A Letter to the People at Stand Firm in Faith on the Occasion of My 45h Anniversary of Ordination to the Priesthood

On this, my 45th anniversary of ordination to the priesthood of the Episcopal Church, I want to share with you a couple of reflections - mostly in response to direct questions from several of you "Why do you continue to post to Stand Firm?"

My first introduction to Stand Firm was when Matthew featured his four part response to an article I had written for The Episcopal Majority, "Falsely Accused." In the back and forth with Matthew (and later) I found the basis for discussion and dialogue. I think most of my time here has been with the hope of that in mind.

So, why continue? A major element of my service to the church over the years has been my work in building bridges between the church and groups of people outside the church (that has always been part of the church's charge to our deacons) and between groups within the church. This ministry has been a traditional part of our campus ministries -- so with 23 years in campus ministry it is part of my being.

I don't think I have been successful here at Stand Firm, but in other venues I have. At the last General Convention the Network endorsed my candidacy for Trustee of the Church Pension Fund -- I was also backed by the Deputies of Color and the consortium of liberal groups such as Integrity, The Episcopal Peace Fellowship and the rest. I have relationships of trust with Kendall, Chris Cantrell, Dan Martins, several of the most conservative bishops in TEC, Don Perschall, John Liebler and many others. Needless to say, we all have had to work at this and be committed to building and maintaining relationships of trust and respect with those with whom we differ most. It probably goes without saying that in the heat of things we all say or do things that threaten those relationships. As an example, my choice to post "An Ode to Stand Firm in Faith" on my blog rather than deal with my anger with Sarah Hey and others directly (actually there is no means for doing so really directly) resulted in hurt in people at SF who have reached out in kindness and respect -- so I am taking it off by blog and not posting it elsewhere.

There is something in this that is very important. One of my heroes in the life of the church has been Will Campbell. He is a modest Southerner who came out of the Southern Baptist tradition into the Episcopal Church. As you look at some of the old pictures of the civil rights marches involving Dr. King, you can usually find Will on the first or second row. In the early 70's Will addressed the national gathering of Episcopal campus ministries. He began his talk this way: "The only reason I've come here to talk with you all is that I want to remind you that Spiro Agnew (much hated by liberals of all stripes) -- Spiro Agnew is your brother." We were furious at Will for that – absolutely furious – but we knew that he was right. No human voice has touched me deeper. So I have continued to post at Stand Firm because Greg and Matt and Mousetalker, Sarah and Jackie and all the rest of you are my brothers and sisters in Christ. I have not always lived up to that -- and neither have you all. When Will Campbell was not walking with Dr. King, he was often waiting tables at a KKK gathering -- because, as he said, even though we despise what one another does, we are still brothers in Christ.

Neither I nor you is the KKK -- and neither of us is MLK, Jr., but we are all part of the Body of Christ through His invitation and incorporation. It is through the adoption as His children and His continuing grace and forgiveness that we continue in that embrace -- even as we too often believe that we, alone, belong. I believe the Anglican tradition is the best incarnation of that reality -- even as we struggle for what we believe is the best in that tradition.

To paraphrase what Sarah observed a couple of days ago, we seem to believe in different emphases in the Gospel of Jesus Christ. I admire the way you represent the tradition of holding the purity of the church and its individuals as primary. That strain has not always been visible in the Episcopal Church -- as it has been visible in the peace churches, the early Methodists and the Assemblies of God and the Church of the Nazarine. That, I believe, is a crucial part of the Gospel, but is not all of the Gospel. I come out of a different, but equally important strain of Anglicanism – one that values the sacramental presence of Jesus Christ in the world and is focused on being the hands, legs, vision and heart of Jesus Christ as we interact with the world around us, often moving beyond comfortable boundaries in His service. Again, that is a crucial part of the Gospel, but not all of the Gospel. The better each of us does our calling and vocation, the stronger the church will be -- and the more praise to our Father.

