I preached this sermon at St. Lydia's on Sunday, January 15, 2012 as part of our exploration of the Gospel of John. The text is John 3:1-21, the story of Nicodemus. Read it here.
Before I preach a sermon, I always give a little context. Here’s some information you might find helpful as you read.
- John’s characters function as symbols -- like blank screens you can project yourself onto as the reader. Every character in John’s gospel is you.
- Nicodemus makes the mistake many of John’s characters make: he’s extremely literal. When Jesus tells him he must be born again, he wonders how you can re-enter your mother's womb.
- Nicodemus has a foil, whose story is told right after this one: the Samaritan woman. He’s a man, she’s a woman. He’s an elite Pharisee with power, she’s an outsider with no power at all. He comes to Jesus at night while she comes to him during the day. He cannot believe, while she does, immediately.
*
It would be so much easier if we could just stop at verse 16.
For God so loved the world that she gave her only son
so that everyone who believes in him may not perish but have eternal life.
Curtain.
Credits roll.
End of story.
Everybody wins, everybody feels good.
It would be so much easier if we could just stop at verse 16.
And let me tell you,
your preacher and pastoral minister
considered that option very seriously.
I thought to myself,
We don’t need that long speech at the end there.
It was probably added by an editor later on, anyway.
We don’t need words like “condemned,”
and “judgement.”
Let’s just leave that part out?
It’s a testament to all of you that I didn’t.
It’s a testament to all of you,
whose tenacity and curiosity and desire to investigate these texts,
and not simply gloss over them in favor on an easy take-home,
keeps me on my homeletical toes.
And I’m thankful for it.
But it would be so much easier
if Jesus didn’t have to get so damn confrontational.
If he didn’t have to say things that make us feel
divided,
uncertain,
pulled apart.
Verse 18:
Those who believe in him are not condemned;
but those who do not believe are condemned already,
because they have not believed in the name of the only Son of God.
And this is the judgement:
that the light has come into the world,
and the people loved darkness rather than light
because their deeds were evil.
For all who do evil hate the light and do not come to the light,
so that their deeds may not be exposed.
But those who do what is true
come to the light.
John is annoying because all of his light and darkness symbolism
makes him seem so either/or.
You’re either in the light or the darkness.
You’re good or evil.
You’re on one side or the other.
Jesus, the writer tells us, is the light in a world of darkness,
and those who live in the light are drawn to him,
as if out of pure biological response:
like moths drawn to a glowing lightbulb.
But those who live in darkness cringe away –
creatures who, as if by nature, prefer to lurk in the shadows.
The passage gives me the unnerving feeling
that I am either one or the other,
and I don’t have much of a choice about it.
It’s just how I was made.
Like all of the gospel texts,
the Gospel of John emerged from a community of real people.
As we read the gospel,
we can see reflected in its pages
the particular concerns of the particular people for whom it was written:
The Johannine community.
The people who wrote this text
and held it as one of their primary sources of scripture
were a tightly knit community of ethnically diverse believers.
They were Samaritans and Gentiles,
and Jews who had defected from Judaism,
actually, more than defected –
Jews who followed Jesus were being excommunicated from the synagogue
during the time that this Gospel was put to paper.
The Johannine community saw themselves as a persecuted minority,
and they did what many communities do when they feel attacked:
they took on an “us against the world” mentality.
To be a part of this sect (for that’s just about what it was)
you needed to be “entirely committed to the project,
and willing to give up a great deal.”*
This Gospel is written to force the reader to answer a question:
Are you in, or are you out?
It can seem very either/or.
Dualistic and exclusive.
Far removed from the coaxing and generous,
evocative parables of the other three gospels.
But I would argue that
John’s sharp, dualistic language
is in fact a tool
that, while at first divisive,
sparks a chain reaction
of experience
that is much less dichotomous and more nuanced than we might have first imagined.
And it all hinges
on how the story ends.
Because, though, in chapter three
Nicodemus fades back into the night,
apparently having been identified as a creature who lurks in the darkness,
in chapter 19
we find him anointing Jesus’ body for burial,
a follower of Christ as public as any other:
a child of the light.
