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The book’s power derives from the passion its author brings to the writing and the way in which she summons up the voice, the presence, the ...
The book’s power derives from the passion its author brings to the writing and the way in which she summons up the voice, the presence, the words of Jesus who tells the story.
From the Hardcover edition.
Roles don't come a whole lot juicier than playing Jesus, so James Naughton hit the jackpot when he got to read Rice's first-person account of the life of Jesus-or Yeshua, as Rice has it. Naughton has a booming baritone-the voice of a born leader. As Jesus, he offers quiet strength and a touching sense of compassion. If the material is overly familiar, for obvious reasons, Naughton handles it well. His pronunciation of the Hebrew terms with which Rice studs the text is nimble, and his reading is hushed without being overly sappy or faux spiritual. Simultaneous release with the Knopf hardcover (Reviews, Feb. 4). (Apr.)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Rice's second offering in this series (after Christ the Lord: Out of Egypt), a meticulously researched work blending fictional events and characters with biblical ones, covers the life of Yeshua bar Joseph in his 30th year as he struggles with decisions about his future life. James Naughton (
I was seven years old. What do you know when you’re seven years old? All my life, or so I thought, we’d been in the city of Alexandria, in the Street of the Carpenters, with the other Galileans, and sooner or later we were going home.
Late afternoon. We were playing, my gang against his, and when he ran at me again, bully that he was, bigger than me, and catching me off balance, I felt the power go out of me as I shouted: “You’ll never get where you’re going.”
He fell down white in the sandy earth, and they all crowded around him. The sun was hot and my chest was heaving as I looked at him. He was so limp.
In the snap of two fingers everyone drew back. It seemed the whole street went quiet except for the carpenters’ hammers. I’d never heard such a quiet.
“He’s dead!” Little Joseph said. And then they all took it up. “He’s dead, he’s dead, he’s dead.”
I knew it was true. He was a bundle of arms and legs in the beaten dust.
And I was empty. The power had taken everything with it, all gone.
His mother came out of the house, and her scream went up the walls into a howl. From everywhere the women came running.
My mother lifted me off my feet. She carried me down the street and through the courtyard and into the dark of our house. All my cousins crowded in with us, and James, my big brother, pulled the curtain shut. He turned his back on the light. He said:
“Jesus did it. He killed him.” He was afraid.
“Don’t you say such a thing!” said my mother. She clutched me so close to her, I could scarcely breathe.
Big Joseph woke up.
Now Big Joseph was my father, because he was married to my mother, but I’d never called him Father. I’d been taught to call him Joseph. I didn’t know why.
He’d been asleep on the mat. We’d worked all day on a job in Philo’s house, and he and the rest of the men had lain down in the heat of the afternoon to sleep. He climbed to his feet.
“What’s that shouting outside?” he asked. “What’s happened?”
He looked to James. James was his eldest son. James was the son of a wife who had died before Joseph married my mother.
James said it again.
“Jesus killed Eleazer. Jesus cursed him and he fell down dead.”
Joseph stared at me, his face still blank from sleep. There was more and more shouting in the street. He rose to his feet, and ran his hands back through his thick curly hair.
My little cousins were slipping through the door one by one and crowding around us.
My mother was trembling. “He couldn’t have done it,” she said. “He wouldn’t do such a thing.”
“I saw it,” said James. “I saw it when he made the sparrows out of clay on the Sabbath. The teacher told him he shouldn’t do such things on the Sabbath. Jesus looked at the birds and they turned into real birds. They flew away. You saw it too. He killed Eleazer, Mother, I saw it.”
My cousins made a ring of white faces in the shadows: Little Joses, Judas, and Little Symeon and Salome, watching anxiously, afraid of being sent out. Salome was my age, and my dearest and closest. Salome was like my sister.
Then in came my mother’s brother Cleopas, always the talker, who was the father of these cousins, except for Big Silas who came in now, a boy older than James. He went into the corner, and then came his brother, Justus, and both wanted to see what was going on.
“Joseph, they’re all out there,” said Cleopas, “Jonathan bar Zakkai, and his brothers, they’re saying Jesus killed their boy. They’re envious that we got that job at Philo’s house, they’re envious that we got the other job before that, they’re envious that we’re getting more and more jobs, they’re so sure they do things better than we do—.”
“Is the boy dead?” Joseph said. “Or is the boy alive?”
