTTA GO, LITTLE RASCAL.
  • 00:03:14.240 --> 00:03:16.110
  • - DO YOU THINK THE PRINCESS SHOULD HAVE
  • 00:03:16.130 --> 00:03:19.050
  • A RED DRESS LIKE MINE?
  • 00:03:19.070 --> 00:03:20.270
  • - RED IT IS.
  • 00:03:20.290 --> 00:03:21.290
  • - WHERE IS MISSY?
  • 00:03:24.210 --> 00:03:26.120
  • - MISSY!
  • 00:03:26.140 --> 00:03:27.240
  • - WHERE'S MISSY? - THEY HAVEN'T SEEN HER.
  • 00:03:27.260 --> 00:03:30.100
  • - MISSY! MISSY!
  • 00:03:30.120 --> 00:03:31.290
  • [SIRENS BLARING]
  • 00:03:32.010 --> 00:03:34.230
  • - I'M SCARED.
  • 00:03:34.250 --> 00:03:35.250
  • - I DIDN'T KNOW WHAT TO DO.
  • 00:03:35.270 --> 00:03:37.290
  • [POLICE RADIO] GROUND TEAMS FOUND A TRUCK IN THE MOUNTAINS.
  • 00:03:38.010 --> 00:03:40.140
  • - I'M REALLY SORRY MR. PHILLIPS.
  • 00:03:40.160 --> 00:03:43.080
  • [SCREAMING]
  • 00:03:45.110 --> 00:03:48.040
  • [MUSIC]
  • 00:03:48.060 --> 00:03:50.240
  • - NEED SOME HELP OVER THERE?
  • 00:03:50.260 --> 00:03:52.020
  • - I'M OKAY.
  • 00:03:52.040 --> 00:03:53.070
  • - HOW ABOUT SOME DINNER TONIGHT?
  • 00:03:53.090 --> 00:03:54.180
  • - MAYBE NEXT TIME.
  • 00:03:54.200 --> 00:03:55.250
  • [YELLING]
  • 00:03:57.040 --> 00:03:59.250
  • I'M SORRY. I'M SO SORRY!
  • 00:03:59.270 --> 00:04:02.090
  • - WE'VE LOST SO MUCH ALREADY.
  • 00:04:02.110 --> 00:04:04.050
  • I DON'T WANT TO LOSE YOU TOO.
  • 00:04:04.070 --> 00:04:06.050
  • - THE LETTER SHOWED UP IN MY MAILBOX WITH NO
  • 00:04:07.290 --> 00:04:09.240
  • TRACKS IN THE SNOW.
  • 00:04:09.260 --> 00:04:11.070
  • - YOU'RE NOT THINKING ABOUT GOING BACK THERE, ARE YOU?
  • 00:04:11.090 --> 00:04:12.270
  • - I'VE GOT TO DO SOMETHING.
  • 00:04:12.290 --> 00:04:14.090
  • - YOU KNOW THIS ISN'T A GOOD IDEA. IT'S CRAZY.
  • 00:04:14.110 --> 00:04:16.190
  • - THIS IS ALL I GOT.
  • 00:04:16.210 --> 00:04:18.120
  • - GOT A FIRE GOING INSIDE IF YOU WANT TO WARM UP.
  • 00:04:20.140 --> 00:04:23.150
  • - MACKENZIE ALLEN PHILLIPS.
  • 00:04:27.150 --> 00:04:30.120
  • I'VE BEEN LOOKING FORWARD TO THIS.
  • 00:04:30.140 --> 00:04:32.090
  • - DO I KNOW YOU?
  • 00:04:32.110 --> 00:04:33.210
  • - NOT VERY WELL BUT WE'RE GONNA WORK ON THAT.
  • 00:04:33.230 --> 00:04:35.270
  • - THIS IS INCREDIBLE.
  • 00:04:37.150 --> 00:04:38.260
  • - YOU'RE STILL HAVING A HARD TIME BELIEVING
  • 00:04:38.280 --> 00:04:39.280
  • THIS IS REAL.
  • 00:04:40.000 --> 00:04:41.080
  • - WHY DID YOU BRING ME HERE?
  • 00:04:41.100 --> 00:04:42.230
  • - THERE'S NO EASY ANSWER THAT WILL TAKE YOUR PAIN AWAY.
  • 00:04:42.250 --> 00:04:45.080
  • - WHERE WERE YOU WHEN I NEEDED YOU?
  • 00:04:45.100 --> 00:04:47.130
  • - I NEVER LEFT YOU. I NEVER LEFT MISSY.
  • 00:04:47.150 --> 00:04:50.000
  • - YOU WANT ME TO FORGIVE HIM.
  • 00:04:52.240 --> 00:04:54.270
  • I WANT HIM TO HURT LIKE HE HURT ME.
  • 00:04:54.290 --> 00:04:57.170
  • - YOU WANT THE PROMISES OF A PAIN-FREE LIFE?
  • 00:04:58.270 --> 00:05:01.010
  • - YEAH.
  • 00:05:01.030 --> 00:05:02.040
  • - THERE ISN'T ONE.
  • 00:05:02.060 --> 00:05:03.190
  • - YOU CAN DO THIS. - I CAN'T!
  • 00:05:05.080 --> 00:05:06.230
  • - ON YOUR OWN YOU CAN'T.
  • 00:05:06.250 --> 00:05:08.210
  • - THIS IS YOUR FLYING LESSON.
  • 00:05:08.230 --> 00:05:10.140
  • KEEP YOUR EYES ON ME...
  • 00:05:11.270 --> 00:05:15.020
  • WHEN YOU CAN'T FIND YOUR WAY...
  • 00:05:15.040 --> 00:05:17.010
  • KEEP YOUR EYES ON ME...
  • 00:05:17.030 --> 00:05:23.290
  • - I BELIEVE YOU.
  • 00:05:24.010 --> 00:05:25.190
  • KEEP YOUR EYES ON ME...
  • 00:05:25.210 --> 00:05:30.060
  • KEEP YOUR EYES ON ME...
  • 00:05:30.080 --> 00:05:34.220
  • [UPLIFTING MUSIC]
  • 00:05:36.040 --> 00:05:44.220
  • [UPLIFTING MUSIC]
  • 00:05:44.220 --> 00:05:52.060
  • SO WHEN PAPA COMES THROUGH THE DOOR,
  • 00:05:54.260 --> 00:05:58.000
  • MACKENZIE HAS JUST RAISED HIS FIST TO KNOCK, GOD IS
  • 00:05:58.020 --> 00:06:01.240
  • NOT ANYTHING LIKE HE HAD IMAGINED.
