I think Mark tells a pretty good story. That is, I think that Mark was at least as much a storyteller as he was a theologian or a propagandist. Luke can spin a decent story, too, but I for one seem to sense that for Luke the story often takes a back seat to theology. Matthew I am far less impressed with when it comes to telling a story; he lacks the verve and wit, I think, that Mark possesses. John strikes me as a good storyteller, perhaps of a kind with Mark, but the gospel of John bears the marks of pretty heavy editing, which can sometimes obscure the story. Not that the other gospels have escaped such editing; not at all. But John seems to me to evince more of it than the other three.
I grew up in Sunday School, the eldest son of an evangelical family. My father was a Baptist pastor when I was born, but soon felt called to the mission field. He felt called to Bolivia at first, but a doctor told him that he had some kind of condition that would become aggravated by high altitude; so eventually he felt called to Mexico, where I ended up spending 9 years of my youth. Not long after their arrival in Mexico, my parents drifted to the Pentecostal side of the low-church spectrum, and they have been there ever since.
Sitting in church, bored out of my mind, was a common experience for me throughout both my childhood and my adolescence. When I was about 9 years old, a year or so before the move to Mexico, in order to stave off the seeping progress of ennui, I decided to start reading the Bible in church, mainly because I had one at hand (my relatives always made sure I had an excellent reference Bible available, using holiday gifting as the excuse) — and nobody was going to fuss at me for reading the Bible during the class or sermon like people might if I were reading something else or playing games.
Certain parts of the Bible repelled me, of course. It was going to be nearly a decade before I really started to appreciate the prophets, for example. The book of Proverbs was (and still often is) mind-numbing. The Psalms were hit or miss for me. The epistles were either way over my head (Paul) or too condescending (John). I was left mainly with the narrative books and the book of Revelation.
Unfortunately, the book of Revelation was rarely read on its own terms and was mined mainly for clues to what was going to happen any day now in world history; it was never presented as a book one should just sit down and read from beginning to end, and this was still several years before I finally decided that the evangelical doomsday scenarios were too cartoonish to be real, that I was not sure what Revelation meant, but it most certainly did not mean that. Also unfortunately, there are parts of the narrative books of the Bible that are annoyingly overtaught in Sunday School. These parts include the Creation story (nobody distinguished between two or more different accounts in my background), the story of Noah and the Ark, a few of the stories of Moses (especially as a baby in a basket), and nearly all of the most accessible pericopae in all four gospels. So those narrative sections were off limits for me, ruined by flannelgraph.
- a storytelling system that uses a board covered with flannel fabric, usually resting on an easel, often associated with evangelical Christian Sunday School programs
Jesus was by far the most popular character on the flannelgraph board. Here he is teaching the multitudes:
Here he is giving his disciples a great catch of fish:
Notice the position of his arms. I think I am going to start entering rooms like that, to give myself an air of drama and importance. Here is Jesus sitting on a rock, welcoming a child with a picnic lunch (which I imagine is about to feed thousands):
And here is this exact same Jesus sitting on (or perhaps hovering next to) a donkey:
This, my friends, is how to ruin the gospel stories for generations of children.
But there were other narrative sections in the Bible that received much less coverage. When my family moved from the Midwest to San Diego, California, in preparation for the move to Mexico, I joined a Sunday School class at Laurel Bible Chapel partway through a discussion of the story of Lot's wife. This lady was turned to salt! I had never been taught this story before, and it sounded pretty amazing. So I started reading the patriarchal portion of Genesis (far, far away from the Creation and Noah's blasted Ark), which entertained me for a few weeks, I think. At some point, however, the real narrative gem of the Old Testament (from a young boy's perspective) was revealed to me in a sermon to which I was actually paying attention from time to time: the Elijah-Elisha cycle. Wow! Hungry bears, fire from heaven, and a general streak of rebellion against stuck-up authority figures. This was good stuff. I think my later fascination with wizards of the kind found in fairy tales, fantasy novels, and Dungeons & Dragons handbooks stemmed ultimately from my interest in Elijah and Elisha. Other narratives won my attention, as well, despite some of them having made infrequent appearances in flannelgraph. I liked Esther, parts of Daniel, and Jonah. (The Apocryphal books were not yet readily available to me; evangelicals do not go in for that sort of nonsense.)
