At the market, a man picks vegetables, tying to decide between the vegetables. He thumps a melon, scans the cucumbers, and inspects the onions. He notices a cute little girl playing with her brother near his basket and smiles at them. He turns to their parents who are standing nearby and, in the chatty way that people sometimes talk at the market, asks a normal question: “Your kids are beautiful. What are their names?”
The parents expression darkens—the mother turns away, finding something else to do. The father’s eyes narrow, and he steps closer. Pointing straight at the little girl, he says, “We call her ‘unloved’. Unloved.” Not knowing how to respond, the man shuffles his feet a bit, and finally says, “And the boy?”
“Oh, I’m sorry, I thought…”
“No, that’s his name. His name is ‘not-mine.’ ”
Hosea is a shocking story. It does not allow for passive bland reading, and I assure you it does not consist of passive, bland writing. It opens with the story of Hosea’s family—a family whose very existence could not but shock literally everyone who met them. The book of Hosea consists mostly prophetic poetry. Not the poetry which many of us have in mind—the dry tedious metered verses we labored to understand as school kids. This is the kind of poetry that Walter Brueggemann describes as “shattering, evocative speech that breaks fixed conclusions and presses us always toward new, dangerous, imaginative possibilities.” (Finally Comes the Poet, 6) Hosea is full of wrecking-ball language, the kind that comes to destroy the peace of the present for the sake of the future.
The book opens with a narrative, but the story is just as disturbing as the poetry that follows. In fact, we might think of the story as a setting for three brief, super dense poems—the names of the children. After all, even within the story, it’s the word—the word from the Lord—that really matters. Continue reading “Names—A Sermon on Hosea 1”