So how does this all fit together?
First, let’s remember the thesis of this Gospel
which is written, as we’re told in chapter 20
“so that you (the reader) may come to believe.”
The gospel has a purpose.
The reason it exists is to draw us toward belief.
From the perspective of the writers,
belief means having your eyes opened
to a truth that you’ve been blind to.
You may remember back in December
I compared John’s understanding of “belief”
to Dorothy in the Wizard of Oz,
walking into a world of color.
For this gospel writer,
seeing the true light
means stripping away a false reality
and blinking in the light of a new one.
It’s an archetypal plot that appears frequently in literature and movies.
Dorothy opening the door of her drab farm house
to a new world in Technicolor,
Alice tumbling down the rabbit hole
into an upside-down reality,
even Neo in the Matrix choosing the red pill when it is presented to him
and swallowing it to discover a truth
wholly unlike the one he had accepted as reality.
What you will notice is that none of these three examples
are without a certain violence.
Dorothy’s house, we are told, began to pitch and drop until she lands with a thud,
Alice plummets, falls, and finds herself three sizes too big or small,
Neo awakens to a fluid-filled chamber, retching and gasping for air.
The writer of John wants to pull back the curtain on a new truth,
a new reality,
but our awakening will be painful.
The writer does not use a tornado or a rabbit hole, but language.
Those who believe in him are not condemned,
but those who do not believe are condemned already.
It is a language that takes you by the shoulders and shakes you,
asking, Which one? Which one are you?
Are you a child of the light or of darkness?
And if you’re anything like me,
and anything like Nicodemus,
you respond by shrinking back into the night.
The difference between Nicodeumus
and the Samaritan woman, his foil,
is that he has everything to loose,
and she has nothing.
He is part of the elite ruling class,
and she has nothing.
And when you’re Nicodemus, holding onto everything –
everything you don’t want to loose,
everything that makes your reality pretty comfy and cushy and posh,
you’re not so invested in a new reality,
whether it’s the truth or not.
And so she is more able to see and believe and follow,
while he gets stuck on linguistics.
The truth is that if you have money in a bank account and some cash in your wallet,
you are among the top 8% of the world's wealthy.
And when you’re in the top 8%,
you have a lot to hold onto.
You have something to loose instead of nothing.
And so the gospel text has the difficult task of shaking us free.
This speech that Jesus gives,
with its hard corners and sharp edges
is harsh and disruptive.
It’s written to rend a hole in the fabric of our reality.
To say -- Where are you?
Light, or darkness?
Which one?
And it hurts.
We storm away from it angry and uncertain,
but like Nicodemus,
a few pages later,
find ourselves called back.
His experience of ambiguity,
of everything turned violently on its head
is not negative
but needed.
Needed to rend the fabric of his world
open to a new reality,
one that he may at first resist,
but ultimately recognizes as the truth.
Where is the tear for you?
Where is the rend in the fabric?
Are you angry about it?
Do you wish that it would go away?
Do you find yourself,
uncertain as to just where you are headed,
stealing away to Jesus under the cover of darkness,
then retreating back into the night?
And how many pages later do you discover yourself,
on the ground,
kneeling,
anointing his broken body,
lavishing it with jar after jar
of myrrh and oil;
until it runs down your hands and your arms,
and you are dripping and perfumed,
holding the one who you never even hoped to encounter,
holding God, maimed and lacerated
in your hands,
tending to the husk of his body,
because it is the truest thing you have ever known,
though you still don’t understand it.
Do your actions confuse you?
The leap the text forces
is from head to heart.
From logic
to reflex.
From a knowing of the mind
to a knowledge that exists so deep within us
we only hear its call in sleep or dreams
or in moments when it catches us unaware,
gazing across the waves of humanity as they break
and catching on the wind as it blows, a distant call,
that there is something more.
And so we set out into the night.
To find it.
*Sandra M. Schneiders, Written That You May Believe (New York: The Crossroads Publishing Company, 2003), 37.
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