So, when I return to SF, it will be to discern what I can appreciate in your vocation as fellow members of the Body of Christ – not to defame or demean you. I will leave the wisecracks behind. That is all I can control. If some of you reciprocate, so much the better. I can assure you that my faith is strong and it is deep -- and I have been teaching the Nicene Creed longer, I think, than most of you have been alive. Like it or not, I am your brother.
Tom Woodward

Ode to Stand Firm in Faith

As a gesture of good will towards the people of Stand Firm in Faith, I have deleted the Ode, itself, while keeping the comments open.

I have, instead, posted a reflection on my time with Stand Firm as my celebration of my 45th anniversary of my ordination to the priesthood.
Tom Woodward

Body and Soul – Audition Script from Scene 1

Body and Soul – A Play in One Act by Thomas B. Woodward

A cutting from Scene #1 for use as an audition script:

The Play: Body and Soul begins with two gay men. Then, as the conversation between them reaches a critical point, the two take a break -- and when they return to the stage to continue the conversation, one of the male characters has been replaced by an identically dressed woman and the conversation continues, though as a heterosexual dialogue. Again, the dialogue reaches a breaking point and the two take a break (for cell phones) – and when they return to the stage to continue the conversation, the remaining male has been replaced with an identically dressed woman and the conversation is resolved by the two lesbian women. The play is largely comic, though with strong and direct confrontations between the characters.

SETTING – BILL has sat down on a park bench and is beginning to hit on HARRY, a stranger, for some kind of sexual relationship. BILL has just told HARRY that he has been tossed out of his gay relationship because his partner had converted to a fundamentalist Christian group which had convinced him the relationship was evil.

BILL Yeah. So here I am. It's my birthday and I'm out here all alone and nowhere to go.

HARRY That's awful!

BILL I'm sorry, what did you say?

HARRY I said, that's awful. That's really awful.

BILL Oh, thank you.(moving closer to HARRY) You really are nice.

HARRY No, not really.

BILL No, really. You are very, very nice. In fact, I am beginning to feel a really deep connection with you.

HARRY You're feeling a really deep connection with me?

BILL Yes, I think something really important is happening between the two of us.

HARRY You "think there is something. . . ?" Are you hitting on me?

BILL Am I hitting on you? Do you mean spiritually . . .or sexually?

HARRY I don't know which would be worse.

BILL I'm sorry. I really don't want to offend you. But guess what?! It just occurred to me -- this may be our first argument!

HARRY (moving away from BILL) "Our?" "Our first argument?" Are you out of your frigging mind? There is no "our" here.

BILL Oh, damn! I'm sorry. I'm really sorry. I've been under so much stress lately and you are so kind and understanding. And despite all that stuff with Larry, I feel like I've been saving myself for someone. . .(softly)someone exactly like you.

HARRY Wait! Wait! Wait. All this talk about a "really deep connection" with me and saving yourself for "someone exactly like me." Haven't I heard those lines before?

BILL (Evasively) Maybe.

HARRY "Maybe what?" Where have I heard those lines before?

BILL I got them from the Dr. Phil Show.

HARRY You got them from Dr. Phil?

BILL Yeh, Dr. Phil.

HARRY Then why don't you leave me alone and try your shtick on some guy who looks like Dr. Phil?

THE PLAY CONTINUES. . . . .

Body and Soul – Audition Script #2

BODY AND SOUL - THE PLAY The play begins with two gay men. Then, as the conversation between them reaches a critical point, the two take a break -- and when they return to the stage to continue the conversation, one of the male characters has been replaced by an identically dressed woman and the conversation continues, though as a heterosexual dialogue. Again, the dialogue reaches a breaking point and the two take a break (for cell phones) – and when they return to the stage to continue the conversation, the remaining male has been replaced with an identically dressed woman and the conversation is resolved by the two lesbian women. The play is largely comic, though with strong and direct confrontations between the characters.

A CUTTING FROM SCENE #2
SETTING – BILL, a jerk, has been hitting on HARRIET. For the first time in an extended conversation, she admits she does have some feelings for him.

HARRIET Bill, I don't know why, but I'm. . .I'm also developing feelings for you. (catching herself) Despite everything.