I was in my early teens when I finally read a nonnarrative book that interested me, one that had gone completely unnoticed all this time: the book of Ecclesiastes. I loved the permeating pessimism and the sense of angst and depression; hey, I was a teenager, after all. The author seemed to me to drop the ball at the end when he got all optimistic and upbeat (comparatively speaking); but still, Ecclesiastes ended up opening the door to a narrative book that I had previously dismissed: the gospel of Mark. I began to notice at some point: there is some dark and moody stuff in Mark, as most of you know. And Mark could be so quirky! That young man running away naked into the night, for example, or Jesus getting angry with people for reasons that were not always clear. The flannelgraph Jesus could be super serious, but he never got angry for no apparent reason.
My previous dismissal of the gospel of Mark was based, of course, on its association with the other gospels on the flannelgraph board. In truth, Mark itself, on its own, is very rarely discussed in these kinds of churches. Without a regular liturgical cycle to keep all of the texts in rotation, evangelical preachers and teachers will almost always choose a pericope in Matthew or Luke over its parallel in Mark. It may be easy for outsiders to suppose that evangelicals were disturbed by what they found in Mark and avoided it for that reason, but that is not the case from my experience: people tend to lump the gospels together as complementary and routinely miss the tensions between them completely. They ignore Mark for two principal reasons: (A) Matthew and Luke contain virtually every important narrative detail that Mark contains and many, many more (who is going to read Mark's version of walking on water when in Matthew's version Peter walks on water too?); and (B) Matthew and Luke are easier to moralize (Peter walking on water is such a ridiculously easy thing to connect with).
I read Mark during my teen years through slightly opened eyes, enjoying its gloomier atmosphere on its own merits rather than letting Matthew and Luke shine their collective light on it all the time. And Mark is still my favorite of the gospels, canonical or otherwise, with John coming in second (a development that came only in adulthood; for a long time I could not stand what has been called this gospel's circular, highhanded reasoning). I do not necessarily think that Mark is the first gospel or the last word on gospel texts, but my attraction to it has complex roots that run deep.
All of this leads me back to my main point. Ecclesiastes may have been what opened my mind to a different cast of literature available in the Bible, but what drew me, in my new frame of mind, to the gospel of Mark was the fact that it took that somewhat darker approach and turned it into a good story. I could now read the miracle accounts with fresh eyes, and they could for the first time remind me of those rollicking, picaresque legends from the Elijah-Elisha cycle, with their bias against authoritarianism and their carefree approach to narrative detail. I did not yet know exactly why the Jewish authorities in Mark did not want Jesus to work miracles, but it was delightful that he worked them anyway, sometimes apparently just to tweak their collective noses.
I see on this forum two very different ways of reading Mark that do not involve Mark as a story. First, there is a tendency to mine Mark for historical data. I have done this: to this day I think that Rufus and Alexander are pretty good candidates as a possible source of confirmation of some degree of historicity involving their father Simon in the passion account. Second, there is a tendency to attribute to Mark multiple layers of symbolic meanings. I have done this, as well: to this day I think that maybe Mark was crafting individual episodes of his narrative, such as the young man escaping naked in Gethsemane, as deliberate echoes of the Hebrew scriptures.
I am not in principle against either of these approaches. But I like the idea of simply reading Mark as it stands sometimes: as a story, and one capable of drawing the attention even of a jaded American teenager by now more accustomed to finding literary satisfaction in the pages of Walt Whitman and T. S. Eliot than in the Bible.
Ben.