Festival of Friends | Episode 17 | TBN

Festival of Friends | Episode 17

Watch Festival of Friends | Episode 17
July 15, 2018
26:56

Restoring the Shack

Closed captions
  • [MUSIC]
  • 00:00:00.130 --> 00:00:03.010
  • - PAUL YOUNG: MY NAME IS PAUL YOUNG,
  • 00:00:03.030 --> 00:00:05.040
  • AND I'M THE AUTHOR OF THE SHACK.
  • 00:00:05.060 --> 00:00:07.100
  • I WANT TO INVITE YOU ON AN ADVENTURE WITH ME AND
  • 00:00:07.120 --> 00:00:10.070
  • WITH THE BOOK.
  • 00:00:10.090 --> 00:00:12.060
  • A LOT OF YOU HAVE READ IT.
  • 00:00:12.080 --> 00:00:13.080
  • YOU HAVE QUESTIONS.
  • 00:00:13.100 --> 00:00:15.020
  • SOME OF YOU HAVE JUST HEARD ABOUT IT AND
  • 00:00:15.040 --> 00:00:16.170
  • YOU HAVE QUESTIONS.
  • 00:00:16.190 --> 00:00:18.140
  • THIS IS A BOOK THAT ALLOWS US TO EXPLORE RELATIONSHIP
  • 00:00:18.160 --> 00:00:22.020
  • WITH THE FATHER, SON AND HOLY SPIRIT, QUESTIONS THAT WE
  • 00:00:22.040 --> 00:00:25.040
  • HAVE ABOUT HURT AND LOSS AND GRIEF, QUESTIONS
  • 00:00:25.060 --> 00:00:29.250
  • ABOUT WONDER AND BEAUTY AND JOY.
  • 00:00:29.270 --> 00:00:34.030
  • WHAT DOES IT MEAN TO LIVE A LIFE OF FAITH?
  • 00:00:34.050 --> 00:00:37.190
  • WHAT DO WE DO ABOUT DEATH?
  • 00:00:37.210 --> 00:00:39.250
  • WHY DO TRAGIC THINGS HAPPEN TO US?
  • 00:00:39.270 --> 00:00:44.130
  • THESE ARE THE QUESTIONS THAT WE WANT TO EXPLORE,
  • 00:00:44.150 --> 00:00:47.190
  • AND I WOULD LOVE YOU TO COME WITH ME.
  • 00:00:47.210 --> 00:00:49.240
  • THIS IS AN INVITATION.
  • 00:00:49.260 --> 00:00:51.120
  • [UPLIFTING MUSIC]
  • 00:00:51.140 --> 00:01:01.040
  • [UPLIFTING MUSIC]
  • 00:01:01.040 --> 00:01:08.090
  • SO I'M ASKED FAIRLY OFTEN HOW LONG IT
  • 00:01:12.280 --> 00:01:15.040
  • TOOK ME TO WRITE THE SHACK.
  • 00:01:15.060 --> 00:01:18.080
  • AND I ANSWER 50 YEARS BECAUSE I WAS 50 YEARS OLD.
  • 00:01:18.100 --> 00:01:23.020
  • BUT WHEN IT CAME DOWN TO ACTUALLY WRITING IT,
  • 00:01:23.040 --> 00:01:26.090
  • ABOUT SIX MONTHS.
  • 00:01:26.110 --> 00:01:29.000
  • AND I'D NEVER WRITTEN A BOOK BEFORE,
  • 00:01:29.020 --> 00:01:30.080
  • SO I HADN'T TAKEN ANY CLASSES,
  • 00:01:30.100 --> 00:01:32.270
  • SO I DIDN'T KNOW THE RULES.
  • 00:01:32.290 --> 00:01:34.040
  • I LEARNED TO WRITE BY READING GOOD LITERATURE.
  • 00:01:34.060 --> 00:01:37.190
  • WHEN I WAS A CHILD, THAT WAS A WAY TO
  • 00:01:37.210 --> 00:01:39.150
  • GET OUT OF MY WORLD.
  • 00:01:39.170 --> 00:01:42.200
  • SO I WORKED AT IT AND I WAS WORKING THREE JOBS,
  • 00:01:42.220 --> 00:01:47.250
  • SO I'D PUT IT IN AND FIT IT IN ANYWHERE I COULD.
  • 00:01:47.270 --> 00:01:51.080
  • THERE WAS ONE DAY I HAD A SATURDAY OFF AND I
  • 00:01:51.100 --> 00:01:53.250
  • STARTED AT 8:00 IN THE MORNING AND IN EIGHT AND
  • 00:01:53.270 --> 00:01:56.040
  • A HALF HOURS, I WROTE FOUR COMPLETE CHAPTERS.
  • 00:01:56.060 --> 00:01:59.100
  • I DIDN'T KNOW THAT WASN'T NORMAL.
  • 00:01:59.120 --> 00:02:01.210
  • BUT I HAD ONE DAY OFF AND KIM WAS GONE WITH THE
  • 00:02:01.230 --> 00:02:03.250
  • KIDS. THE FOURTH OF THOSE FOUR CHAPTERS WAS
  • 00:02:03.270 --> 00:02:08.150
  • "FESTIVAL OF FRIENDS" CHAPTER FIFTEEN.
  • 00:02:08.170 --> 00:02:12.110
  • AND THAT CHAPTER IS IN YOUR BOOK THE WAY
  • 00:02:12.130 --> 00:02:14.190
  • I WROTE THAT DAY.
  • 00:02:14.210 --> 00:02:17.120
  • IT IS THE ONLY CHAPTER THAT HAS NOT BEEN
  • 00:02:17.140 --> 00:02:19.160
  • TOUCHED IN A REWRITE.
  • 00:02:19.180 --> 00:02:21.270
  • FESTIVAL OF FRIENDS BECAME THE BENCHMARK FOR
  • 00:02:21.290 --> 00:02:25.200
  • THE REST OF THE BOOK AND THE REWRITES THAT WE DID,
  • 00:02:25.220 --> 00:02:28.150
  • AND AT THE END OF THE DAY WHEN KIM GOT HOME,
  • 00:02:28.170 --> 00:02:31.000
  • SHE SAYS WHAT HAPPENED TO YOU?
  • 00:02:31.020 --> 00:02:33.050
  • AND I SAID, IT WAS LIKE I STEPPED OUT OF THE BACK
  • 00:02:33.070 --> 00:02:36.170
  • OF THE HOUSE AND INTO A RIVER AND IT SWEPT ME
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  • DOWNSTREAM FOR 25 MILES AND SPIT ME OUT
  • 00:02:38.220 --> 00:02:40.260
  • NAKED AND BLOODY.
  • 00:02:40.280 --> 00:02:43.190
  • IT WAS THAT KIND OF DAY.
  • 00:02:43.210 --> 00:02:45.260
  • AND THE METAPHOR FOR A RIVER AND WRITING AND
  • 00:02:45.280 --> 00:02:49.270
  • CREATIVITY AND LIFE BECAME PART OF MY WORLD.
  • 00:02:49.290 --> 00:02:55.050
  • SOME WRITERS, AND I HAVE FRIENDS LIKE THIS,
  • 00:02:55.070 --> 00:02:56.270
  • ARE VERY DISCIPLINED.
  • 00:02:56.290 --> 00:02:58.040
  • I'VE NEVER BEEN A VERY DISCIPLINED MUCH OF
  • 00:02:58.060 --> 00:03:01.190
  • ANYTHING. I DON'T DO MY THOUSAND WORDS A DAY.