  • 00:06:01.260 --> 00:06:05.070
  • DEFINITELY NOT GANDALF WITH A BAD ATTITUDE,
  • 00:06:05.090 --> 00:06:08.100
  • THAT IMAGINARY DISTANT GRANDFATHERLY
  • 00:06:08.120 --> 00:06:12.000
  • WHITE-BEARDED GUY.
  • 00:06:12.020 --> 00:06:14.080
  • THIS IS A LARGE, EMBRACING, JOYFUL,
  • 00:06:14.100 --> 00:06:20.240
  • BOISTEROUS, REAL PERSON.
  • 00:06:20.260 --> 00:06:26.160
  • AND SHE JUST WRAPS HIM UP.
  • 00:06:26.180 --> 00:06:28.280
  • LET ME READ YOU A LITTLE BIT ABOUT THAT ENCOUNTER
  • 00:06:29.000 --> 00:06:30.260
  • FROM THE SHACK.
  • 00:06:30.280 --> 00:06:34.150
  • "MACK WAS SPEECHLESS. IN A FEW SECONDS THIS WOMAN
  • 00:06:34.170 --> 00:06:37.240
  • HAD BREACHED PRETTY MUCH EVERY SOCIAL PROPRIETY
  • 00:06:37.260 --> 00:06:40.280
  • BEHIND WHICH HE HAD SAFELY ENTRENCHED HIMSELF.
  • 00:06:41.000 --> 00:06:43.250
  • HE COULD FEEL THE WARMTH OF TEARS BEGINNING TO
  • 00:06:43.270 --> 00:06:46.140
  • GATHER BEHIND HIS EYES AS IF THEY WERE KNOCKING ON
  • 00:06:46.160 --> 00:06:49.100
  • THE DOOR OF HIS HEART.
  • 00:06:49.120 --> 00:06:51.010
  • IT SEEMED THAT SHE SAW THEM TOO.
  • 00:06:51.030 --> 00:06:53.190
  • 'IT'S OKAY, HONEY.
  • 00:06:53.210 --> 00:06:55.260
  • YOU CAN LET IT ALL OUT.
  • 00:06:55.280 --> 00:06:58.210
  • I KNOW YOU'VE BEEN HURT, AND I KNOW YOU'RE ANGRY
  • 00:06:58.230 --> 00:07:02.090
  • AND CONFUSED, SO GO AHEAD AND LET IT OUT.
  • 00:07:02.110 --> 00:07:06.030
  • IT DOES A SOUL GOOD TO LET THE WATERS RUN
  • 00:07:06.050 --> 00:07:08.020
  • ONCE IN A WHILE.
  • 00:07:08.040 --> 00:07:10.070
  • THE HEALING WATERS.'
  • 00:07:10.090 --> 00:07:13.000
  • BUT WHILE MACK COULD NOT STOP THE TEARS FROM
  • 00:07:13.020 --> 00:07:14.270
  • FILLING HIS EYES, HE WAS NOT READY TO LET GO, NOT
  • 00:07:14.290 --> 00:07:18.200
  • YET, NOT WITH THIS WOMAN.
  • 00:07:18.220 --> 00:07:21.120
  • WITH EVERY EFFORT HE COULD MUSTER, HE KEPT
  • 00:07:21.140 --> 00:07:23.190
  • HIMSELF FROM FALLING BACK INTO THE BLACK HOLE
  • 00:07:23.210 --> 00:07:25.230
  • OF HIS EMOTIONS.
  • 00:07:25.250 --> 00:07:27.160
  • MEANWHILE THIS WOMAN STOOD WITH HER ARMS
  • 00:07:27.180 --> 00:07:29.100
  • OUTSTRETCHED AS IF THEY WERE THE VERY ARMS OF HIS
  • 00:07:29.120 --> 00:07:31.180
  • MOTHER. HE FELT THE PRESENCE OF LOVE.
  • 00:07:31.200 --> 00:07:34.190
  • IT WAS WARM, INVITING, MELTING.
  • 00:07:34.210 --> 00:07:38.140
  • 'NOT READY?' SHE RESPONDED.
  • 00:07:38.160 --> 00:07:41.240
  • 'THAT'S OKAY.
  • 00:07:41.260 --> 00:07:44.070
  • WE'LL DO THIS ON YOUR TERMS AND TIME.'"
  • 00:07:44.090 --> 00:07:49.240
  • ON YOUR TERMS AND TIME.
  • 00:07:49.260 --> 00:07:53.040
  • THAT'S ONE OF THE THINGS THAT WE DON'T UNDERSTAND
  • 00:07:53.060 --> 00:07:56.030
  • ABOUT THE CHARACTER OF GOD, THAT THIS IS A GOD
  • 00:07:56.050 --> 00:07:58.130
  • WHO COMES AND SUBMITS TO US, AND THAT OUR TERMS
  • 00:07:58.150 --> 00:08:02.020
  • AND TIME MATTER.
  • 00:08:02.040 --> 00:08:05.010
  • [UPLIFTING MUSIC]
  • 00:08:05.030 --> 00:08:14.170
  • [UPLIFTING MUSIC]
  • 00:08:14.170 --> 00:08:22.010
  • WHEN I WROTE THE SHACK, I DIDN'T THINK THE
  • 00:08:22.200 --> 00:08:24.060
  • WORLD WAS GONNA READ IT.
  • 00:08:24.080 --> 00:08:25.290
  • I WROTE IT SPECIFICALLY FOR OUR SIX KIDS AND FOR
  • 00:08:26.010 --> 00:08:29.240
  • A HANDFUL OF FRIENDS WHO GOT THE EXTRA COPIES.
  • 00:08:29.260 --> 00:08:33.190
  • A LOT OF FOLKS ABSOLUTELY LOVED THE PORTRAYAL
  • 00:08:33.210 --> 00:08:37.140
  • OF GOD THE FATHER.
  • 00:08:37.160 --> 00:08:38.270
  • SOME PEOPLE FOUND IT A BIT OF A CHALLENGE LIKE MY MOM.
