Tag Archives: Bible

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

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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).

My Signature Course on “Biblical Worldview: Scripture, Theology, Ethics”

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This Fall (beginning August 26, 2025), I will be teaching my signature course on the Biblical Worldview as a radical, liberating vision for the church and the world. The course has had a number of different names over the years, including “Exploring the Christian Worldview” (the undergraduate version at Roberts Wesleyan University) and “Biblical Worldview: Scripture, Theology, Ethics” (the graduate version at Northeastern Seminary).

I’ve taught non-credit versions of this course since I was a campus minister in Canada (at the University of Toronto, McMaster University, the University of Guelph, and Brock University) and in the US (at the University of Rochester, Cornell University, and Syracuse University).

My first book, The Transforming Vision: Shaping a Christian World View (IVP, 1984), which I co-authored with Brian Walsh, was based on this course.

When I began to teach the course for graduate and undergraduate credit at the Institute for Christian Studies, Colgate Rochester Crozer Divinity School, Roberts Wesleyan University, and Northeastern Seminary, I was able to develop the content further with a deeper dive into Scripture and further analysis of our changing cultural contexts.

This Fall the course will be offered as a dual modality course, which means that it may be accessed in person (in the classroom) or remotely (by Zoom link). It may also be taken for undergraduate or graduate credit.

Although the term “biblical worldview” has been used and abused by Christians with a rigid, absolutist stance, I want to reclaim the term for the Bible’s liberating vision of shalom and flourishing. That’s the orientation of this course. 

I am planning a complete rewrite of my earlier book The Transforming Vision along these lines. It is tentatively entitled Dancing in the Dragon’s Jaws: The Bible’s Liberating Worldview (to be published by Baker Academic).

I have been authorized by Northeastern Seminary to invite anyone interested to register for the course (in either modality—in person or online) for credit or for audit.

Auditors receive all the same resources as those taking the course for credit, without submitting any assignments. These resources include links to the professor’s weekly video lectures, along with links to PDFs of readings and handouts.

The course will meet for fourteen weeks on Tuesdays at 7:00–8:30 pm Eastern. The format will be a flipped classroom. Participants view the video lectures and do the readings in advance (auditors are encouraged to do as much or as little of the reading as they desire).

This weekly preparation gives participants a chance to formulate thoughtful questions that arise from the lectures and readings, which they are invited to bring to our hour-and-a-half synchronous meeting each week. These weekly meetings are a rich time of discussion and sharing, as we explore matters of biblical interpretation, worldview, theology, culture, and ethics, and their bearing on our lives.

“Biblical Worldview: Scripture, Theology, Ethics” (GBHT 5210) is a 3-credit course. The tuition is normally $575 per credit hour (thus $1,725 for the course). The fee for auditing is only $199.

If you are interested in taking the course (for audit or credit), you may use the NES Fast Application link (Fast App for short) to submit some preliminary information about yourself. Auditing students (and those desiring credit, yet not registering for a degree program) should select “Non-Degree Seeking” on the drop-down menu under “Application Type.” You don’t need to fill in all the information boxes in the app, just those with an asterisk.

When you have filled out the required information, you should email Jess Newcomb (Asst. Director of Recruiting and Admissions for Graduate, Professional Studies, & Seminary) at admissions@nes.edu to let her know you have completed the Fast App and that you want to audit the Biblical Worldview course; she will take you through the next steps for registering as an auditor. You can also call or text her at 585.565.6533.

You can read a full course description here.

You can see the course outline and topics covered here.

Here are the course objectives.

This is the list of core readings.

Three Contemporary Laments

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I’ve been reflecting on the value of lament prayer ever since I went through a particularly dark time in my life many years ago. After not praying for some months, I found the lament psalms in the Bible as the door to hope, which opened me up to praying again.

These psalms are also known as protest or complaint psalms, and for good reason.

Lament as the Door to Hope

Lament psalms (like my own lament prayers) are not decorous and “proper”; they do not conform to the way that many Christians think we ought to pray. They are utterly honest, and thus often abrasive, attempts to grapple with God over situations that do not seem right.

Although there are approximately fifty psalms in the Bible that are typically regarded as laments (that is, about a third of the Psalter), the psalm that meant the most to me at the time was Psalm 88, arguably the darkest and most despairing of them all. I was particularly struck by the translation of Mitchell Dahood in his Psalms commentary in the Anchor Bible series.

To know that such honest prayers were canonized in the Bible (as models for our prayer) and to be able to articulate my own pain (no holds barred) to the Creator of the universe—that is what reawakened my faith. I gained a sense through lament prayer that God was willing to take my suffering seriously. That was the kind of God I could trust.

So it led to a deeper commitment to God on my part—in response to God’s own commitment to take suffering seriously. Indeed, God took it so seriously that it led to the cross.