Salome shot forward and whispered in my ear. “Just make him come alive, Jesus, the way you made the birds come alive!”
Little Symeon was giggling. He was too little to know what was going on. Little Judas knew, but he was quiet.
“Stop,” said James, the little boss of the children. “Salome, be quiet.”
I could hear them shouting in the street. I heard other noises. Stones were hitting the walls of the house. My mother started to cry.
“You dare do that!” shouted my uncle Cleopas and he rushed back out through the door. Joseph went after him.
I wriggled out of my mother’s grasp and darted out before she could catch me, and past my uncle and Joseph and right into the crowd as they were all waving and hollering and shaking their fists. I went so fast, they didn’t even see me. I was like a fish in the river. I moved in and out through people who were shouting over my head until I got to Eleazer’s house.
The women all had their backs to the door, and they didn’t see me as I went around the edge of the room.
I went right into the dark room, where they’d laid him on the mat. His mother was there leaning on her sister and sobbing.
There was only one lamp, very weak.
Eleazer was pale with his arms at his sides, same soiled tunic, and the soles of his feet very black. He was dead. His mouth was open and his white teeth showed over his lip.
The Greek physician came in—he was really a Jew—and he knelt down, and he looked at Eleazer and he shook his head.
Then he saw me and said:
His mother turned and she saw it was me and she screamed.
I bent over him:
“Wake up, Eleazer,” I said. “Wake up now.”
I reached out and laid my hand on his forehead.
The power went out. My eyes closed. I was dizzy. But I heard him draw in his breath.
His mother screamed over and over and it hurt my ears. Her sister screamed. All the women were screaming.
I fell back on the floor. I was weak. The Greek physician was staring down at me. I was sick. The room was dim. Other people had rushed in.
Eleazer came up, and he was up all knees and fists before anyone could get to him, and he set on me and punched me and hit me, and knocked my head back against the ground, and kicked me again and again:
“Son of David, Son of David!” he shouted, mocking me, “Son of David, Son of David!” kicking me in the face, and in the ribs, until his father grabbed him around the waist and picked him up in the air.
I ached all over, couldn’t breathe.
“Son of David!” Eleazer kept shouting.
Someone lifted me and carried me out of the house and into the crowd in the street. I was still gasping. I hurt all over. It seemed the whole street was screaming, worse than before, and someone said the Teacher was coming, and my uncle Cleopas was yelling in Greek at Jonathan, Eleazer’s father, and Jonathan was yelling back, and Eleazer was shouting, “Son of David, Son of David!”
I was in Joseph’s arms. He was trying to move, but the crowd wouldn’t let him. Cleopas was pushing at Eleazer’s father. Eleazer’s father was trying to get at Cleopas, but other men took hold of his arms. I heard Eleazer shouting far away.
There was the Teacher declaring: “That child’s not dead, you hush up, Eleazer, who said he was dead? Eleazer, stop shouting! Whoever could think this child is dead?”
“Brought him back to life, that’s what he did,” said one of theirs.
We were in our courtyard, the entire crowd had pushed in with us, my uncle and Eleazer’s people still screaming at each other, and the Teacher demanding order.
Now my uncles, Alphaeus and Simon, had come. These were Joseph’s brothers. And they’d just woken up. They put up their hands against the crowd. Their mouths were hard and their eyes were big.
My aunts, Salome and Esther and Mary, were there, with all the cousins running and jumping as if this were a festival, except for Silas and Justus and James who stood with the men.
Then I couldn’t see anymore.
I was in my mother’s arms, and she had taken me into the front room. It was dark. Aunt Esther and Aunt Salome came in with her. I could hear stones hitting the house again. The Teacher raised his voice in Greek.
“There’s blood on your face!” my mother whispered. “Your eye, there’s blood. Your face is cut!” She was crying. “Oh, look what’s happened to you,” she said. She spoke in Aramaic, our tongue which we didn’t speak very much.
“I’m not hurt,” I said. I meant to say it didn’t matter. Again my cousins pressed close, Salome smiling as if to say she knew I could bring him back to life, and I took her hand and squeezed it.
But there was James with his hard look.
The Teacher came into the room backwards with his hands up. Someone ripped the curtain away and the light was very bright. Joseph and his brothers came in. And so did Cleopas. All of us had to move to make room.