  • 00:08:38.290 --> 00:08:45.040
  • NOW, MY MOM IS 88 YEARS OLD, AND SHE GOT TO THE
  • 00:08:45.060 --> 00:08:49.050
  • PLACE WHERE PAPA COMES THROUGH THE DOOR AND SHE
  • 00:08:49.070 --> 00:08:52.080
  • CLOSED THE BOOK AND SHE PICKED UP THE PHONE AND
  • 00:08:52.100 --> 00:08:54.290
  • SHE CALLED MY SISTER.
  • 00:08:55.010 --> 00:08:57.220
  • DEBBIE, YOUR BROTHER IS A HERETIC!
  • 00:08:57.240 --> 00:09:02.040
  • AND MY MOTHER GOT STUCK RIGHT THERE.
  • 00:09:02.060 --> 00:09:04.230
  • SHE COULDN'T GET PAST THAT SCENE.
  • 00:09:04.250 --> 00:09:07.190
  • LET ME TELL YOU THE STORY OF HOW SHE GOT UNSTUCK
  • 00:09:07.210 --> 00:09:10.130
  • BECAUSE IT WILL ALSO HELP FRAME WHY I PORTRAYED
  • 00:09:10.150 --> 00:09:13.290
  • GOD THE FATHER THE WAY THAT I DID.
  • 00:09:14.010 --> 00:09:16.160
  • IT'S 1946.
  • 00:09:16.180 --> 00:09:19.220
  • THE WARS TO END ALL WARS HAD JUST FINISHED.
  • 00:09:19.240 --> 00:09:23.000
  • MY MOTHER IS 18 YEARS OLD.
  • 00:09:23.020 --> 00:09:25.230
  • SHE'S SINGLE, AND SHE ENTERS NURSE'S TRAINING
  • 00:09:25.250 --> 00:09:29.070
  • IN VICTORIA JUBILEE HOSPITAL.
  • 00:09:29.090 --> 00:09:31.200
  • THAT'S UP IN VICTORIA BRITISH COLOMBIA.
  • 00:09:31.220 --> 00:09:34.100
  • WELL, THERE'S A FAMILY IN THE CITY NAMED MUNN,
  • 00:09:34.120 --> 00:09:38.090
  • M-U-N-N, AND REVEREND MUNN IS THE SENIOR PASTOR OF
  • 00:09:38.110 --> 00:09:43.010
  • THE ANGLICAN CHURCH IN VICTORIA.
  • 00:09:43.030 --> 00:09:46.040
  • AND HE AND HIS WIFE HAD BEEN TRYING TO HAVE A
  • 00:09:46.060 --> 00:09:47.230
  • BABY. THEIR FIRST.
  • 00:09:47.250 --> 00:09:50.240
  • THEIR CHARTS SHOWED THAT THEY'D HAD FIVE LATE
  • 00:09:50.260 --> 00:09:56.110
  • SECOND TRIMESTER, EARLY THIRD TRIMESTER
  • 00:09:56.130 --> 00:09:58.270
  • MISCARRIAGES IN A ROW, AND MY MOTHER HAD BEEN IN
  • 00:09:58.290 --> 00:10:03.020
  • NURSE'S TRAINING FOR THREE MONTHS WHEN
  • 00:10:03.040 --> 00:10:05.260
  • MRS. MUNN CAME INTO THE HOSPITAL BLEEDING SIX AND
  • 00:10:05.280 --> 00:10:09.110
  • A HALF MONTHS PREGNANT.
  • 00:10:09.130 --> 00:10:11.070
  • THEY IMMEDIATELY CALLED THE HEAD OF O.B.
  • 00:10:11.090 --> 00:10:12.240
  • HE COMES IN, EXAMINES HER AND SAYS WE'RE GONNA
  • 00:10:12.260 --> 00:10:15.100
  • HAVE TO TAKE THE BABY.
  • 00:10:15.120 --> 00:10:17.010
  • SHE IS PULLED INTO AN EMERGENCY C-SECTION IN
  • 00:10:17.030 --> 00:10:19.100
  • WHICH THE DOCTOR DELIVERS A ONE POUND BABY BOY.
  • 00:10:19.120 --> 00:10:25.040
  • THE DOCTOR PUTS HIM IN A KIDNEY TRAY, HANDS THE
  • 00:10:25.060 --> 00:10:27.260
  • KIDNEY TRAY TO MY MOTHER AND SAYS IT'S NOT VIABLE,
  • 00:10:27.280 --> 00:10:33.030
  • DISPOSE OF IT.
  • 00:10:33.050 --> 00:10:35.000
  • NOW, IN 1946, DISPOSE OF IT MEANS INCINERATOR,
  • 00:10:35.020 --> 00:10:40.030
  • RIGHT?
  • 00:10:40.050 --> 00:10:41.130
  • BECAUSE YOU DEALT WITH MEDICAL WASTE BY PUTTING
  • 00:10:41.150 --> 00:10:43.130
  • IT IN THE INCINERATOR.
  • 00:10:43.150 --> 00:10:45.090
  • AND THE DOCTOR GOES BACK TO FINISH THE OPERATION,
  • 00:10:45.110 --> 00:10:47.090
  • MY MOTHER IS LOOKING AT THIS LITTLE BABY BOY AND
  • 00:10:47.110 --> 00:10:49.250
  • HE'S STILL BREATHING AND SHE DOESN'T KNOW WHAT TO
  • 00:10:49.270 --> 00:10:52.150
  • DO BECAUSE IN 1946 YOU HAVE GOD THE FATHER,
  • 00:10:52.170 --> 00:10:55.160
  • GOD THE SON, GOD THE HOLY SPIRIT AND GOD THE DOCTORS,
  • 00:10:55.180 --> 00:10:58.120
  • AND YOU NEVER COUNTERMANDED A DOCTOR.
  • 00:10:58.140 --> 00:11:01.180
  • AND SHE'S LOOKING AT THIS BABY AND HE'S BREATHING
  • 00:11:01.200 --> 00:11:04.140
  • AND SHE'S CAUGHT IN A CONFLICT, WHAT DOES SHE DO?
  • 00:11:04.160 --> 00:11:08.170
  • BECAUSE SHE CAN'T PUT A LIVING BREATHING BABY BOY
  • 00:11:08.190 --> 00:11:11.200
  • IN THE INCINERATOR.
  • 00:11:11.220 --> 00:11:14.060
  • SO SHE GOES OUT INTO THE SERVICE AREA OUTSIDE THE
  • 00:11:14.080 --> 00:11:16.230
  • OPERATING ROOM AND FINALLY COMES UP WITH A PLAN.
