Resurrecting Easter

“Christ is risen! Indeed, he is risen!”

In the iconography of the Eastern Church, the risen Jesus grasps the hands of other figures around him. Unlike the Western image of a solitary Jesus rising from an empty tomb, the authors of Resurrecting Easter saw images of the Resurrection depicting Jesus grasping the hands of Eve and Adam, lifting them to heaven from Hades or hell. They discovered that the standard image for the Resurrection in Eastern Christianity is communal and collective, something unique and distinct from the solitary depiction of the resurrection in Western Christianity.

A popular 7th-century homily on the Resurrection tells us

“The Lord rose, then, after three days… and all the descendants of the nations were saved in Christ. For one was judged and multitudes were saved. The Lord died on behalf of all…. [and] He raised up all humanity to the height of heaven, bearing a gift to the Father, not of gold nor silver nor precious stone, but rather that human race which he made according to his own image and likeness.”

In the Eastern images of the Resurrection, Adam and Eve–often with Kings David and Solomon, St. John the Baptist, and other prophets from the Old Testament–represent all humanity exiting an empty Hades. The whole human race shares in the triumph of the Resurrection of Christ and the earth itself is saved from the desecration of Abel’s blood shed by Cain. This is reflected in the hymnography of the Holy Saturday services as well:

TODAY, HELL CRIES OUT GROANING:
MY DOMINION HAS BEEN SHATTERED.
I RECEIVED A DEAD MAN AS ONE OF THE DEAD,
BUT AGAINST HIM I COULD NOT PREVAIL.
FROM ETERNITY I HAD RULED THE DEAD,
BUT BEHOLD, HE RAISES ALL.
BECAUSE OF HIM DO I PERISH.
GLORY TO THY CROSS AND RESURRECTION, O LORD!

Resurrecting Easter reflects on this divide in how the Western and Eastern churches depict the Resurrection and its implications. The authors argue that the West has gutted the heart of Christianity’s understanding of the Resurrection by rejecting that once-common communal iconography in favor of an individualistic vision. As they examine the ubiquitous Eastern imagery of Jesus freeing Eve from Hades while ascending to heaven, they suggest that this iconography raises profound questions about Christian morality and forgiveness.

A fundamentally different way of understand the story of Jesus’ Resurrection, Resurrecting Easter is illustrated with 130 images and introduces an inclusive, traditional community-based ideal that offers renewed hope and possibility.

From Faith to Fantasy: How the Priesthood Shaped My Fiction

Holy Saturday (1991) at St. Mary Magdalen parish in Lampman Chapel at Union Theological Seminary. (photo courtesy of Alexandra Chistyakova LaCombe)

Holy Saturday (1991) at St. Mary Magdalen parish in Lampman Chapel at Union Theological Seminary. (photo courtesy of Alexandra Chistyakova LaCombe)

I served as parish priest for a small Eastern Orthodox congregation on the Upper West Side of Manhattan and at Columbia University for many years. I celebrated services, preached sermons, performed marriages and funerals. I counseled the confused and the despairing, taught those with questions, rejoiced with the joyful. I read. I shared what I had discovered on my own journey. Most importantly, I listened. Most people already knew the answers to their own questions; they just needed someone to help them listen to themselves.

Hopefully, that listening and sharing is reflected in my writing. I listen to the characters and help them to discover who they are and what journeys they are on. I share aspects of myself with each of them and they share themselves with me; if I am quiet and listen, I can share not only their joys and frustrations and despair myself but communicate their experience to my readers.

One aspect of Eastern Orthodoxy that is distinct from other styles of Christianity is the ongoing, living voice of Tradition. This is not simply a blind or rigid adherence to the past. As G.K. Chesterton wrote, “Democracy says everyone’s voice counts, even if they are stable hands or cowherds. Tradition says that everyone’s voice counts, even if they are dead. We shall not be governed by the oligarchy of those who simply happen to be alive. Some vote with stones, as in ancient Greece. Others vote with tombstones.” In order to do Orthodox theology in a modern context, we must be in dialogue with the great preachers and thinkers of the 4th-5th-6th centuries as much as we are in dialogue with modern thinkers; when wrestling with issues today, it is probably even more important to be in dialogue with the preachers and thinkers of the formative periods of Orthodox thought and practice than with those who simply happen to be our contemporaries.

My novels are shaped by the folklore, legends, and history of the places where they are set: the Baltic States (Estonia-Latvia-Lithuania), Poland, Bohemia (the modern Czech Republic), Ireland. My characters interact with those authentic pre-modern beliefs and practices, retelling and reshaping them for modern audiences. I introduce characters to each other that might not have met in their original settings but that have stories and experiences to share with each other. By sharing their experiences, they enrich each other and the readers who can eavesdrop on their conversations or thoughts.

Priesthood is primarily a way of being, of bridge-building. In writing, I try to be my truest self and attempt to build bridges between cultures and histories, practices and experiences, characters and readers.

(This essay first appeared as my guest post on Eve Heart’s blog in September 2016.)

Another photo of Holy Saturday 1991. (photo courtesy of Alexandra Chistyakova LaCombe)

Another photo of Holy Saturday 1991. (photo courtesy of Alexandra Chistyakova LaCombe)