Lament in Popular Music

Over the years, as I have come to value lament prayer, I noticed that there were some profound lyrics by various contemporary artists that articulated lament or protest to God, which people of faith could learn from.

Three pieces that have particularly impacted me are “Bartender” by the Dave Matthews Band (2002), “Bullet with Butterfly Wings” by the Smashing Pumpkins (1995), and “Dear God” by XTC (1986). All three songs are formulated as prayers, addressing God with complaints or questions, and calling on God for help.

Dave Matthews Band, “Bartender,” from the album Busted Stuff © 2002 RCA. Written by David J. Matthews.

 “Bartender” moves generally from petition to complaint. Intertwined with verses that address first “brother of mine” then “sister of mine” and then “mother of mine,” we find two verses where the singer pleads directly to God (the Bartender) to fill his glass “With the wine you gave Jesus that set him free / After three days in the ground.” Also interspersed between various verses is the cry: “I’m on bended knees / Oh, Bartender, please!” And once, “Oh, Father, please!”

In the second half of the song, complaint dominates, with the admission that the singer is overcome by another drink, which seems stronger than the one he’s been asking for. In counterpoint to the plea for resurrection life in the first half of the song, we find (also stated in two verses) this deathly admission: “The wine that’s drinking me / Came from the vine that strung Judas from the Devil’s tree / Its roots deep, deep in the ground.” Yet perhaps complaint doesn’t quite have the final word, since the song ends with the passionate cry: “I’m on bended knees / Oh, Bartender, please!”

You can find the lyrics here to a haunting acoustic solo version of “Bartender” sung by Dave Matthews (without the band). This is the original version (with the band).

The Smashing Pumpkins, “Bullet with Butterfly Wings,” from the album, Mellon Collie and the Infinite Sadness © 1995 Virgin Records America.

The complaint in “Bullet with Butterfly Wings” is that “the world is a vampire, sent to drain” and speaks of “betrayed desires,” while the chorus articulates the singer’s experience that “despite all my rage I am still just a rat in a cage.” In the midst of repeating this line over an over, there is an external voice saying, “What is lost can never be saved.” Yet the singer yearns to be significant to God, almost screaming the line: “Jesus was an only son for you!” The song ends seemingly without hope, with the refrain, “I still believe that I cannot be saved”; the external voice has been internalized.

Warning: This song is in the “metal” genre. The music is especially abrasive (which makes it even more powerful). I’ve had some older church people ask me to turn it down (or even off!). However, I used to play this song in the car on my way to band practice at church. My kids, who would often accompany me, came to call it “the church song”!

XTC, “Dear God,” from the album Skylarking © 1986 by Virgin Records Ltd. Written by Andy Partridge.

“Dear God” also contains petitions, asking God to “make it better down here” and pleading: “we need a big reduction in amount of tears.” Specific problems are cited in the first two verses, including poverty and war, which afflict “all the people that you made in your image.” And in each case God is indicted as the cause of the problem. Starvation is because “they don’t get enough to eat / From God” and war is because “they can’t make opinions meet / About God.” And each verse ends by saying “I can’t believe in you.”

Then the third verse turns to the “crazy” things written in the Bible (“Your name is on a lot of quotes in this book”) and those people made in God’s image “Still believing that junk is true / Well I know it ain’t and so do you / Dear God.” The musical variations, from gentle to insistent, with violins at one point, make the lyrics especially poignant.

Then comes the bridge, where the music first pulls back, then increases in dynamic intensity to a climax. This section juxtaposes various elements of Christian theology (which the singer refuses to believe) with a list of wrongs in the world, followed by this declaration: “The hurt I see helps to compound/ That Father, Son and Holy Ghost / Is just somebody’s unholy hoax.”

But the song ends with a highly paradoxical statement: “And if you’re up there you’d perceive / That my heart’s here upon my sleeve / If there’s one thing I don’t believe in / It’s you / Dear God.” The question is why someone who doesn’t believe in God would tell this to God. Indeed, why they would write an entire song addressed to a God they don’t believe in? Because (and that’s the point of “my heart’s here upon my sleeve”) they desperately want to believe.

It was my engagement with lament prayer that led to my book, Abraham’s Silence: The Binding of Isaac, the Suffering of Job, and How to Talk Back to God (Grand Rapids: Baker Academic, 2021). Here I addressed examples of vigorous prayer in the Bible, including the lament psalms, prophetic intercession in the tradition of Moses, and the book of Job. These examples prodded me to ask why Abraham didn’t lament or protest when God asked him to sacrifice his son, Isaac. The book ends with a theology of lament prayer applicable to Christians in a world of pain and suffering. You can take a look at the Table of Contents and read the Introduction to Abraham’s Silence here.

In a follow-up post, I will note some of the other things I’ve written on lament.

A version of this blog is posted on the Northeastern Seminary website.