  • 00:11:16.250 --> 00:11:20.110
  • SO SHE FINDS A WASH CLOTH, WRAPS THIS LITTLE
  • 00:11:20.130 --> 00:11:22.250
  • BABY BOY UP IN THE WASH CLOTH, PUTS HIM BACK IN
  • 00:11:22.270 --> 00:11:25.250
  • THE KIDNEY TRAY, WALKS BACK INTO THE
  • 00:11:25.270 --> 00:11:27.160
  • OPERATING ROOM AND PUTS HIM UP ON TOP OF THE
  • 00:11:27.180 --> 00:11:30.110
  • STERILIZATION UNIT BECAUSE IT'S THE ONLY
  • 00:11:30.130 --> 00:11:32.250
  • WARM PLACE IN THE ROOM.
  • 00:11:32.270 --> 00:11:35.040
  • THE HEAD NURSE TAKES MRS. MUNN TO POST-OP FOR RECOVERY.
  • 00:11:35.060 --> 00:11:38.240
  • MY MOTHER HAS FINISHED THE CLEANUP, AND SHE
  • 00:11:38.260 --> 00:11:41.060
  • TAKES THIS LITTLE BABY BOY AND SHE HOLDS HIM IN
  • 00:11:41.080 --> 00:11:44.250
  • THE OPERATING ROOM, SITS THERE.
  • 00:11:44.270 --> 00:11:47.170
  • NINE-THIRTY, THE DOCTOR MEETS WITH THE PARENTS,
  • 00:11:47.190 --> 00:11:51.090
  • REVEREND AND MRS. MUNN, AND TELLS THEM THE BAD NEWS.
  • 00:11:51.110 --> 00:11:54.100
  • SO HE LEAVES, GOES HOME, AND THE PARENTS ARE
  • 00:11:54.120 --> 00:11:58.120
  • GRIEVING THE LOSS OF THEIR SIXTH CHILD.
  • 00:11:58.140 --> 00:12:02.230
  • MY MOTHER'S HOLDING THIS SIXTH CHILD IN THE
  • 00:12:02.250 --> 00:12:05.030
  • OPERATING ROOM WAITING FOR HIM TO DIE.
  • 00:12:05.050 --> 00:12:07.270
  • 10:30, 11:30, 12:30.
  • 00:12:07.290 --> 00:12:12.120
  • AT 1:30 IN THE MORNING, MY MOTHER SAYS
  • 00:12:12.140 --> 00:12:14.290
  • TO HERSELF, I SHOULD REALLY TELL SOMEBODY
  • 00:12:15.010 --> 00:12:18.060
  • ABOUT THIS. THE DOCTOR COMES RUSHING IN FROM
  • 00:12:18.080 --> 00:12:21.280
  • HOME AND HE IS FURIOUS.
  • 00:12:22.000 --> 00:12:24.070
  • HE IS ABSOLUTELY LIVID.
  • 00:12:24.090 --> 00:12:26.020
  • AND HE RIPS INTO THIS 18 YEAR OLD INSUBORDINATE
  • 00:12:26.040 --> 00:12:29.190
  • GIRL AND TAKES HER APART.
  • 00:12:29.210 --> 00:12:31.190
  • YOU CREATED THIS PROBLEM, YOU'RE NOW
  • 00:12:31.210 --> 00:12:33.040
  • RESPONSIBLE FOR IT.
  • 00:12:33.060 --> 00:12:35.000
  • AND HE SAYS DON'T YOU DARE SAY ANYTHING
  • 00:12:35.020 --> 00:12:37.120
  • TO THE PARENTS.
  • 00:12:37.140 --> 00:12:39.240
  • SO MY MOTHER TAKES THIS LITTLE BABY BOY UP TO THE
  • 00:12:39.260 --> 00:12:43.000
  • NURSERY AND THE NURSES ADOPT HIM.
  • 00:12:43.020 --> 00:12:46.180
  • THEY HOLD HIM AROUND THE CLOCK AND THEY BEGIN
  • 00:12:46.200 --> 00:12:48.140
  • FEEDING HIM WITH AN EYE DROPPER.
  • 00:12:48.160 --> 00:12:51.060
  • THE DOCTOR THINKS THE BABY IS GONNA DIE.
  • 00:12:51.080 --> 00:12:54.040
  • AND AS SOON AS THE BABY DIES, CODE OF SILENCE,
  • 00:12:54.060 --> 00:12:57.140
  • SWEEP IT UNDER THE RUG, EVERYTHING WILL BE FINE,
  • 00:12:57.160 --> 00:13:01.000
  • NOBODY HAS TO BE THE WISER.
  • 00:13:01.020 --> 00:13:02.260
  • BUT THE BABY STARTS TO PICK UP WEIGHT.
  • 00:13:02.280 --> 00:13:05.130
  • AND AT THAT POINT THE DOCTOR KNOWS HE'S GOT TO
  • 00:13:05.150 --> 00:13:07.140
  • TELL THE PARENTS.
  • 00:13:07.160 --> 00:13:09.140
  • SO HE GOES IN AND MEETS WITH REVEREND AND MRS. MUNN.
  • 00:13:09.160 --> 00:13:12.080
  • WELL AT THAT POINT THEY DON'T CARE.
  • 00:13:12.100 --> 00:13:14.240
  • THEY HAVE A SON!
  • 00:13:14.260 --> 00:13:17.210
  • AND THEY NAME HIM HAROLD. HAROLD MUNN.
  • 00:13:17.230 --> 00:13:21.070
  • AND HAROLD MEANS GOOD NEWS.
  • 00:13:21.090 --> 00:13:25.120
  • THEY HAVE A SON!
  • 00:13:25.140 --> 00:13:28.160
  • AND TWO YEARS LATER, MY MOTHER ALONG WITH ALL THE
  • 00:13:28.180 --> 00:13:32.050
  • OTHER NURSES THAT HAD CARED FOR HAROLD GET AN
  • 00:13:32.070 --> 00:13:34.260
  • INVITATION TO HAROLD'S SECOND BIRTHDAY.
  • 00:13:34.280 --> 00:13:38.020
  • NOW MEANWHILE, THE PARENTS HAVE BEEN ASKING
  • 00:13:38.040 --> 00:13:40.100
  • THE DOCTOR IN THE HOSPITAL HOW COME ALMOST
  • 00:13:40.120 --> 00:13:43.090
  • THREE DAYS BEFORE WE WERE TOLD ANYTHING?