  • 00:03:01.210 --> 00:03:04.290
  • I SORT OF COLLECT BONES AND SCRAPS AND BITS AND
  • 00:03:05.010 --> 00:03:07.170
  • PIECES AND NOTES AND LITTLE VOICE MEMOS AND
  • 00:03:07.190 --> 00:03:11.010
  • JUST IDEAS UNTIL I HAVE A BIG PILE,
  • 00:03:11.030 --> 00:03:14.080
  • THEN WHEN IT FEELS RIGHT, IT'S LIKE JUMPING IN A
  • 00:03:14.100 --> 00:03:16.230
  • RIVER, AND YOU LET IT TAKE YOU DOWNSTREAM,
  • 00:03:16.250 --> 00:03:19.160
  • YOU FOLLOW THE CHARACTERS.
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  • I DON'T WORRY ABOUT IT THAT MUCH.
  • 00:03:21.240 --> 00:03:23.170
  • THE FLOW.
  • 00:03:23.190 --> 00:03:25.270
  • [UPLIFTING MUSIC]
  • 00:03:25.290 --> 00:03:35.210
  • [UPLIFTING MUSIC]
  • 00:03:35.210 --> 00:03:42.260
  • AS I'VE TOLD YOU, CHAPTER FIFTEEN IS VERY
  • 00:03:45.200 --> 00:03:47.290
  • SPECIAL TO ME, AND FOR A LOT OF DIFFERENT REASONS.
  • 00:03:48.010 --> 00:03:51.130
  • IT WAS THE CHAPTER IN WHICH I IMBEDDED MY HOPE
  • 00:03:51.150 --> 00:03:54.150
  • FOR MY RELATIONSHIP WITH MY DAD.
  • 00:03:54.170 --> 00:03:56.250
  • IT'S A CHAPTER THAT SORT OF SET THE BAR FOR ALL
  • 00:03:56.270 --> 00:03:59.230
  • THE EDITING REWRITES THAT WE WERE INVOLVED WITH
  • 00:03:59.250 --> 00:04:02.130
  • DOWN THE ROAD.
  • 00:04:02.150 --> 00:04:04.080
  • BUT THERE WAS A SCENE AT THE END THAT YOU WOULDN'T
  • 00:04:04.100 --> 00:04:06.270
  • KNOW NATURALLY HOW SPECIAL IT WAS TO ME.
  • 00:04:06.290 --> 00:04:10.100
  • LET ME READ IT TO YOU FROM THE BOOK.
  • 00:04:10.120 --> 00:04:13.250
  • "AS JESUS REACHED THE CENTER,
  • 00:04:13.270 --> 00:04:15.280
  • HE PAUSED TO LOOK AROUND.
  • 00:04:16.000 --> 00:04:17.290
  • HIS GAZE STOPPED ON MACK STANDING ON THE SMALL HILL
  • 00:04:18.010 --> 00:04:20.120
  • AT THE OUTER EDGE.
  • 00:04:20.140 --> 00:04:23.080
  • AND MACK HEARD JESUS WHISPER IN HIS EAR,
  • 00:04:23.100 --> 00:04:26.250
  • 'MACK, I AM ESPECIALLY FOND OF YOU.'
  • 00:04:26.270 --> 00:04:32.020
  • THAT WAS ALL MACK COULD BEAR AS HE SLUMPED TO THE
  • 00:04:32.040 --> 00:04:34.050
  • GROUND DISSOLVED INTO A WASH OF JOYFUL TEARS.
  • 00:04:34.070 --> 00:04:37.060
  • HE COULDN'T MOVE.
  • 00:04:37.080 --> 00:04:39.040
  • GRIPPED AS HE WAS IN JESUS' EMBRACE OF
  • 00:04:39.060 --> 00:04:41.170
  • LOVE AND TENDERNESS."
  • 00:04:41.190 --> 00:04:46.140
  • YOU SEE, I'M MACK AND MOST OF MY SPIRITUAL
  • 00:04:46.160 --> 00:04:51.220
  • JOURNEY I'VE FELT ON THE EDGES.
  • 00:04:51.240 --> 00:04:54.060
  • IT WAS LIKE I'D JUST SORT OF SLIPPED IN TO A PLACE
  • 00:04:54.080 --> 00:04:59.130
  • THAT I DIDN'T BELONG AND THAT IF ANYBODY NOTICED
  • 00:04:59.150 --> 00:05:03.290
  • I WAS THERE, I WOULD HAVE BEEN USHERED OUT.
  • 00:05:04.010 --> 00:05:06.190
  • THIS IS WHY MACKENZIE IS ON A DISTANT HILL
  • 00:05:06.210 --> 00:05:08.230
  • WATCHING FROM A DISTANCE THE SCENE OF WORSHIP AND
  • 00:05:08.250 --> 00:05:14.030
  • ADULATION THAT IS TAKING PLACE INSIDE THAT MEADOW.
  • 00:05:14.050 --> 00:05:19.280
  • JESUS WALKS IN AND, FROM A DISTANCE,
  • 00:05:20.000 --> 00:05:24.070
  • THEY CATCH EYES, AND MACK HEARS HIM SAY
  • 00:05:24.090 --> 00:05:28.140
  • I'M ESPECIALLY FOND OF YOU.
  • 00:05:28.160 --> 00:05:31.090
  • WHEN ONE OF MY SONS WAS READING THE BOOK FOR THE
  • 00:05:31.110 --> 00:05:33.260
  • FIRST TIME, PEOPLE ASKED ME HOW MY CHILDREN,
  • 00:05:33.280 --> 00:05:36.020
  • WHO I WROTE THE BOOK FOR, RESPONDED.
  • 00:05:36.040 --> 00:05:38.150
  • ONE OF THEM, HE WAS IN A SHOWER ACTUALLY, AND HE
  • 00:05:38.170 --> 00:05:42.220
  • CALLED ME WHEN HE GOT OUT SOBBING ON THE PHONE,
  • 00:05:42.240 --> 00:05:49.140
  • AND HE SAID DAD YOU KNOW THAT CHAPTER FIFTEEN,
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  • FESTIVAL OF FRIENDS?
  • 00:05:52.130 --> 00:05:53.250
  • AND YOU KNOW THAT SCENE WHERE MACKENZIE HEARS
  • 00:05:53.270 --> 00:05:58.110
  • JESUS SAY TO HIM I'M ESPECIALLY FOND OF YOU?
  • 00:05:58.130 --> 00:06:02.250
  • DAD, I HEARD HIM SAY IT TO ME,
  • 00:06:02.270 --> 00:06:08.060
  • AND I'VE BEEN CRYING FOR TWO HOURS.
  • 00:06:08.080 --> 00:06:12.120
  • THERE COMES A POINT IN OUR LIVES WHEN WE HAVE TO
  • 00:06:12.140 --> 00:06:15.050
  • GET TO THE PLACE THAT WE BELONG.
  • 00:06:15.070 --> 00:06:18.160
  • BELONGING FOR KIDS THAT GROW UP AS THIRD CULTURE
  • 00:06:18.180 --> 00:06:21.160
  • KIDS, MISSIONARY KIDS, MILITARY BRATS,
  • 00:06:21.180 --> 00:06:24.250
  • EMBASSY CHILDREN, REFUGEES WHO HAVE BEEN
  • 00:06:24.270 --> 00:06:30.040
  • DISPLACED FROM ONE CULTURE AND INTO ANOTHER
  • 00:06:30.060 --> 00:06:33.030
  • CULTURE, THE ISSUE OF BELONGING IS HUGE FOR US.
