Narrative in Fragments: The Pages That Come After Living

Guest blog by Bill McDonald

“Whatever you write down will be important even if it is only important to you.”

In the novel Strangers in Time by David Baldacci, there is a tender moment that stayed with me. Mr. Oliver, sensing something special in Charlie, gives him an empty journal that once belonged to his deceased wife and later lends him one of her ink pens. As he does, he tells him, “Whatever you write down will be important even if it is only important to you.”

The line landed with unusual force. It did not feel like advice meant only for a fictional boy living through wartime London. It felt like advice meant for anyone who has ever wondered whether their words matter. For me, that question has taken on new shape since retiring in September 2025.

Retirement created a space that had not previously existed in my life: time to think, time to read carefully, and time to write. Since then, I have completed several writing projects, each one emerging from curiosity, reflection, and a desire to better understand the world around me. In a quiet way, writing became one of the ways I began to take stock of a life that had already accumulated many decades of experience.

Who Is the Audience?

Yet whenever people ask about these projects, the same question often appears: Who is the audience? What is the purpose? Beneath the question lies a familiar assumption in our culture—that writing only justifies itself if it quickly finds a sufficient readership or immediate public recognition.

The wisdom expressed in that quiet exchange between Mr. Oliver and Charlie offers a different framework for thinking about writing. Writing can possess value long before it finds an audience, and sometimes regardless of whether it ever does. Narrative, after all, begins long before there is an audience. Its first purpose is internal, not public. To write is, in a sense, to exist narratively.

Writing Gathers Our Experiences

Human beings do not simply accumulate experiences; over time they gather those experiences into stories that allow them to understand who they are. Writing becomes one of the ways we participate in the slow work of assembling a self. When we write, we clarify our own thoughts, preserve moments that might otherwise disappear, and give shape to reflections that would remain fleeting if left only in memory.

For this reason, writing also functions as a counterweight to erasure. Without some form of narrative expression, much of what we experience simply vanishes into the passage of time. A thought occurs, an observation is made, a realization briefly surfaces—and then it is gone.

Writing interrupts that disappearance. It records the moment and gives it a durable form. The opposite of narrative is not silence but chaos: a scattering of impressions with no structure that allows them to be understood. Narrative gathers those fragments and arranges them into meaning.

Writing as an Attempt to Understand One’s Life

This is exactly what happens when someone writes later in life as well. After decades of living, reading, working, and observing, a person carries within them an enormous accumulation of impressions and reflections. Writing becomes the means by which those fragments are gradually organized into a narrative that makes sense of the whole. In this way writing is part of the deeply human process of integrating a life.

At seventy years old, writing has therefore become more than an activity of passing interest. It is part of the ongoing effort to understand a life as a whole.

Human beings become who they are through the narratives they construct about their experiences, and writing provides one of the most deliberate ways of participating in that process. Each page becomes a small act of assembly—gathering memory, reflection, and observation into a form that can be seen and considered. In that sense, writing allows a life not merely to be lived but to be understood.

The journal Mr. Oliver gives Charlie once belonged to someone who had lived before him, and that detail carries a quiet symbolism. One life leaves traces that another life may one day discover. Writing participates in that same continuity. Words written today may never travel far beyond the moment of their creation—or they may one day reach someone unexpectedly, perhaps years or decades later. The writer rarely controls that outcome.

The Decision to Write Honestly

What can be controlled is the decision to write honestly and attentively. In that sense, the value of writing does not ultimately depend on the size of its audience but on the seriousness of the act itself. Each page becomes a small declaration that thought, memory, and reflection deserve to be preserved.

Mr. Oliver’s advice to Charlie therefore speaks far beyond the boundaries of the novel. It reminds us that writing is one of the ways a human life refuses to disappear unnoticed. To write is to say that the experiences one has lived, the questions one has struggled with, and the insights one has gathered are worthy of being set down.

Sometimes the audience may be the writer alone, seeking clarity. Sometimes it may be a reader years from now who happens upon the words and recognizes something of their own life within them. Either way, the act remains meaningful. The page receives the trace of a life thinking about itself—and that, in the end, is reason enough to write.

Bill McDonald Bio

Bill McDonald is a retired small business owner with over 40 years’ experience. He holds a Master of Arts in Religion from Ashland Theological Seminary. In retirement, he devotes time to reading, thinking, and writing about human beings and the concrete realities that shape their lives. He has been married for 51 years and has three children and five grandchildren. He enjoys books, playing guitar, walking in the woods on the acreage where he lives, and good conversation with friends and family.