  • 00:13:43.110 --> 00:13:46.170
  • AND NOBODY SAYS ANYTHING. CODE OF SILENCE.
  • 00:13:46.190 --> 00:13:49.190
  • AND ONE DAY MY MOTHER READS AN OBITUARY
  • 00:13:49.210 --> 00:13:53.110
  • AND A BISHOP MUNN HAS PASSED AWAY.
  • 00:13:53.130 --> 00:13:57.090
  • SHE HAPPENED TO BE WORKING WITH AN ANGLICAN
  • 00:13:57.110 --> 00:13:59.290
  • NURSE AND SHE SAID DID YOU BY ANY CHANCE KNOW
  • 00:14:00.030 --> 00:14:03.160
  • BISHOP MUNN? AND THE GAL SAID YES,
  • 00:14:03.180 --> 00:14:06.130
  • ACTUALLY I KNEW HIM VERY WELL.
  • 00:14:06.150 --> 00:14:08.180
  • DID BISHOP MUNN HAVE ANY CHILDREN?
  • 00:14:08.200 --> 00:14:12.130
  • THE GAL SAYS YES. ONE SON. AMAZING BOY.
  • 00:14:12.150 --> 00:14:17.210
  • GRADUATED COLLEGE WHEN HE'S LIKE 16, AND SHE SAID
  • 00:14:17.230 --> 00:14:21.190
  • LAST I HEARD, HE'S A MISSIONARY TEACHER
  • 00:14:21.210 --> 00:14:24.160
  • IN WEST AFRICA.
  • 00:14:24.180 --> 00:14:27.030
  • MY MOTHER STILL DOESN'T SAY ANYTHING, NOT FOR
  • 00:14:27.050 --> 00:14:29.280
  • ANOTHER TEN YEARS, AND MY MOTHER READS ANOTHER
  • 00:14:30.000 --> 00:14:33.110
  • OBITUARY. THE DOCTOR.
  • 00:14:33.130 --> 00:14:37.060
  • NOW, YOU HAVE TO UNDERSTAND, THE DOCTOR IS DEAD.
  • 00:14:37.080 --> 00:14:41.100
  • THIS IS THE FIRST TIME THAT MY MOTHER TELLS
  • 00:14:41.120 --> 00:14:44.210
  • ANYBODY THE STORY ABOUT HAROLD MUNN'S BIRTH.
  • 00:14:44.230 --> 00:14:48.110
  • WE'D NEVER HEARD THIS.
  • 00:14:48.130 --> 00:14:50.010
  • MY MOTHER HAD KEPT THIS THING A SECRET UNDER THE
  • 00:14:50.030 --> 00:14:51.260
  • CODE OF SILENCE ALL THESE YEARS, BUT NOW THE
  • 00:14:51.280 --> 00:14:55.110
  • DOCTOR'S DEAD SO IT'S KIND OF LIKE OPEN SEASON
  • 00:14:55.130 --> 00:14:57.140
  • AND YOU SORT OF CAN TELL ANYBODY,
  • 00:14:57.160 --> 00:14:59.130
  • AND HE'S NOT COMING BACK.
  • 00:14:59.150 --> 00:15:01.210
  • SO MY MOTHER TELLS US AND THEN DECIDES TO
  • 00:15:01.230 --> 00:15:05.030
  • TRACK DOWN HAROLD, AND SHE FOUND HIM.
  • 00:15:05.050 --> 00:15:08.240
  • HE WAS NOW THE SENIOR PASTOR OF THE ANGLICAN
  • 00:15:08.260 --> 00:15:12.010
  • CHURCH IN VICTORIA BRITISH COLOMBIA JUST
  • 00:15:12.030 --> 00:15:14.130
  • DOWN THE ROAD FROM WHERE HIS FATHER PASTORED IN 1946.
  • 00:15:14.150 --> 00:15:19.090
  • WELL HAROLD IS BLOWN AWAY.
  • 00:15:19.110 --> 00:15:21.040
  • IMMEDIATELY CONTACTS MY MOTHER AND SAYS
  • 00:15:21.060 --> 00:15:22.230
  • WE NEED TO TALK.
  • 00:15:22.250 --> 00:15:24.150
  • AND MY PARENTS MEET HAROLD AND HIS WIFE AND
  • 00:15:24.170 --> 00:15:27.060
  • MY MOTHER TELLS HAROLD THE ENTIRE STORY.
  • 00:15:27.080 --> 00:15:30.200
  • [UPLIFTING MUSIC]
  • 00:15:30.220 --> 00:15:40.240
  • [UPLIFTING MUSIC]
  • 00:15:40.240 --> 00:15:48.090
  • AS YOU CAN IMAGINE, HAROLD AND MY MOM
  • 00:15:48.110 --> 00:15:51.140
  • HAVE BECOME QUITE CLOSE.
  • 00:15:51.160 --> 00:15:54.160
  • ONE DAY MY MOTHER IS TALKING TO HAROLD ON THE
  • 00:15:54.180 --> 00:15:59.140
  • TELEPHONE AND SAYS HAROLD, I HAVE THIS SON,
  • 00:15:59.160 --> 00:16:05.210
  • AND HE WROTE THIS BOOK,
  • 00:16:05.230 --> 00:16:09.100
  • AND I'M HAVING A PROBLEM WITH IT.
  • 00:16:09.120 --> 00:16:11.210
  • AND HAROLD SAYS WELL BERNICE, WHY DON'T YOU
  • 00:16:11.230 --> 00:16:13.260
  • LET ME READ IT AND THEN I'LL TELL YOU WHAT I THINK.
  • 00:16:13.280 --> 00:16:17.200
  • OH, WOULD YOU DO THAT?
  • 00:16:17.220 --> 00:16:19.250
  • SO HAROLD MUNN READS THE SHACK.
  • 00:16:19.270 --> 00:16:23.010
  • HAROLD BLIND COPIES ME ON AN EMAIL
  • 00:16:23.030 --> 00:16:25.210
  • TO MY MOTHER, DEAR BERNICE, I READ
  • 00:16:25.230 --> 00:16:27.270
  • PAUL'S BOOK, YOU NEED TO KNOW THAT I ABSOLUTELY
  • 00:16:27.290 --> 00:16:32.020
  • LOVE THIS BOOK, BUT I THINK I UNDERSTAND WHAT
  • 00:16:32.040 --> 00:16:34.070
  • YOU'RE STRUGGLING WITH.