  • 00:06:33.050 --> 00:06:37.180
  • [UPLIFTING MUSIC]
  • 00:06:37.200 --> 00:06:45.190
  • [UPLIFTING MUSIC]
  • 00:06:45.190 --> 00:06:52.240
  • WHEN I WAS WORKING ON "EVE" WHICH IS ANOTHER
  • 00:06:55.210 --> 00:06:57.270
  • NOVEL, IT WAS THE HARDEST THING I'D EVER DONE
  • 00:06:57.290 --> 00:07:01.280
  • BECAUSE I WAS TRYING TO PUT 40 YEARS OF
  • 00:07:02.000 --> 00:07:04.280
  • THEOLOGICAL WORK INTO A WORK OF FICTION THAT
  • 00:07:05.000 --> 00:07:07.240
  • WOULD BE ACCESSIBLE TO A TEENAGER,
  • 00:07:07.260 --> 00:07:10.290
  • SO MY MAIN CHARACTER IS A FIFTEEN YEAR OLD GIRL.
  • 00:07:11.010 --> 00:07:14.150
  • BUT IN THE MIDDLE OF IT, I CALLED MY FRIEND
  • 00:07:14.170 --> 00:07:16.090
  • BAXTER KRUGER WHO IS A THEOLOGIAN AS I'VE TOLD
  • 00:07:16.110 --> 00:07:18.200
  • YOU, AND I SAID BAXTER, I DON'T KNOW IF I'M
  • 00:07:18.220 --> 00:07:23.110
  • DOWN A RIVER OR DOWN A RABBIT HOLE.
  • 00:07:23.130 --> 00:07:28.010
  • AND HE SAID WELL SEND ME WHAT YOU HAVE, SO I DID,
  • 00:07:28.030 --> 00:07:30.210
  • AND HE CALLS BACK AND SAYS YOU'RE EITHER STARK
  • 00:07:30.230 --> 00:07:32.150
  • RAVING LUNATIC OR THIS IS REALLY GENIUS.
  • 00:07:32.170 --> 00:07:36.120
  • WE'RE STILL NOT SURE.
  • 00:07:36.140 --> 00:07:38.020
  • BUT A COUPLE WEEKS LATER, I'M IN WASHINGTON DC AT
  • 00:07:38.040 --> 00:07:42.030
  • THIS BIG EVENT, AND A FRIEND SHOWS UP IN THE
  • 00:07:42.050 --> 00:07:46.200
  • MIDDLE OF THE HILTON, RIGHT?
  • 00:07:46.220 --> 00:07:48.200
  • THERE'S A THOUSAND PEOPLE CHECKING IN,
  • 00:07:48.220 --> 00:07:51.030
  • AND IT'S A MAD HOUSE, AND HE SAYS I HAVE A COUPLE
  • 00:07:51.050 --> 00:07:53.260
  • OF LADIES THAT WANTED TO MEET YOU BECAUSE
  • 00:07:53.280 --> 00:07:56.030
  • THEY'D READ THE SHACK.
  • 00:07:56.050 --> 00:07:57.190
  • AND THEY WANT TO PRAY FOR YOU.
  • 00:07:57.210 --> 00:08:00.080
  • WOULD THAT BE OKAY?
  • 00:08:00.100 --> 00:08:01.160
  • I'LL TAKE PRAYER ANY TIME, ALL THE TIME,
  • 00:08:01.180 --> 00:08:05.190
  • IT'S TO ME ONE OF THE GREATEST GIFTS A HUMAN
  • 00:08:05.210 --> 00:08:07.160
  • BEING CAN GIVE ME. SO I SAID SURE.
  • 00:08:07.180 --> 00:08:09.270
  • SO WE GO OVER TO THE CORNER,
  • 00:08:09.290 --> 00:08:11.050
  • MAKE A LITTLE HUDDLE, AND THEY PRAY FOR ME.
  • 00:08:11.070 --> 00:08:15.090
  • NOW BAXTER LIVES IN MISSISSIPPI AND HERE WE
  • 00:08:15.110 --> 00:08:17.080
  • ARE IN WASHINGTON DC. BAXTER IS NOT THERE.
  • 00:08:17.100 --> 00:08:20.040
  • AND THIS WOMAN WHO BEGINS TO PRAY FOR ME STOPS
  • 00:08:20.060 --> 00:08:22.270
  • ABOUT TWO SENTENCES IN AND SHE LOOKS AT ME AND
  • 00:08:22.290 --> 00:08:26.160
  • SHE SAYS, NOW THIS MIGHT MAKE NO SENSE AT ALL,
  • 00:08:26.180 --> 00:08:31.180
  • AND IF IT DOESN'T JUST DISREGARD IT,
  • 00:08:31.200 --> 00:08:35.060
  • BUT I HEAR GOD TELL ME TO TELL YOU THAT YOU'RE
  • 00:08:35.080 --> 00:08:39.170
  • DOWN A RIVER NOT A RABBIT HOLE.
  • 00:08:39.190 --> 00:08:41.230
  • AND SHE USED THE SAME EXACT WORDS.
  • 00:08:41.250 --> 00:08:44.290
  • THEN SHE WENT BACK TO PRAYING AND THREE TIMES
  • 00:08:45.010 --> 00:08:47.160
  • IN HER FIRST TEN SENTENCES SHE TALKED
  • 00:08:47.180 --> 00:08:49.280
  • ABOUT BEING DOWN A RIVER.
  • 00:08:50.000 --> 00:08:52.160
  • AND I FINALLY STOP HER AND I SAY WAIT, WAIT,
  • 00:08:52.180 --> 00:08:54.050
  • AND I TELL HER THE STORY.
  • 00:08:54.070 --> 00:08:56.130
  • THAT'S JUST A KISS OF GRACE.
  • 00:08:56.150 --> 00:08:58.080
  • THAT'S JUST IN THOSE MOMENTS WHERE YOU DON'T
  • 00:08:58.100 --> 00:09:00.020
  • EXPECT IT THAT THE HOLY SPIRIT BRUSHES UP AND
  • 00:09:00.040 --> 00:09:03.100
  • JUST SAYS I GOT THIS. WE'RE OKAY.
  • 00:09:03.120 --> 00:09:07.030
  • [UPLIFTING MUSIC]
  • 00:09:07.050 --> 00:09:17.230
  • [UPLIFTING MUSIC]
  • 00:09:17.230 --> 00:09:24.290
  • LET ME TELL YOU ANOTHER PIECE OF THE RIVER STORY.
  • 00:09:25.280 --> 00:09:27.220
  • SO THIS ONLY HAPPENED TO ME ONE TIME IN MY LIFE
  • 00:09:27.240 --> 00:09:30.220
  • AND IT WAS AFTER THE SHACK HAD JUST COME OUT,
  • 00:09:30.240 --> 00:09:33.010
  • AND IT WAS AT 2:00 O'CLOCK IN THE MORNING.
  • 00:09:33.030 --> 00:09:36.250
  • WE WERE IN THE LITTLE HOUSE ON THE CORNER OF
  • 00:09:36.270 --> 00:09:38.030
  • 12TH STREET, AND KIM WAS SOUND ASLEEP,
  • 00:09:38.050 --> 00:09:41.070
  • AND I USUALLY SLEEP REALLY SOUNDLY,
  • 00:09:41.090 --> 00:09:43.220
  • BUT I WOKE UP SNAP AWAKE AT 2:00 O'CLOCK
  • 00:09:43.240 --> 00:09:46.070
  • IN THE MORNING.
  • 00:09:46.090 --> 00:09:47.270
  • AND I LITERALLY, AS CLOSE TO LITERALLY AS POSSIBLE,
  • 00:09:47.290 --> 00:09:52.200
  • I FELT I WAS UNDER A WATERFALL OF CREATIVE
  • 00:09:52.220 --> 00:09:55.170
  • IDEAS, EACH ONE LASTING FIVE TO TEN MINUTES.
  • 00:09:55.190 --> 00:10:01.110
  • IT WAS ABSOLUTELY AMAZING!