Islands in the Sun: Overtures to a Caribbean Theology

As a representative of Global Scholars Canada, I will be presenting a virtual talk for the Library Reading Group of the Society of Christian Scholars on Friday, 5 June at 1400 UTC (10:00 AM EDT).

The Reading Group meets once per month with the stated purpose to “discuss a resource from the Library concerning how to grow in our vocation as Christian academics for redemptive influence among our students, colleagues, academic disciplines, and universities.”

I’ve been asked to introduce the chapter “Islands in the Sun: Overtures to a Caribbean Creation Theology” that I contributed to the book I coedited with Garnett Roper, called A Kairos Moment for Caribbean Theology: Ecumenical Voices in Dialogue (Pickwick, 2013). My presentation will be followed by a time of discussion (Q&A).

If you would like to attend the June 5 presentation, you can register here (it is free); a Zoom link will be sent to you.

If you would like to read the chapter in advance, you can download it as a PDF here.

In my presentation, I will analyze some of the key themes of the article and give some background on why I wrote it (originally for a 2010 conference held at Jamaica Theological Seminary in Kingston, Jamaica) and what theological and cultural issues it was intended to address. I will also touch on how the article became the basis for my book A New Heaven and a New Earth: Reclaiming Biblical Eschatology (Baker Academic, 2014).

In preparation for my June 5 presentation, a Christian scholar from Kenya (Sam Sani Nzevela) has written a brief review of the article.

Review of “Islands in the Sun: Overtures to a Caribbean Creation Theology”

By Sam Sani Nzevela, Software Web Solutions Architect, Machakos, Kenya

Having reviewed Richard Middleton’s chapter, I find it as one of the most compelling theological works of our time. It offers a robust and biblically grounded bridge connecting:

Creation → Stewardship → Governance → Justice → Human Flourishing → Ecological Sustainability

At a time when humanity faces growing social inequality, ecological degradation, governance failures, and moral uncertainty, Middleton returns us to a foundational truth: God’s redemptive purpose extends beyond individual salvation to the restoration and flourishing of all creation.

His work challenges the false separation between the spiritual and the material, between faith and public life, and between salvation and stewardship. Instead, it presents humanity as God’s image-bearers, entrusted with the responsibility of caring for creation, advancing justice, and promoting the common good.

I consider this chapter to be an inspired piece of modern theological scholarship. While Scripture alone remains the ultimate authority, Middleton’s contribution powerfully illuminates biblical truths that are urgently needed in our generation. His insights deserve serious consideration by churches, universities, policymakers, and educational institutions. Indeed, aspects of this creation-centered stewardship theology ought to be taught in schools as part of forming responsible citizens, ethical leaders, and faithful stewards of God’s creation.

For Africa and the wider world, this framework offers a practical pathway toward sustainable development, ethical governance, environmental responsibility, social justice, and human flourishing rooted in divine purpose.

May 2026

Created in God’s Image: The Royal Calling of Humanity (The Kingdom of God, part 3)

This is part 3 of a series of posts on the kingdom of God. Part 1 can be found here. Part 2 can be found here.

The kingdom of God in the teaching of Jesus is a distinctly Jewish idea, rooted in Israel’s Scriptures. To understand the significance of this kingdom we will need to explore some of the biblical backstory—especially the theme of “rule,” a royal metaphor for the exercise of power.

Imago Dei: The Royal Calling of Humanity

The opening chapter of the Bible recounts the creation of humanity (male and female) with the vocation or calling of being God’s “image” on earth (Gen 1:26–28). Genesis 1 here draws on (and interacts with) the royal ideology from the cultures of the ancient Near East (such as Mesopotamia and Egypt), which viewed kings (and sometimes priests) as the “image” of their gods. These human leaders were thought to have a function similar to that of the “image” (or cult statue) of the god, which was located in the temple. Just as the cult statue was thought to mediate the presence and power of the god from heaven to earth, kings (and some priests) claimed to be the gods’ unique earthly delegates, exercising power over the people on the gods’ behalf (a royal function), by which the gods’ presence was made manifest in their society (a priestly function).