  • 00:16:34.090 --> 00:16:36.210
  • IT'S THE IMAGERY THAT YOU USE FOR GOD THE FATHER.
  • 00:16:36.230 --> 00:16:40.020
  • LET ME TELL YOU WHY THAT IMAGERY IS
  • 00:16:40.040 --> 00:16:42.240
  • SO IMPORTANT TO ME.
  • 00:16:42.260 --> 00:16:44.150
  • AND HAROLD LAYS IT OUT.
  • 00:16:44.170 --> 00:16:46.220
  • IN ORTHODOX CHRISTIAN THEOLOGY, GOD IS NOT
  • 00:16:46.240 --> 00:16:50.210
  • MORE MALE THAN FEMALE.
  • 00:16:50.230 --> 00:16:53.020
  • IN FACT ALL OF MASCULINITY AND ALL OF
  • 00:16:53.040 --> 00:16:56.230
  • FEMININITY, ALL THE PATERNAL SPECTRUM AND
  • 00:16:56.250 --> 00:17:00.040
  • THE MATERNAL SPECTRUM OF HUMANITY ORIGINATES IN
  • 00:17:00.060 --> 00:17:03.190
  • THE VERY NATURE OF GOD.
  • 00:17:03.210 --> 00:17:06.030
  • GOD IS NOT MORE MALE THAN FEMALE.
  • 00:17:06.050 --> 00:17:09.110
  • AND IF YOU TALK ABOUT IMAGERY, WAYS AND WINDOWS
  • 00:17:09.130 --> 00:17:14.000
  • THROUGH WHICH TO LOOK AT GOD, IT'S ALL OVER THE
  • 00:17:14.020 --> 00:17:17.130
  • PLACE IN SCRIPTURE.
  • 00:17:17.150 --> 00:17:19.000
  • THERE'S MASCULINE IMAGERY: KING, FATHER,
  • 00:17:19.020 --> 00:17:22.290
  • WARRIOR, LOVER.
  • 00:17:23.010 --> 00:17:26.230
  • THERE'S FEMININE IMAGERY:
  • 00:17:26.250 --> 00:17:28.270
  • MOTHER, NURSING MOTHER IN ISAIAH, RIGHT?
  • 00:17:28.290 --> 00:17:32.230
  • GOD BEING THE BREASTED ONE.
  • 00:17:32.250 --> 00:17:35.050
  • GOD NOURISHING AND CHERISHING.
  • 00:17:35.070 --> 00:17:37.230
  • GOD BEING WRAPPED INSIDE OF MATERNAL CREATIVE NATURE.
  • 00:17:37.250 --> 00:17:42.150
  • DID YOU KNOW FOR EXAMPLE THAT THE WORD "MERCY" AND
  • 00:17:42.170 --> 00:17:46.270
  • THE WORD "WOMB" COME FROM THE SAME HEBREW ROOT?
  • 00:17:46.290 --> 00:17:51.210
  • EVERY TIME YOU READ ABOUT MERCY, THE MERCY OF GOD,
  • 00:17:51.230 --> 00:17:54.180
  • YOU'RE READING ABOUT THE WOMB LOVE, THE
  • 00:17:54.200 --> 00:17:58.000
  • MATERNAL LOVE OF GOD.
  • 00:17:58.020 --> 00:18:00.180
  • THERE'S LOTS OF OTHER METAPHORS AND IMAGES FOR
  • 00:18:00.200 --> 00:18:05.130
  • GOD, NOT JUST HUMAN BUT ANIMAL, GOD IS A LION,
  • 00:18:05.150 --> 00:18:09.230
  • GOD IS AN EAGLE.
  • 00:18:09.250 --> 00:18:11.020
  • INANIMATE OBJECTS, GOD IS A ROCK.
  • 00:18:11.040 --> 00:18:13.210
  • NOW YOU KNOW GOD'S NOT A ROCK, RIGHT? YES.
  • 00:18:13.230 --> 00:18:18.100
  • GOD'S NOT A ROCK, BUT WE UNDERSTAND WHEN WE SAY
  • 00:18:18.120 --> 00:18:20.190
  • GOD IS A ROCK, HE'S SURE, HE'S SOLID.
  • 00:18:20.210 --> 00:18:23.180
  • WE UNDERSTAND THE IMAGE.
  • 00:18:23.200 --> 00:18:26.080
  • GOD IS A STRONG TOWER, GOD IS A FORTRESS.
  • 00:18:26.100 --> 00:18:29.050
  • ALL OF THESE THINGS ARE IMAGERY, AND IMAGERY
  • 00:18:29.070 --> 00:18:33.030
  • WAS NEVER INTENDED TO DEFINE GOD.
  • 00:18:33.050 --> 00:18:36.270
  • IMAGERY WAS TO GIVE US A WINDOW TO UNDERSTAND
  • 00:18:36.290 --> 00:18:40.160
  • A FACET OF A NATURE AND CHARACTER OF GOD.
  • 00:18:40.180 --> 00:18:43.110
  • AND HERE'S THE BEAUTIFUL THING ABOUT THIS STORY,
  • 00:18:43.130 --> 00:18:46.250
  • TO BRING IT FULL CIRCLE, AND ONE OF THOSE STORIES
  • 00:18:46.270 --> 00:18:50.080
  • THAT I LOVE TO TELL BECAUSE I BELIEVE GOD IS
  • 00:18:50.100 --> 00:18:52.170
  • GOOD ALL THE TIME, AND I BELIEVE GOD IS INVOLVED
  • 00:18:52.190 --> 00:18:55.050
  • IN THE DETAILS OF OUR LIVES.
  • 00:18:55.070 --> 00:18:58.220
  • MY MOTHER IN 1946 SAVED THE LIFE OF A ONE POUND
  • 00:18:58.240 --> 00:19:08.010
  • BABY BOY, AND DECADES LATER, IT WAS THAT LITTLE
  • 00:19:08.030 --> 00:19:13.020
  • BABY BOY WHO GREW UP TO BE A MAN, AND IT WAS THAT
  • 00:19:13.040 --> 00:19:16.140
  • MAN WHO BUILT THE BRIDGE THAT MY MOTHER COULD WALK
  • 00:19:16.160 --> 00:19:20.090
  • ACROSS FOR HER OWN SON. I LOVE THAT.