  • 00:10:01.130 --> 00:10:05.240
  • AND I JUST SAT THERE UP IN BED, KIM SOUND ASLEEP,
  • 00:10:05.260 --> 00:10:11.100
  • WATCHING THESE CREATIVE IDEAS.
  • 00:10:11.120 --> 00:10:13.060
  • AND I DON'T KNOW WHY IT TOOK ME THIS LONG BUT
  • 00:10:13.080 --> 00:10:14.210
  • ABOUT AN HOUR INTO THIS I THOUGHT I NEED TO GRAB A
  • 00:10:14.230 --> 00:10:18.220
  • PEN. AND THE WATERFALL INSTANTLY STOPPED.
  • 00:10:18.240 --> 00:10:25.060
  • AND I HEARD THAT LITTLE VOICE,
  • 00:10:25.080 --> 00:10:27.000
  • THE VOICE OF THE HOLY SPIRIT,
  • 00:10:27.020 --> 00:10:29.170
  • AND SHE SAYS TO ME THAT'S JUST LIKE YOU, PAUL.
  • 00:10:29.190 --> 00:10:33.090
  • THAT'S BEEN YOUR HISTORY.
  • 00:10:33.110 --> 00:10:35.170
  • YOU DON'T TRUST THAT THIS IS A RIVER.
  • 00:10:35.190 --> 00:10:39.050
  • YOU DON'T TRUST THAT THIS IS A RIVER, SO YOU WANT TO
  • 00:10:39.070 --> 00:10:41.220
  • DAM IT UP, AND THEN YOU WANT TO PUT IT INTO
  • 00:10:41.240 --> 00:10:44.060
  • LITTLE BOTTLES, AND YOU WANT TO SELL IT IN
  • 00:10:44.080 --> 00:10:46.050
  • EXCHANGE FOR IDENTITY, AND WORTH, AND VALUE, AND
  • 00:10:46.070 --> 00:10:49.140
  • SIGNIFICANCE, AND SECURITY, AND MEANING, AND
  • 00:10:49.160 --> 00:10:51.200
  • PURPOSE, AND DESTINY.
  • 00:10:51.220 --> 00:10:54.220
  • AND I WAS CRUSHED AGAIN.
  • 00:10:54.240 --> 00:10:57.110
  • BUT IT WAS TRUE.
  • 00:10:57.130 --> 00:10:58.230
  • THAT WAS A PATTERN IN MY LIFE.
  • 00:10:58.250 --> 00:11:00.140
  • AND I SAID I NEVER WANT TO DO THAT AGAIN.
  • 00:11:00.160 --> 00:11:04.200
  • AND I HAVEN'T.
  • 00:11:04.220 --> 00:11:07.080
  • EVERY TIME I GET CLOSE TO WORKING ON SOMETHING
  • 00:11:07.100 --> 00:11:09.170
  • ARTISTIC, MY FIRST THOUGHT IS THIS IS A
  • 00:11:09.190 --> 00:11:13.050
  • RIVER AND I TRUST THAT THIS IS A RIVER.
  • 00:11:13.070 --> 00:11:16.250
  • I DON'T HAVE TO TRY TO KEEP TRACK OF THINGS,
  • 00:11:16.270 --> 00:11:18.260
  • I DON'T HAVE TO TRY TO OWN IT, I DON'T HAVE TO
  • 00:11:18.280 --> 00:11:20.290
  • TRY TO BOTTLE IT UP AND SELL IT IN EXCHANGE
  • 00:11:21.010 --> 00:11:22.240
  • FOR ANYTHING. FLOW.
  • 00:11:22.260 --> 00:11:26.270
  • IT'S NOT ONLY ABOUT WRITING AND ARTISTIC
  • 00:11:26.290 --> 00:11:29.130
  • STUFF AND CREATIVE STUFF.
  • 00:11:29.150 --> 00:11:31.270
  • IT'S ABOUT LIFE.
  • 00:11:31.290 --> 00:11:34.280
  • WE'RE INVOLVED IN A RIVER OF LIVING WATER,
  • 00:11:35.000 --> 00:11:37.270
  • AND IT FLOWS CONTINUOUSLY,
  • 00:11:37.290 --> 00:11:39.280
  • AND WE'RE LEARNING HOW TO TRUST THAT.
  • 00:11:40.000 --> 00:11:43.000
  • THIS IS A GOD WHO LOVES PARTICIPATION,
  • 00:11:43.020 --> 00:11:45.010
  • A GOD WHO LOVES PARTICIPATION,
  • 00:11:45.030 --> 00:11:48.220
  • A GOD WHO'S NEVER BEEN ALONE.
  • 00:11:48.240 --> 00:11:50.270
  • [UPLIFTING MUSIC]
  • 00:11:50.290 --> 00:11:59.250
  • [UPLIFTING MUSIC]
  • 00:11:59.250 --> 00:12:07.020
  • OUR OLDEST SON IS A SCIENTIST,
  • 00:12:09.120 --> 00:12:13.030
  • A RESEARCH SCIENTIST, AND HAS A PH.D IN STATISTICS.
  • 00:12:13.050 --> 00:12:18.210
  • I DON'T EVEN BEGIN TO UNDERSTAND.
  • 00:12:18.230 --> 00:12:20.210
  • I NOD A LOT. THAT'S MY GIFT.
  • 00:12:20.230 --> 00:12:22.290
  • AND WE WERE INVITED TO THIS GATHERING OF FRIENDS
  • 00:12:23.010 --> 00:12:27.000
  • UP IN BRITISH COLOMBIA HOSTED BY BOB GOUGH AND
  • 00:12:27.020 --> 00:12:30.180
  • DONALD MILLER, AND AFTER THE FIRST DAY,
  • 00:12:30.200 --> 00:12:37.140
  • CHAD OUR OLDEST SAYS TO US, YOU KNOW,
  • 00:12:37.160 --> 00:12:41.240
  • I'M NOT REALLY CREATIVE AND I'M NOT REALLY AN
  • 00:12:41.260 --> 00:12:47.160
  • EXTROVERT, AND I DON'T HAVE A PLATFORM OF ANY
  • 00:12:47.180 --> 00:12:50.240
  • SORT, AND I JUST DON'T FEEL LIKE I BELONG HERE.
  • 00:12:50.260 --> 00:12:58.030
  • CHAD IS A GENTLE SOUL.
  • 00:12:58.050 --> 00:13:00.160
  • HE'S VERY BRILLIANT LIKE MICHELLE, HIS WIFE,
  • 00:13:00.180 --> 00:13:04.090
  • AND THEY ARE THE PARENTS OF THREE
  • 00:13:04.110 --> 00:13:05.180
  • OF OUR GRANDCHILDREN.
  • 00:13:05.200 --> 00:13:07.200
  • AND SO CHAD BEGAN TO WITHDRAWAL A BIT AND
  • 00:13:07.220 --> 00:13:09.280
  • TAKE CARE OF THE GRANDCHILDREN, HIS KIDS,
  • 00:13:10.000 --> 00:13:13.020
  • SO THAT MICHELLE COULD HAVE SOME TIME
  • 00:13:13.040 --> 00:13:15.020
  • BEING WITH PEOPLE. AND WE WATCHED THIS.
  • 00:13:15.040 --> 00:13:18.250
  • THE NEXT NIGHT KIM AND I VOLUNTEERED TO WATCH THE
  • 00:13:18.270 --> 00:13:22.200
  • CHILDREN, WHICH IS NO LOSS TO US WHATSOEVER.
  • 00:13:22.220 --> 00:13:27.260
  • THEY ARE THE MOST PRECIOUS INDIVIDUALS
  • 00:13:27.280 --> 00:13:30.250
  • IN OUR LIVES, OUR GRANDCHILDREN.