BILL (seductively)
So you are open...to a "spiritual" relationship with me? I'm touched. I'm really touched and I want to be completely open to you. . . and I mean open in every way.

HARRIET
I'm not sure I get this.

BILL
I want to be completely open to you. . . in every way.

HARRIET
Hold on. Let me get this straight. We've just met and you...you want me . . .to allow you . . . to be inside me? You expect me to be involved with you on the most intimate of levels?

BILL
Is that so bad?

HARRIET
Is that so bad? You want to touch my most private parts, to violate my deepest intimacies – and you ask, "Is that so bad?" You don't even know my name!

BILL
Who cares? We're both adults – and we're not getting married are we?

HARRIET
You have no idea about who I am, do you?

BILL
OK. So what do you do?

HARRIET
I'm a city employee.

BILL
Hey! So am I!

HARRIET
I'm on the police force.

BILL
Really? So you're taking a break from handing out all those tickets?

HARRIET
Not really. I'm a vice cop.

BILL
You're kidding.

HARRIET
Yes, I'm kidding.

BILL
Thank God. So what do you do?

HARRIET
I'm a priest – an Episcopal priest.

BILL
Oh, God. I'm sorry.

HARRIET
Sorry? You're sorry for what? Two minutes ago I was some kind of a piece of meat and now I'm some kind of holy person?

BILL
Well . . aren't you?

HARRIET
Honey, we all are. We women are all holy. You screw with me and you're screwing with God.

BILL (after a time of bewilderment)
That's very scary.

HARRIET What's scary?

BILL
I'm scary . . (catching himself). . I mean, I'm scared.

THE PLAY CONTINUES. . . .

Forgiveness – from Matters of Life and Death

.

From the play, "Matters of Life and Death," by Thomas B. Woodward.

Susan has come into a tobacco shop out of desperation – to talk with someone acquainted with death. After a good bit of banter with Harry, the shopkeeper, she decides to share her secret with him. Later in the play there is a suggestion that Harry may or may not be God.

Susan whispers her secret in Harry's ear. Harry listens thoughtfully, then looks directly at Susan:

HARRY

You're right. That's bad. In fact, that's really bad; but look, I'll forgive you for $100.

SUSAN

You will forgive me for $100? Are you making fun of me?

HARRY

Am I making fun of you? No, I'm not making fun of you. I said I would forgive you for $100 and I will. And if that is making fun of you, OK. I'll forgive you for $500.

SUSAN

You will forgive me for $500?

HARRY

Do you want to hear me say it again?

SUSAN

O God, No. I just don't understand.

HARRY

It's simple: I've got what you need - and you've got . . .

SUSAN

$500.

HARRY

The amount is not so important.

SUSAN

But you just. . . .

HARRY

I said, "The amount is not important."

SUSAN

Then what is important?

HARRY

That you know it doesn't come easy - that it's worth something.

Long pause while SUSAN makes several attempts to pull something out of her purse.

SUSAN
Here's the $500 . . . but what difference does it make if you forgive me!

HARRY

Well, who else is there?

SUSAN

The people I hurt.

HARRY

Sorry. If they forgive you - that's for them. . . not you. If they forgive you, that allows them to go one with their lives. It really has nothing to do with you.

SUSAN

Can you say that again?

HARRY

Honey, I'm not sure I said anything that smart the first time.

SUSAN

Are you saying that if they forgive me - that lets them go on with their lives? But it doesn't do anything for me?

HARRY

Right.

SUSAN

But that doesn't seem fair.

HARRY

That doesn't seem fair?

SUSAN

No. It's not fair.

HARRY

What's not fair about it?

SUSAN

Well, for one thing, they are forgiving ME . . .but I don't get anything out of it! I'm not part of it!

HARRY

Exactly!

SUSAN

I don't get it.

HARRY

Exactly! You don't get it. They can't give it to you.

SUSAN

So I'm stuck.

HARRY

You're not stuck, you're. . . .No, I take that back. You're stuck. . . But maybe there is something that can loosen that up a bit. . .