  • 00:19:20.110 --> 00:19:29.080
  • THE ACTIVITY OF GOD INSIDE OF OUR STORY TO
  • 00:19:29.100 --> 00:19:34.010
  • BRING FULL CIRCLE, TO SAY NO, THIS LITTLE BABY,
  • 00:19:34.030 --> 00:19:40.060
  • THIS ONE LIFE NOT ONLY HAS MATTERED TO PEOPLE
  • 00:19:40.080 --> 00:19:43.190
  • ALL OVER THE WORLD, BUT IT HAS MATTERED TO ME AND
  • 00:19:43.210 --> 00:19:47.180
  • MY STORY. THIS IS HOW WE'RE WOVEN TOGETHER.
  • 00:19:47.200 --> 00:19:51.040
  • THESE ARE THE BRIDGES THAT GOD BUILDS.
  • 00:19:51.060 --> 00:19:55.130
  • [UPLIFTING MUSIC]
  • 00:19:55.150 --> 00:20:05.130
  • [UPLIFTING MUSIC]
  • 00:20:05.130 --> 00:20:12.270
  • WHEN MY MOM ENTERED NURSES TRAINING IN 1946,
  • 00:20:14.140 --> 00:20:18.150
  • ONE OF HER SISTERS, ACTUALLY HER ONLY SISTER,
  • 00:20:18.170 --> 00:20:20.290
  • ENTERED WITH HER. HER NAME'S RUBY.
  • 00:20:21.010 --> 00:20:24.120
  • SHE LIKES TO BE CALLED TESS.
  • 00:20:24.140 --> 00:20:26.100
  • AND SHE MADE IT FOR, I DON'T KNOW, SIX MONTHS OR
  • 00:20:26.120 --> 00:20:28.160
  • SO, THEN DECIDED TO GO INTO EDUCATION, WHICH SHE
  • 00:20:28.180 --> 00:20:30.190
  • DID AND SPENT MOST OF HER LIFE TEACHING.
  • 00:20:30.210 --> 00:20:35.110
  • TESS IS THE WILD CHILD OF THE GERMAN BAPTIST SIDE
  • 00:20:35.130 --> 00:20:40.030
  • OF OUR FAMILY, AND VERY SPIRITED, VERY FREE FORM,
  • 00:20:40.050 --> 00:20:46.030
  • VERY ON THE EDGES, AND SHE HAS BEEN IN A SEARCH
  • 00:20:46.050 --> 00:20:52.270
  • MOST OF HER LIFE, WHICH IS WHAT'S TRUE
  • 00:20:52.290 --> 00:20:55.020
  • FOR MOST OF US. WE JUST DON'T ADMIT IT.
  • 00:20:55.040 --> 00:20:58.010
  • AND MY MOM HAS BEEN TRYING TO LEAD HER BACK
  • 00:20:58.030 --> 00:21:01.210
  • TO JESUS FOR FIFTY PLUS YEARS.
  • 00:21:01.230 --> 00:21:04.280
  • ONE SATURDAY NIGHT, TESS WHO LIVES IN VICTORIA,
  • 00:21:05.000 --> 00:21:08.180
  • REMEMBER THAT'S WHERE HAROLD MUNN WAS NOW
  • 00:21:08.200 --> 00:21:11.180
  • PASTORING, TESS WAS BEING VISITED BY MY MOM AND ON
  • 00:21:11.200 --> 00:21:16.030
  • A SATURDAY NIGHT SHE SAYS TO HER, BERNICE, WHY
  • 00:21:16.050 --> 00:21:19.250
  • DON'T WE GO TO CHURCH TOMORROW.
  • 00:21:19.270 --> 00:21:22.110
  • DO YOU WANT TO GO TO CHURCH?
  • 00:21:22.130 --> 00:21:23.220
  • OH, SURE!
  • 00:21:23.240 --> 00:21:25.260
  • WELL, WHERE WOULD YOU LIKE TO GO?
  • 00:21:25.280 --> 00:21:28.080
  • RUBY SAYS I DON'T KNOW.
  • 00:21:28.100 --> 00:21:30.280
  • HEY, WHY DON'T WE GO HEAR HAROLD, BECAUSE AT THIS
  • 00:21:31.000 --> 00:21:33.240
  • POINT HAROLD HAS BECOME A MEMBER OF THE FAMILY,
  • 00:21:33.260 --> 00:21:37.130
  • BUT NEITHER OF THEM HAD EVER GONE TO HIS CHURCH.
  • 00:21:37.150 --> 00:21:40.070
  • NOW REMEMBER, WE'RE EVANGELICAL PROTESTANTS,
  • 00:21:40.090 --> 00:21:43.230
  • WE WOULD BE CONSIDERED LOW CHURCH.
  • 00:21:43.250 --> 00:21:46.060
  • HAROLD IS ANGLICAN, AND IT'S NOT JUST LOW
  • 00:21:46.080 --> 00:21:50.090
  • ANGLICAN, IT'S THE ANGLICAN WHERE YOU DRESS,
  • 00:21:50.110 --> 00:21:53.200
  • AND YOU HAVE RITUALS, AND IT'S ACTUALLY KIND OF FUN.
  • 00:21:53.220 --> 00:21:58.250
  • AND BUT IF YOU GO TO A CHURCH LIKE THAT AND
  • 00:21:58.270 --> 00:22:02.290
  • YOU'RE NOT FROM THAT EXPERIENCE, IT'S EASY TO
  • 00:22:03.010 --> 00:22:05.290
  • SPOT SOMEONE WHO DOESN'T KNOW WHAT THEY'RE DOING.
  • 00:22:06.010 --> 00:22:07.250
  • SO AS SOON AS MY MOM AND RUBY SAT ON THE BACK ROW,
  • 00:22:07.270 --> 00:22:12.260
  • A WOMAN IMMEDIATELY REALIZES THESE TWO DON'T
  • 00:22:12.280 --> 00:22:15.140
  • KNOW WHAT THEY'RE DOING, SO SHE SITS DOWN
  • 00:22:15.160 --> 00:22:17.020
  • NEXT TO MY MOM AND SHE SAYS I'LL HELP OUT HERE.
  • 00:22:17.040 --> 00:22:19.130
  • I'LL LET YOU KNOW WHEN TO STAND AND SIT,
  • 00:22:19.150 --> 00:22:22.040
  • AND MY MOTHER WAS GRATEFUL FOR THAT.
  • 00:22:22.060 --> 00:22:25.160
  • NOW YOU HAVE TO IMAGINE THIS IS A LONG, NARROW
  • 00:22:25.180 --> 00:22:28.250
  • BUILDING, PEWS ON BOTH SIDES, AND HAROLD IS
  • 00:22:28.270 --> 00:22:32.210
  • SPEAKING FROM THE VERY FRONT.