  • 00:13:30.270 --> 00:13:33.020
  • AND JUST TO GIVE CHAD AND MICHELLE A CHANCE TO GO OUT
  • 00:13:33.040 --> 00:13:35.290
  • WITH SOME OF THE 20s AND 30 YEAR-OLDS AND
  • 00:13:36.010 --> 00:13:38.130
  • SPEND AN EVENING.
  • 00:13:38.150 --> 00:13:40.190
  • THEY WENT OUT TO PHOSPHORESCENCE, YOU KNOW THE
  • 00:13:40.210 --> 00:13:42.290
  • LIGHTS THAT COME UP IN THE WATER WHEN YOU WAVE YOUR
  • 00:13:43.010 --> 00:13:45.170
  • HAND IN THE WATER, IT'S LUMINESCENCE, AND DIDN'T KNOW
  • 00:13:45.190 --> 00:13:50.200
  • UNTIL LATER, BUT THAT NIGHT, ONE OF THE PEOPLE THAT CHAD
  • 00:13:50.220 --> 00:13:55.010
  • AND MICHELLE WERE WITH -- AN ARTIST, ACTUALLY, A
  • 00:13:55.030 --> 00:13:58.000
  • PHOTOGRAPHER WHO IS SO GIFTED AT CAPTURING PEOPLE'S
  • 00:13:58.020 --> 00:14:03.140
  • TRUE BEING INSIDE OF HIS PHOTOGRAPHS.
  • 00:14:03.160 --> 00:14:06.140
  • HE'LL JUST TALK TO THEM AND SHOOT PORTRAITS.
  • 00:14:06.160 --> 00:14:09.250
  • BUT HE STARTED TO TALK TO EVERYONE AND SAY,
  • 00:14:09.270 --> 00:14:12.180
  • YOU KNOW WHAT?
  • 00:14:12.200 --> 00:14:13.220
  • I REALLY DON'T THINK THAT THERE'S A
  • 00:14:13.240 --> 00:14:15.120
  • CATEGORY CALLED CREATIVE.
  • 00:14:15.140 --> 00:14:17.210
  • I THINK EVERY SINGLE HUMAN BEING IS A CREATIVE.
  • 00:14:17.230 --> 00:14:21.150
  • I BELIEVE THAT'S RIGHT.
  • 00:14:21.170 --> 00:14:24.290
  • WE ARE MADE IN THE IMAGE OF GOD, AND THE HOLY SPIRIT
  • 00:14:25.010 --> 00:14:29.060
  • IS A CREATIVE BEING.
  • 00:14:29.080 --> 00:14:32.020
  • GOD THE FATHER IS A CREATOR, AND JESUS IS THE CREATOR.
  • 00:14:32.040 --> 00:14:35.220
  • EVERYTHING ABOUT US IS INVOLVED WITH CREATIVITY.
  • 00:14:35.240 --> 00:14:38.240
  • THERE IS NO SPECIAL CATEGORY.
  • 00:14:38.260 --> 00:14:40.260
  • WE UNDERSTAND THE ARTISTS, AND THE POETS, AND THE
  • 00:14:40.280 --> 00:14:43.010
  • MUSICIANS, AND THE DANCERS, AND THE FILM MAKERS AND ALL
  • 00:14:43.030 --> 00:14:45.090
  • THAT THEY BRING, SCULPTORS, THRILLED WITH THEIR
  • 00:14:45.110 --> 00:14:50.140
  • PARTICIPATION, BUT EVERY SINGLE HUMAN BEING IS A
  • 00:14:50.160 --> 00:14:53.150
  • CREATIVE, AND THAT SPOKE TO CHAD AS A MATHEMATICIAN.
  • 00:14:53.170 --> 00:14:57.100
  • THE NEXT MORNING, WE GOT UP FOR BREAKFAST.
  • 00:14:57.120 --> 00:15:01.020
  • THERE WAS ABOUT 160 OF US IN ROUND TABLES, 8-10 PEOPLE TO
  • 00:15:01.040 --> 00:15:05.210
  • A TABLE, AND EVERY MEAL WE MOVED AROUND IN ORDER TO
  • 00:15:05.230 --> 00:15:08.240
  • MEET NEW PEOPLE, AND SO WE NEVER SAT IN
  • 00:15:08.260 --> 00:15:12.170
  • THE SAME PLACE TWICE.
  • 00:15:12.190 --> 00:15:15.140
  • WE WERE SERVED BY YOUNG LIFE STAFF WHO HAD PAID THEIR OWN
  • 00:15:15.160 --> 00:15:18.230
  • WAYS THERE TO JUST BE WITH US AND TAKE CARE OF US.
  • 00:15:18.250 --> 00:15:23.220
  • AND WE FINISHED UP BREAKFAST, AND SOMEBODY GOT
  • 00:15:23.240 --> 00:15:26.010
  • UP AND SAID, YOU KNOW, WE'VE BEEN PRANKED, AND WE DON'T
  • 00:15:26.030 --> 00:15:29.180
  • KNOW WHO IT IS, BUT SOME TIME DURING THE NIGHT, SOME
  • 00:15:29.200 --> 00:15:36.200
  • PEOPLE HAVE COME IN, AND THEY HAVE WRITTEN ON LITTLE
  • 00:15:36.220 --> 00:15:40.050
  • TINY SLIPS OF PAPER A MESSAGE TO YOU FROM GOD.
  • 00:15:40.070 --> 00:15:45.160
  • UNDER EACH OF YOUR PLATES, THERE IS A WORD OF
  • 00:15:45.180 --> 00:15:49.110
  • GOD TO YOU FOR TODAY.
  • 00:15:49.130 --> 00:15:53.040
  • AND WE ALL LOOKED UNDER OUR PLATES, AND SURE
  • 00:15:53.060 --> 00:15:55.000
  • ENOUGH, THERE WAS A LITTLE MESSAGE; DIFFERENT
  • 00:15:55.020 --> 00:15:57.060
  • HANDWRITINGS, NONE OF THEM THE SAME,
  • 00:15:57.080 --> 00:15:59.190
  • 160 DIFFERENT MESSAGES.
  • 00:15:59.210 --> 00:16:02.110
  • CHAD TURNED HIS PLATE OVER, PICKED UP HIS NOTE, AND IT
  • 00:16:02.130 --> 00:16:06.090
  • SAID, "YOU BELONG HERE."
  • 00:16:06.110 --> 00:16:10.230
  • OF ALL THE SEATS HE COULD
  • 00:16:15.040 --> 00:16:18.060
  • HAVE SAT ON, OF ALL THE PLATES HE COULD HAVE TURNED
  • 00:16:18.080 --> 00:16:21.190
  • OVER, IT WAS THE ONE THAT TOLD HIM, "YOU BELONG HERE."
  • 00:16:21.210 --> 00:16:28.200
  • THAT CHANGED HIS LIFE.
  • 00:16:28.220 --> 00:16:30.290
  • CHAD AND I BOTH, WE WEAR THIS LITTLE BRACELET TO
  • 00:16:31.010 --> 00:16:37.010
  • COMMEMORATE THAT EVENT.
  • 00:16:37.030 --> 00:16:41.210
  • EVERY TIME I SEE THIS, I ALSO HEAR PAPA SAY, PAUL,
  • 00:16:41.230 --> 00:16:45.290
  • I'M ESPECIALLY FOND OF YOU. YOU BELONG HERE.