Genesis 1 draws on this ancient, highly elitist notion of the “image of God,” but radically democratizes or universalizes it, applying it to all people, male and female (irrespective of their social status). This biblical vision of all people sharing the “royal” status of the “image of God” (imago Dei in Latin), with equal dignity in the sight of the Creator, helps explain a well-recognized historical fact: when the people of Israel came into existence as a nation (after their exodus from Egypt), they existed for centuries without a monarchy—something entirely unique in the ancient Near East. The idea of all humanity created to be God’s image functioned as a radical critique of—and form of resistance to—the royal ideology of the ancient societies among which Israel lived.

In Genesis 1:26–28, the image of God is manifested in the ordinary human exercise of power or agency in earthly life, involving “rule” (or “dominion” in some translations) over the animal kingdom (equivalent to animal husbandry) and “subduing” the earth or land (equivalent to agriculture). In Genesis 2, the human vocation is portrayed (without using the term “image”) as working and protecting a garden of fruit trees that God planted (Gen 2:15). Since God planted the garden, God is portrayed as the first gardener and humans implicitly image God as they continue tending God’s garden. Psalm 8 echoes the theme of animal husbandry from Genesis 1, when it describes humans as created a little less than God (similar to being God’s image in Genesis 1) and granted rule over various forms of animal life—on land, air, and water (Ps 8:5–8).

The image of God (imago Dei) is both a gift (humans are granted the status of being VIPs in God’s world) and a calling or vocation (we are commissioned as God’s ambassadors in the world). Every person is both gifted with royal dignity and also authorized to represent God’s rule in the ordinary practices of earthly life. Whereas Genesis 1 and 2 focus on caring for animals and farming the land, Genesis 4 extends this by mentioning that humans invented and developed cities, nomadic livestock herding, musical instruments, and metal tools (Gen 4:17, 20–21). This suggests that God is imaged by all forms of legitimate cultural innovation, as people develop the potentialities of earthly life.

But Genesis 3 portrays humans rebelling against their Creator (transgressing the limits God instituted) so that the gift of human agency or “rule” becomes distorted and twisted, with corrupting effects on the social order.

Life, Death, and Violence in Human History

In the Garden of Eden narrative, humans are warned that “death” is the consequence of disobedience to God (Gen 2:15–16). This death was not the introduction of mortality, as if humans had previously been immortal and only now would have an ending to their life; the idea of original immortality is an idea imported by later interpreters into the text. Rather, humans are created from “dust” (Gen 2:7), a term used throughout the Bible as a metaphor for mortality (see especially Ps 103:13–14). The “death” warned about in Genesis 2 is best understood as the constriction and diminishing of life, where “life” refers to the fullness of earthly flourishing.

Immediately upon disobedience, the original harmony in the garden begins to be distorted, as the primal couple cower in fear before God and in shame of nakedness before each other (Gen 3:7–8, 10), while ordinary human relationships, like marriage, childbirth, and farming, became disharmonious (Gen 3:16–20). Ultimately, humans are exiled from the garden, losing access to the fullness of life (symbolized by the Tree of Life in the center of the Garden) and the intimate presence of God. These consequences are various ways of describing the “death” that results from sin.

Yet humans retain the dignity of being God’s image and the call to represent God is not rescinded (see Gen 9:6). But violence (the misuse of the power or agency associated with the image of God) is introduced into human history, evident in Cain’s murder of his brother out of jealousy (Gen 4:8) and Lamech’s revenge killing of a young man who injured him, while boasting about it to his two wives (Gen 4:23). Distorted human “rule” then spirals out of control, until violence fills the earth and life becomes corrupted (Gen 6:5, 11–12), which generates the flood to cleanse the earth of this corruption.

But the respite is only temporary and human violence culminates in the story of Babel (the normal Hebrew word for Babylon), an empire that tries to dominate others and impose its will (and even language) on conquered peoples (Gen 11:1–9). The tower of Babel is likely a ziggurat, a series of giant steps for the gods to descend from heaven to their favored city, thus providing religious legitimation for the empire. With the rise of every “Babylon” in history, every imperial legitimation of violence in the name of law and order (including Rome in the time of Jesus), God’s purposes for life and flourishing are impeded. In the “Babel” of Genesis 11, God’s purposes for blessing seem to have come to a dead end.

How will God respond to this imperial violence? That is the topic of part 4 of this series (The Story of Israel from Abraham to the Exile).