  • 00:22:32.230 --> 00:22:34.290
  • BUT DURING THE SERMON, HE SPOTS MY MOTHER
  • 00:22:35.010 --> 00:22:39.240
  • AND HE STOPS, AND HE SAYS FOLKS,
  • 00:22:39.260 --> 00:22:43.070
  • I NEED TO TELL YOU A STORY.
  • 00:22:43.090 --> 00:22:45.280
  • THERE'S A WOMAN HERE IF IT WASN'T FOR HER,
  • 00:22:46.000 --> 00:22:49.110
  • I WOULDN'T BE ALIVE.
  • 00:22:49.130 --> 00:22:51.290
  • IN FACT, EVERY PERSON THAT I HAVE EVER TOUCHED
  • 00:22:52.010 --> 00:22:54.290
  • IN MY LIFE, SHE HAS TOUCHED THROUGH ME.
  • 00:22:55.010 --> 00:22:59.270
  • AND HE TELLS THE STORY OF HIS BIRTH, AND MY
  • 00:22:59.290 --> 00:23:01.210
  • MOTHER'S PARTICIPATION IN IT, AND THEN
  • 00:23:01.230 --> 00:23:04.180
  • HE INTRODUCES HER.
  • 00:23:04.200 --> 00:23:06.250
  • AND THEN HE GOES BACK AND FINISHES HIS HOMILY
  • 00:23:06.270 --> 00:23:09.080
  • AT THE END OF WHICH COMMUNION IS SERVED
  • 00:23:09.100 --> 00:23:12.140
  • AT THE FRONT. AND THE WOMAN NEXT TO MY MOTHER,
  • 00:23:12.160 --> 00:23:14.250
  • MISTAKENLY SAYS, I'M SO SORRY DEARY, BUT IN OUR
  • 00:23:14.270 --> 00:23:19.120
  • TRADITION, YOU HAVE TO BE A MEMBER HERE TO
  • 00:23:19.140 --> 00:23:21.030
  • PARTICIPATE IN COMMUNION.
  • 00:23:21.050 --> 00:23:23.130
  • AND MY MOTHER WASN'T OFFENDED.
  • 00:23:23.150 --> 00:23:25.000
  • I'M KIND OF GLAD SHE WASN'T SITTING NEXT TO
  • 00:23:25.020 --> 00:23:26.130
  • RUBY, BUT IT'S OKAY.
  • 00:23:26.150 --> 00:23:29.280
  • EVERYONE GOES TO THE FRONT, IS SERVED
  • 00:23:30.000 --> 00:23:33.200
  • COMMUNION, AND THEN HAROLD WALKS OVER AND
  • 00:23:33.220 --> 00:23:36.100
  • TAKES OFF HIS OUTER ROBES AND HE'S WEARING THIS
  • 00:23:36.120 --> 00:23:38.160
  • WHITE SMOCK, AND HE WALKS OVER AND HE PICKS UP THE
  • 00:23:38.180 --> 00:23:42.140
  • BREAD, AND HE PICKS UP THE WINE, AND HE COMES
  • 00:23:42.160 --> 00:23:46.090
  • DOWN OFF THE PLATFORM AND HE WALKS ALL THE WAY TO
  • 00:23:46.110 --> 00:23:49.040
  • THE BACK, AND HE KNEELS IN FRONT OF MY MOM AND IN
  • 00:23:49.060 --> 00:23:56.110
  • FRONT OF RUBY, AND SUDDENLY IT'S LIKE THE
  • 00:23:56.130 --> 00:24:01.090
  • WALLS FADE AWAY, AND IT DOESN'T MATTER WHETHER
  • 00:24:01.110 --> 00:24:04.230
  • YOU'RE A SEEKER, OR AN AGNOSTIC, OR AN ATHEIST,
  • 00:24:04.250 --> 00:24:09.020
  • OR AN ANGLICAN, OR AN EVANGELICAL. IT JUST
  • 00:24:09.040 --> 00:24:13.130
  • DOESN'T MATTER ANYMORE.
  • 00:24:13.150 --> 00:24:16.080
  • THE ENTIRE UNIVERSE IS WRAPPED UP IN BROKEN
  • 00:24:16.100 --> 00:24:19.290
  • BREAD AND WINE POURED OUT, BREAD AND BLOOD,
  • 00:24:20.010 --> 00:24:26.240
  • HUMANITY, DEATH, RESURRECTION.
  • 00:24:26.260 --> 00:24:30.180
  • THIS IS WHAT MATTERS.
  • 00:24:30.200 --> 00:24:34.270
  • THIS IS WHAT WE ARE IN THE MIDDLE OF.
  • 00:24:34.290 --> 00:24:40.000
  • THE MYSTERY OF THE LIFE OF JESUS IN US,
  • 00:24:40.020 --> 00:24:44.210
  • AROUND US, THROUGH US THAT INCLUDES US.
  • 00:24:44.230 --> 00:24:50.290
  • THINK ABOUT THE DEFENSES THAT ARE IN MACK'S HEART
  • 00:24:51.010 --> 00:24:56.160
  • AND THEN CONSIDER YOUR OWN.
  • 00:24:56.180 --> 00:24:58.170
  • WHAT HAS YOU LOCKED UP?
  • 00:24:58.190 --> 00:25:00.140
  • WHAT HAS YOU IN A PLACE OF IMPRISONMENT?
  • 00:25:00.160 --> 00:25:03.040
  • WHAT'S GOT YOU ALL BOUND UP, AND DO YOU
  • 00:25:03.060 --> 00:25:05.060
  • LET GOD IN THOSE PLACES? AND IF NOT, WHY NOT?
  • 00:25:05.080 --> 00:25:11.070
  • SO HERE'S THE QUESTION, WHAT ARE YOUR TERMS AND
  • 00:25:11.090 --> 00:25:15.290
  • TIME? I HAVE TO ASK THAT TO MYSELF.
  • 00:25:16.010 --> 00:25:19.230
  • WHAT ARE MY TERMS AND TIME.
  • 00:25:19.250 --> 00:25:24.180
  • WE'LL TALK TO YOU AGAIN.
  • 00:25:24.200 --> 00:25:26.200
  • [UPLIFTING MUSIC]
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  • [UPLIFTING MUSIC]
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  • [UPLIFTING MUSIC]
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