  • 00:16:46.010 --> 00:16:52.050
  • [UPLIFTING MUSIC]
  • 00:16:52.070 --> 00:17:01.050
  • [UPLIFTING MUSIC]
  • 00:17:01.050 --> 00:17:08.110
  • CARL BART, THE THEOLOGIAN SAID, "GOD WILL NOT BE GOD
  • 00:17:11.120 --> 00:17:13.260
  • APART FROM US." I HAVE ONE MORE BAXTER STORY FOR.
  • 00:17:13.280 --> 00:17:18.120
  • SO HE'S FLYING OUT FROM ATLANTA, HE LIVES IN
  • 00:17:18.140 --> 00:17:22.020
  • MISSISSIPPI, AND HE'S COMING TO THE WEST COAST, AND HE
  • 00:17:22.040 --> 00:17:25.150
  • CHOOSES A SEAT AT THE BACK OF AIRPLANE BECAUSE HE WANTS
  • 00:17:25.170 --> 00:17:29.050
  • TO SEE THE ROCKY MOUNTAINS, AND HE'S NEVER SEEN THE
  • 00:17:29.070 --> 00:17:31.120
  • ROCKY MOUNTAINS, AND HE'S HOPING IT WILL BE CLEAR
  • 00:17:31.140 --> 00:17:33.200
  • ENOUGH, AS HE FLIES ACROSS IT, HE CAN SEE THEM.
  • 00:17:33.220 --> 00:17:36.230
  • AND STRANGELY, THE JET PULLS OUT OF THE JET BRIDGE AT
  • 00:17:36.250 --> 00:17:42.230
  • ATLANTA, STOPS, PULLS BACK IN, AND RE-PARKS.
  • 00:17:42.250 --> 00:17:50.060
  • SO HE'S THINKING SOMETHING'S WRONG, AND IT OPENS THE DOOR
  • 00:17:50.080 --> 00:17:52.230
  • AND LET'S ONE MORE MAN ON THE FLIGHT.
  • 00:17:52.250 --> 00:17:55.210
  • AND BAXTER IS LOOKING DOWN THE AISLE, AND THE GUY LOOKS
  • 00:17:55.230 --> 00:17:58.150
  • LIKE INDIANA JONES.
  • 00:17:58.170 --> 00:18:00.100
  • I MEAN, SERIOUSLY, HE'S GOT THE HAT ON.
  • 00:18:00.120 --> 00:18:02.200
  • HE'S GOT THE LEATHER SATCHEL.
  • 00:18:02.220 --> 00:18:04.110
  • HE'S GOT THE HIGH BOOTS.
  • 00:18:04.130 --> 00:18:06.060
  • HE LOOKS LIKE ABOUT FIVE DAYS OF GROWTH, AND HE'S
  • 00:18:06.080 --> 00:18:09.080
  • WALKING DOWN THE AISLE.
  • 00:18:09.100 --> 00:18:10.180
  • AND IT HAPPENED TO BE THAT THAT FLIGHT WAS
  • 00:18:10.200 --> 00:18:12.150
  • MOSTLY ALL HALF EMPTY.
  • 00:18:12.170 --> 00:18:15.040
  • SO THERE WERE WHOLE ROWS EMPTY.
  • 00:18:15.060 --> 00:18:17.140
  • ALL THE MIDDLE SEATS WERE BASICALLY EMPTY, AND
  • 00:18:17.160 --> 00:18:20.010
  • BAXTER'S WATCHING THIS GUY, AND HE THINKS,
  • 00:18:20.030 --> 00:18:23.060
  • I KNOW RIGHT WHERE HE'S GOING TO SIT, AND SURE ENOUGH,
  • 00:18:23.080 --> 00:18:25.010
  • HE SITS RIGHT NEXT TO BAXTER.
  • 00:18:25.030 --> 00:18:27.160
  • WELL, BAXTER IS A GOOD OLD BOY, SOUTHERN MISSISSIPPI
  • 00:18:27.180 --> 00:18:30.040
  • BOY, "HOW'S YOUR MOM AND THEM?"
  • 00:18:30.060 --> 00:18:32.280
  • KIND OF GUY, AND HE STRIKES UP A CONVERSATION, AND HE
  • 00:18:33.000 --> 00:18:36.100
  • SAYS, SO WHAT DO YOU DO?
  • 00:18:36.120 --> 00:18:38.120
  • AND THIS MAN SAYS, "I AM A SYSTEMATIC,
  • 00:18:38.140 --> 00:18:41.260
  • MICRO-EVOLUTIONARY BOTANIST." AND BAXTER'S
  • 00:18:41.280 --> 00:18:46.080
  • THINKING, WHAT IS A SYSTEMATIC,
  • 00:18:46.100 --> 00:18:50.200
  • MICRO-EVOLUTIONARY BOTANIST?
  • 00:18:50.220 --> 00:18:52.290
  • AND HE SAYS, SO WHAT DOES THAT EVEN MEAN?
  • 00:18:53.010 --> 00:18:56.250
  • AND THIS GENTLEMAN TAKES OUT A PIECE OF PAPER, AND HE
  • 00:18:56.270 --> 00:18:59.130
  • BEGINS TO DRAW PICTURES, AND HE WRITES DOWN LATIN NAMES.
  • 00:18:59.150 --> 00:19:04.110
  • HE TURNS OUT TO BE ONE OF THE BEST BOTANISTS ON THE
  • 00:19:04.130 --> 00:19:07.260
  • PLANET WHO'D JUST COME BACK FROM CENTRAL AMERICA.
  • 00:19:07.280 --> 00:19:10.110
  • HE'D BEEN STOMPING THROUGH THE JUNGLES LOOKING FOR
  • 00:19:10.130 --> 00:19:13.170
  • PLANTS THAT WERE ON THE VERGE OF EXTINCTION SO THAT
  • 00:19:13.190 --> 00:19:16.120
  • THEY COULD HARVEST THE SEEDS AND PRESERVE THEM BECAUSE
  • 00:19:16.140 --> 00:19:19.190
  • WE'VE COME TO UNDERSTAND THAT GOD HAS BURIED INSIDE
  • 00:19:19.210 --> 00:19:22.190
  • ALL OF THESE PLANTS, MIRACLES, THINGS THAT ARE
  • 00:19:22.210 --> 00:19:29.000
  • SECRETS AND SURPRISES THAT WE CAN DISCOVER.
  • 00:19:29.020 --> 00:19:33.010
  • AND HE'S OUT THERE TREKKING THROUGH THE JUNGLE
  • 00:19:33.030 --> 00:19:35.080
  • LOOKING FOR THESE.
  • 00:19:35.100 --> 00:19:36.190
  • AND SO HE STARTED HIS LIST OF PLANTS SAYING,
  • 00:19:36.210 --> 00:19:39.050
  • THESE ONES WE CAN'T FIND.
  • 00:19:39.070 --> 00:19:41.090
  • THEY'VE EITHER GONE EXTINCT, OR WE DON'T KNOW
  • 00:19:41.110 --> 00:19:43.010
  • WHERE THEY ARE ANYMORE.
  • 00:19:43.030 --> 00:19:44.100
  • HERE'S A BUNCH THAT WE'VE FOUND, AND
  • 00:19:44.120 --> 00:19:46.090
  • WE'RE PRESERVING THE SEEDS.
  • 00:19:46.110 --> 00:19:49.000
  • AND HE GOES ON, AND BAXTER SAYS TO ME LATER, YOU KNOW,
  • 00:19:49.020 --> 00:19:52.100
  • I'M NOT NORMALLY VERY INTERESTED IN PLANTS UNLESS
  • 00:19:52.120 --> 00:19:54.180
  • THERE'S A BASS HIDING BEHIND ONE OR SOMETHING.
  • 00:19:54.200 --> 00:19:56.160
  • BUT HE SAYS, I'M ENTHRALLED.
