Summary: An approach to the kaleidoscopic theological meaning of the cross. the center of the biblical story through the lens of poetry.

The title to this work captures what Brian Zahnd is trying to do. The reference to “the wood between the worlds” is to the wood of the cross, which stands between the world that is and the world that is to come. The language is poetic, pointing to the author’s project of exploring the theological meaning of the cross. He resists the attempt to reduce that meaning to technical prose statements, contending for a “kaleidoscope” of the “infinite number of ways of viewing the cross of Christ as the beautiful form that saves the world” (p. 3). And why his focus on the cross? He believes it is the interpretive center of all scripture that offers a lens through which one may interpret the rest of scripture.

What Zahnd offers us is a series of theolgical meditations couched in poetic language. Each chapter begins with a poetic epigraph. One of the key ideas in this work appears in an early chapter, “The Singularity of Good Friday.” Zahnd proposes that on Good Friday “the sin of the world coalesced into a hideous singularity that upon the cross it might be forgiven en masse” (p. 17). The cross is not where God punishes sin or appeases his anger but where God in Christ endured sin and death inflicted by humanity, revealing God’s love in revealing God’s forgiveness. In another chapter, reflecting on Elie Wiesel’s Night, he speaks of a God, who is in the Christ, was on the gallows, the focal point of human suffering.

Another chapter centers on John Coltrane’s “A Love Supreme.” He speaks of all the Trinity as “co-crucified” in Christ rather than the idea of the Son as an object of the Father’s wrath. He contends that the cross reveals the supreme love of God. Zahnd portrays with great eloquence the beauty of God’s love revealed on the cross. I feel however that this is but a partial truth–that Zahnd (as many other contemporary writers) caricatures and then eviscerates the model of penal substitutionary atonement. He accepts the caricature of penal atonement as God punishing the Son and makes the only wrath that of human beings brought to focus on the cross. Gone is the idea of the cross as the place where God’s love and justice meet. I do not believe he does justice to the thoughtful proponents of theories of penal substitution that see this as a work of the Triune God working in harmony involving many of the elements the author dissociates in his portrayal of penal atonement and embraces for his own view. In his view, there is both identification with suffering and forgiveness, but no judgment, only love,

This criticism noted, I would also hasten to say that this work sparkles with insight. He challenges us to consider and live into the grotesque beauty of the outstretched arms on the cross, living lives of cruciform love. He offers a fascinating study of Pilate in literature, in contrast to Christ, and our likeness to Pilate in our embraces of violence. He offers a compelling treatment of the choice between the cross and power in a chapter on Tolkien’s One Ring and the illusions about wielding its power. He renders an interesting introduction to the work of Rene Girard on the scapegoat and, in a subsequent chapter, citing James Cone, on how the lynching tree became the cross for Blacks, and they became our scapegoats.

There is a beautiful reflection on Mary, neglected by Protestants, on the swords that pierced her life, culminating with the cross. He discusses Yeats “centre that does not hold” and how the cross is the place where the center does hold. He considers the slain Lamb on the Throne in the place of the Lion in Revelation and how he conquers, not by violence, but undoes death by dying.

Zahnd’s theopoetics certainly challenges tired theological formulations with theological imagination. The title image of the cross as the wood between the worlds is a compelling one. His focus on the cross as central to biblical interpretation challenges our “flat” approaches to the Bible. I think he gives the lie to caricatures of penal theories but I wonder if a reading of the best and not the caricatures might further enrich the kaleidoscope. What he does do is offer a rich collection of theological meditations, one that may make for nourishing Lenten reading.

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Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher. ( )