January, 2021

         The Blog featured on this site is in the genre of “historical fiction” told as a collection of stories knitted together in a serial format. It posts three times a week, Tuesday, Wednesday and Thursday as a continuing story narrated by the character Lazarus.

Catching up on the continuing story line.

         Catching up on the story, in the December chapter Lazarus is crossing the Pyrenees into Gaul with his patron and friend, Nic who is a retired rower for what was left of the Roman Navy in the waning years of Justinian’s reign. They are on their way to Ligugé, a monastery near Poitiers that has not come under the Benedictine Rule and may make allowances for their wishes to be accepted among the Brothers. 

         In December they were seeking to replenish their food supply when they came upon a work of Christian art that could be purchased with Nic’s Roman coins and taken on as a gift to enhance their welcome at the monastery.  Antton, the seller of pagan idols, was anxious to move this Christian acquisition out, so it was arranged that a Christian monk with an oxcart would be summonsed to transport this work. This monk, Brother August, it turns out, was the sculptor himself, committed to the journey in order to see his work off to a Christian purpose.  He had been living as a wilderness ascetic who considered art to be his sacred, spiritual practice.

         In January this party of three continues on the journey but now at ox speed. (That is about three miles per hour.) And with a few stops along the way they could only say it was all in God’s time.

THANK YOU TO A HELPFUL RESOURCE – Some of the research regarding transgender history and a few of the actual words in this chapter are from the hand of a budding young author, Vic Heitzman. Thanks Vic.

Discovering Lazarus-Ink.blog beyond story…

         THE HISTORY: The non-fictional historical setting of this saga is chosen to follow a single strand of first century teachings throughout the centuries to unravel and observe the shifts of Christian church history. Through heresies, judgments, wars and witches the question is always: “So then, whatever happened to the ancient universal love of God?”

         THE FICTION: The What-If of this fiction is the character who is a literary device reincarnated from John Chapter 11, (That’s the story of the raising of Lazarus by his friend Jesus.) Lazarus is used in this blog as the fictional time traveler and the first person voice of the narrator. In this fiction Lazarus was bestowed by his friend Jesus, with the super-power of extravagant physical healing, so that at every death he endures he is eventually restored to life through slow and reliable healing, brought back as an ever-thirty-something man of ancient Israel whose memory of Jesus is never flawed.

         THE BIBLE STORY? The Fourth Gospel (John) offers the amazing works of Jesus using “signs,” not “miracles” as we find in the other gospels. In John, the signs are physical metaphors for spiritual truths. As a sign, Lazarus is used in John’s Gospel as the physical example or metaphor for the spiritual truth of resurrection.

         Bible scholars and close readers of the gospels will tell you that the fourth gospel differs from the synoptics (the other three), in that the story is told from the setting of Bethany just outside of Jerusalem, while the others are perceived to be grounded in Galilee of Nazareth with visits to the Temple and places nearby.

         THEOLOGY:  This Protestant seminary educated, un-orthodox, mystic blogger believes that John was written from a point of view that reality is spiritual, and the whole of the physical creation is God’s creative work of art, offered to all the ever-living spirits of us to be as a sign, to speak of this reality of Spirit and allowing good mental health and healing into a nature of God’s universal love.  Seeing the physical world from the spiritual reality is like seeing from Jerusalem when everyone else views the story as rooted in Galilee. It is the same basic story, but an alternative point of view.