  • 00:19:56.180 --> 00:19:59.070
  • I'M ABSOLUTELY CAPTIVATED IN THIS GUY'S PASSION.
  • 00:19:59.090 --> 00:20:03.110
  • ABOUT AN HOUR INTO THIS, THE GENTLEMAN TURNS TO HIM AND
  • 00:20:03.130 --> 00:20:05.140
  • SAYS, SO BAXTER, WHAT DO YOU DO?
  • 00:20:05.160 --> 00:20:08.030
  • AND BAXTER SMILES AND SAYS, I'M A THEOLOGIAN.
  • 00:20:08.050 --> 00:20:11.040
  • THE GUY SAYS, OH, I BET YOU WANT TO TALK TO ME ABOUT
  • 00:20:11.060 --> 00:20:14.000
  • EVOLUTION, RIGHT?
  • 00:20:14.020 --> 00:20:15.270
  • BAXTER SAYS, NO, I DON'T CARE MUCH ABOUT EVOLUTION,
  • 00:20:15.290 --> 00:20:19.100
  • BUT I'M FASCINATED BY PLANTS BECAUSE OF YOUR PASSION.
  • 00:20:19.120 --> 00:20:23.120
  • TELL ME MORE.
  • 00:20:23.140 --> 00:20:25.010
  • SO FOR ANOTHER HALF AN HOUR, THIS MAN JUST
  • 00:20:25.030 --> 00:20:28.050
  • TALKED ABOUT PLANTS.
  • 00:20:28.070 --> 00:20:30.130
  • AND THEN BAXTER INTERRUPTED HIM AND SAID, I DO HAVE A
  • 00:20:30.150 --> 00:20:32.050
  • QUESTION FOR YOU.
  • 00:20:32.070 --> 00:20:34.020
  • WHERE DID YOUR PASSION COME FROM?
  • 00:20:34.040 --> 00:20:37.230
  • I MEAN, IS YOUR AUNT MAY A BOTANIST?
  • 00:20:37.250 --> 00:20:40.190
  • I MEAN, ARE YOUR PARENTS, ARE THEY SCIENTISTS?
  • 00:20:40.210 --> 00:20:43.250
  • WHERE DID YOUR PASSION COME FROM?
  • 00:20:43.270 --> 00:20:46.170
  • AND HE SAID, YOU KNOW, NOBODY EVER ASKED ME THAT.
  • 00:20:46.190 --> 00:20:49.150
  • I DON'T KNOW.
  • 00:20:49.170 --> 00:20:51.230
  • AND BAXTER SAID, I CAN TELL YOU.
  • 00:20:51.250 --> 00:20:54.110
  • REALLY, YOU CAN TELL ME WHERE MY PASSION CAME FROM?
  • 00:20:54.130 --> 00:20:57.120
  • BAXTER SAID, SURE.
  • 00:20:57.140 --> 00:20:58.290
  • SO HE TAKES OUT A PIECE OF PAPER, AND HE DRAWS THE
  • 00:20:59.010 --> 00:21:01.040
  • THREE INTERLOCKING CIRCLES, THE SYMBOL OF THE FATHER,
  • 00:21:01.060 --> 00:21:05.190
  • SON, AND HOLY SPIRIT.
  • 00:21:05.210 --> 00:21:07.080
  • AND HE SAID, GUESS WHAT?
  • 00:21:07.100 --> 00:21:09.010
  • CREATION WAS CREATED RIGHT IN THE MIDDLE OF THIS
  • 00:21:09.030 --> 00:21:12.150
  • RELATIONSHIP, RIGHT IN THE MIDDLE OF THE FATHER,
  • 00:21:12.170 --> 00:21:14.200
  • SON, AND HOLY SPIRIT.
  • 00:21:14.220 --> 00:21:16.220
  • CREATION IS CREATED IN CHRIST.
  • 00:21:16.240 --> 00:21:20.050
  • AND YOU ARE OUT THERE WITH A PASSION TO PROTECT THE
  • 00:21:20.070 --> 00:21:27.060
  • CREATION THAT GOD HAS CREATED.
  • 00:21:27.080 --> 00:21:29.260
  • DO YOU KNOW WHERE YOUR PASSION ORIGINATED?
  • 00:21:29.280 --> 00:21:31.250
  • IT ORIGINATED IN THE VERY HEART OF THE FATHER, SON,
  • 00:21:31.270 --> 00:21:34.170
  • AND HOLY SPIRIT.
  • 00:21:34.190 --> 00:21:36.030
  • YOU'RE OUT THERE, AND YOU'RE DOING THE WORK OF GOD, AND
  • 00:21:36.050 --> 00:21:38.190
  • YOU DIDN'T EVEN KNOW IT.
  • 00:21:38.210 --> 00:21:41.030
  • THIS MAN SHAKES HIS HEAD AND SAYS, HOW COME NOBODY HAS
  • 00:21:41.050 --> 00:21:42.270
  • EVER TOLD ME?
  • 00:21:42.290 --> 00:21:44.230
  • BAXTER SAID, I JUST DID.
  • 00:21:44.250 --> 00:21:47.040
  • THIS IS A GOD WHO LOVES PARTICIPATION.
  • 00:21:47.060 --> 00:21:50.150
  • THIS IS A GOD WHO PURSUES EVERY SINGLE HUMAN BEING,
  • 00:21:50.170 --> 00:21:53.270
  • WHO CLIMBS IN OUR WORLD AND IGNITES THE THINGS THAT
  • 00:21:53.290 --> 00:21:56.210
  • MATTER TO US SO THAT WE CAN PARTICIPATE, SO THAT WE CAN
  • 00:21:56.230 --> 00:22:01.010
  • BECOME FULLY HUMAN AND FULLY ALIVE.
  • 00:22:01.030 --> 00:22:04.270
  • THIS IS AN INVITATION TO THE FESTIVAL OF FRIENDS.
  • 00:22:04.290 --> 00:22:09.150
  • I WANT TO READ YOU SOMETHING THAT A FRIEND OF MINE NAMED
  • 00:22:09.170 --> 00:22:14.040
  • ROB PARSONS IN THE U.K.
  • 00:22:14.060 --> 00:22:16.180
  • WROTE, A LITTLE BOOK CALLED "WISDOM HOUSE", AND I LOVE
  • 00:22:16.200 --> 00:22:20.100
  • THIS LITTLE EXCERPT BECAUSE I THINK IT CAPTURES
  • 00:22:20.120 --> 00:22:23.040
  • SOMETHING VERY, VERY CENTRAL TO THIS CONVERSATION.
  • 00:22:23.060 --> 00:22:28.280
  • "IT ISN'T JUST SEEMING PHYSICAL DISADVANTAGES THAT
  • 00:22:29.000 --> 00:22:33.110
  • CAN TURN INTO A STRENGTH, BUT LIFE EXPERIENCES, TOO,
  • 00:22:33.130 --> 00:22:38.190
  • EVEN ONES THAT OTHERS WILL NATURALLY RUN AWAY FROM.
  • 00:22:38.210 --> 00:22:42.260
  • SOME YEARS AGO, A FRIEND OF MINE ATTENDED A LECTURE ON
  • 00:22:42.280 --> 00:22:45.030
  • STEM CELL RESEARCH IN OXFORD GIVEN BY A
  • 00:22:45.050 --> 00:22:48.120
  • WORLD-FAMOUS GENETICIST.
  • 00:22:48.140 --> 00:22:51.000
  • DURING THE QUESTION TIME, THE SCIENTIST WAS ASKED
  • 00:22:51.020 --> 00:22:53.000
  • WHETHER, IN THE FUTURE, IT WOULD BE POSSIBLE
  • 00:22:53.020 --> 00:22:56.060
  • TO CLONE BEETHOVEN?