“You’re talking about Joseph and Cleopas and Alphaeus, what do you mean drive them out!” said the Teacher to the whole crowd. “They’ve been with us for seven years!”
The angry family of Eleazer came almost into the room. The father himself did come into the room.
“Yes, seven years and why don’t they go back to Galilee, all of them!” Eleazer’s father shouted. “Seven years is too long! That boy is possessed of a demon and I tell you my son was dead!”
“Are you complaining that he’s alive now! What’s the matter with you!” demanded my uncle Cleopas.
"Hypnotic, incantatory. . . . Readers will be lured by the promise of simply rendered holiness."
—The New York Times
The introduction, questions, and suggestions for further reading that follow are intended to enhance your reading of Anne Rice's Christ the Lord: The Road to Cana.
1. In the Christian New Testament, the Gospel of John records that Jesus' first miracle happened at the wedding feast of Cana, where water was changed into wine. Also in the Christian New Testament, the Gospel of Matthew states that, before performing any miracles, Jesus first entered the desert, where he was tempted by the Devil. Rice's first title for this book was The Temptation. Why do you think she changed the title to The Road to Cana?
2. Rice has customarily written in the first person, which offers the reader a particular insight into the inner life of the protagonist. In The Road to Cana, does the first-person narration give us insight into the inner life of Jesus? Is the intent of God elucidated? Discuss how revelations of Jesus' personal life are meaningful for contemporary Christians.
3. In The Road to Cana, Jesus says, "What I must know, I know. And what I must learn, I learn". Thomas Aquinas explicated Jesus' human intellect as having a threefold font of knowledge: divine knowledge, infused knowledge, and experiential knowledge. With regard to Jesus' experiential knowledge specifically, how does Avigail contribute to Jesus' experience and knowledge of love? Does he learn about human love? Discuss whether experience and knowledge can help one to love more humanely.
4. Discuss the divine power that Jesus demonstrates as God's son in The Road to Cana. In chapter 22, how does Jesus overpower Satan?
5. The New York Times book review of Christ the Lord: Out of Egypt states: "Ms. Rice retains her obsessions with ritual and purification. . . . She writes this book in a simpler, leaner style, giving it the slow but inexorable rhythm of an incantation." Are the Christ the Lord books a prayer for Rice? Discuss instances in The Road to Cana where Rice has written rituals of purification and incantation.
6. Which of the four Christian gospels most influenced The Road to Cana? Which Gospel stories are distinctly portrayed? Discuss whether these Gospel stories inspire rites of maturity for all Christian faiths today.
7. First-century Jewish women worshiped in the Ezrat Nashim—the Women's Courtyard—which was located beside or behind the men's place of worship. How does Rice's scholarship and penchant for historical authenticity enable her to accurately depict the role of Jewish women in first-century Palestine? In The Road to Cana, does Jesus criticize, whether by word or by deed, this masculine/feminine segregation? Discuss how new understandings of masculinity and femininity have influenced today's religious practices.
8. The Gospel of John is the only biblical source that mentions the wedding feast at Cana. In John's account, Jesus' mother, Mary, informs him at the wedding feast that the wine has run out. It is Jesus' reply to her that has mystified many throughout the centuries. In the final chapter of The Road to Cana, Rice quotes this reply: "Woman? . . . What has this to do with you and me?" Catholic saints, Christian biblical scholars, and homilists have attempted to explain this seemingly callous rejoinder, but their explications vary. How does The Road to Cana treat the mystery behind this dialogue between mother and son? Discuss whether Rice lends a mother's tenderness to the scene.
9. Mel Gibson's film The Passion of the Christ (2004) focuses on the suffering and death of Jesus. In what ways does Rice's Jesus differ from Gibson's? Specifically, when does Jesus, as depicted in The Road to Cana, show real human passion?
10. In an essay posted on her Web site, Rice says of her own writing career: "[My earlier novels] are not immoral works. They are not Satanic works. They are not demonic works. . . . The one thing which unites [my works] is the theme of the moral and spiritual quest. A second theme, key to most of them, is the quest of the outcast for a context of meaning." Is The Road to Cana Rice's attempt to show Jesus' spiritual quest?
11. Jesus, the narrator of The Road to Cana, begins by positing a solitary question: Who is Christ the Lord? Discuss whether this question has been answered by the end of the novel. If not, will this question ever be answered?