  • 00:22:56.080 --> 00:22:58.240
  • HIS ANSWER WAS A BRILLIANT YES AND NO.
  • 00:22:58.260 --> 00:23:03.140
  • YES, IF YOU COULD EXTRACT THE DNA FROM THE BONES IN
  • 00:23:03.160 --> 00:23:07.280
  • THE COFFIN, YOU COULD PROBABLY CLONE BEETHOVEN,
  • 00:23:08.000 --> 00:23:15.150
  • A HUMAN BEING THAT WOULD BE AN IDENTICAL TWIN.
  • 00:23:15.170 --> 00:23:19.140
  • YES, YOU COULD TEACH THAT TWIN TO PLAY THE PIANO AT A
  • 00:23:19.160 --> 00:23:23.030
  • REASONABLY HIGH LEVEL, BUT NO, BECAUSE BEETHOVEN'S
  • 00:23:23.050 --> 00:23:28.120
  • FATHER, WHO WAS ALSO HIS MUSIC TUTOR,
  • 00:23:28.140 --> 00:23:31.100
  • WAS A VIOLENT ALCOHOLIC.
  • 00:23:31.120 --> 00:23:34.040
  • THE YOUNG BEETHOVEN WAS VERY CLOSE TO HIS MOTHER WHO DIED
  • 00:23:34.060 --> 00:23:37.030
  • WHEN HE WAS A TEENAGER, AND HE BECAME RESPONSIBLE FOR
  • 00:23:37.050 --> 00:23:40.130
  • RAISING TWO BROTHERS AS HIS FATHER LAPSED DEEPER
  • 00:23:40.150 --> 00:23:43.200
  • INTO HIS ALCOHOLISM.
  • 00:23:43.220 --> 00:23:45.220
  • HE LOST HIS FIRST AND ONLY TRUE LOVE.
  • 00:23:45.240 --> 00:23:48.220
  • HE LIVED IN POVERTY WEIGHED DOWN BY DEBT,
  • 00:23:48.240 --> 00:23:51.130
  • HE SUFFERED FROM MANIC DEPRESSION,
  • 00:23:51.150 --> 00:23:54.070
  • AND, LIKE HIS FATHER, TURNED TO ALCOHOL.
  • 00:23:54.090 --> 00:23:58.080
  • THEN JUST AS BEETHOVEN BEGAN TO HAVE SOME INTEREST IN HIS
  • 00:23:58.100 --> 00:24:01.200
  • COMPOSITIONS, HE BEGAN TO LOSE HIS HEARING.
  • 00:24:01.220 --> 00:24:05.230
  • THE CULMINATION OF ALL OF THESE EXPERIENCES, THE
  • 00:24:05.250 --> 00:24:09.020
  • TUMULTUOUS FEELINGS OF RAGE, LOVE, DESPAIR, PASSION, WERE
  • 00:24:09.040 --> 00:24:14.170
  • POURED INTO HIS MOST FAMOUSLY POUNDING SIX
  • 00:24:14.190 --> 00:24:18.050
  • SYMPHONIES, NUMBERS THREE TO EIGHT, WHICH IS WHAT WE NOW
  • 00:24:18.070 --> 00:24:23.000
  • REVERE AS CLASSIC BEETHOVEN.
  • 00:24:23.020 --> 00:24:26.280
  • MORE ACCOMPLISHED MUSICIANS MAY NOW PLAY OR CONDUCT HIS
  • 00:24:27.000 --> 00:24:29.140
  • WORKS, BUT THEY CAN NEVER CAPTURE HIS GREATNESS
  • 00:24:29.160 --> 00:24:32.230
  • BECAUSE THAT QUALITY WAS BORN OUT OF HIS EXPRESSION
  • 00:24:32.250 --> 00:24:36.230
  • OF HIS OWN LIFE EXPERIENCES OF BEING TRUE TO HIMSELF."
  • 00:24:36.250 --> 00:24:43.110
  • THAT IS GOD WHO CLIMBS INTO OUR SUFFERINGS AND INTO OUR
  • 00:24:43.130 --> 00:24:47.190
  • LOSSES, WHO TAKES OUR BLINDNESS, OPENS OUR EYES,
  • 00:24:47.210 --> 00:24:53.260
  • BUT WE NEVER STOP BEING THE PERSONS THAT WE WERE FIRST
  • 00:24:53.280 --> 00:24:58.110
  • CREATED TO BE.
  • 00:24:58.130 --> 00:25:00.040
  • WE'RE JUST GIVEN A VOICE.
  • 00:25:00.060 --> 00:25:02.090
  • WE'RE JUST GIVEN A PLACE TO BE OURSELVES,
  • 00:25:02.110 --> 00:25:06.210
  • FULLY FREE AND FULLY ALIVE.
  • 00:25:06.230 --> 00:25:11.000
  • SO WHEN PAPA COMES BURSTING THROUGH THE DOOR, I DON'T
  • 00:25:12.050 --> 00:25:14.100
  • CARE HOW RELIGIOUS YOU ARE, DIDN'T YOU, FOR EVEN A SPLIT
  • 00:25:14.120 --> 00:25:17.130
  • SECOND, BEFORE YOUR HEAD GOT TOO ENGAGED, WANT TO BE
  • 00:25:17.150 --> 00:25:20.130
  • INSIDE THAT EMBRACE?
  • 00:25:20.150 --> 00:25:22.210
  • WANT TO BE SPUN AROUND BY GOD THE FATHER AND HAVE YOUR
  • 00:25:22.230 --> 00:25:25.280
  • NAME YELLED OUT? I SURE DID.
  • 00:25:26.000 --> 00:25:29.060
  • THAT'S WHY I WROTE IT.
  • 00:25:29.080 --> 00:25:30.250
  • AND THEN THERE'S THE SCENE WHERE JESUS WHISPERS FROM A
  • 00:25:30.270 --> 00:25:36.060
  • DISTANCE, AND MACKENZIE HEARS HIM SAY, "HEY, MACK,
  • 00:25:36.080 --> 00:25:39.270
  • I AM ESPECIALLY FOND OF YOU." WE LONG FOR THESE KINDS OF
  • 00:25:39.290 --> 00:25:46.040
  • TOUCHES, AND I THINK WE'RE SURROUNDED BY THEM, BUT THE
  • 00:25:46.060 --> 00:25:50.100
  • WORLD'S PULLING AT US, AND WE'RE SO BUSY, AND WE HAVE
  • 00:25:50.120 --> 00:25:52.290
  • OUR AGENDAS, AND WE'RE NOT PRESENT TO HEAR THEM.
  • 00:25:53.010 --> 00:25:56.180
  • SO HERE'S MY QUESTION FOR YOU OR SOMETHING TO THINK
  • 00:25:56.200 --> 00:25:59.160
  • ABOUT: WHEN WAS THE LAST TIME, OR MAYBE THE FIRST
  • 00:25:59.180 --> 00:26:03.100
  • TIME -- MAYBE IT WAS WHEN YOU WERE A CHILD -- WHEN YOU
  • 00:26:03.120 --> 00:26:06.190
  • HAD THAT KIND OF EXPERIENCE?
  • 00:26:06.210 --> 00:26:09.220
  • WHAT WAS IT? THINK ABOUT THAT.
  • 00:26:09.240 --> 00:26:13.180
  • I'LL SEE YOU NEXT TIME.
  • 00:26:13.200 --> 00:26:16.170
  • [UPLIFTING MUSIC]
  • 00:26:16.190 --> 00:26:30.100
  • [UPLIFTING MUSIC]
  • 00:26:30.100 --> 00:26:43.100
  • [UPLIFTING MUSIC]
  • 00:26:43.100 --> 00:26:51.250
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