ASK THE
AUTHOR William P. Young Latest project:
Cross Roads (November). Publisher:
FaithWords.
How did the plot
for Cross Roads come to you? I have lived
long enough to be around and near the events of death and dying. I
have been intrigued by NDE (near death experiences) and stories of
people who have exited comatose states to report awareness and
experiences that suggest significant events can occur inside that
“thin place.” How does one explain the continuation of
mindful activity even when the biological brain has ceased activity?
How does one comprehend a conversation between Jesus and Moses and
Elijah on the Mount of Transfiguration? In The Shack, we
struggle with Mackenzie who is stuck in the midst of his life. What
would happen if we catch a man in-between, in this place between this
earthly existence and the other? What if this man is not a likable
person, fraught with the frailties so common to many of us, selfish,
egotistical, willing to sacrifice relationship for control and
success? How do we reach this man? Those sorts of questions along
with the metaphor of a crossroads, a place of intersection where one
has to stop and choose a direction, face others and witness the
consequence of actions, combined to give me an imagination for the
storyline. When I began working on it, I wasn’t sure it was
possible, that it could work. I am thrilled with the results and I
think readers will be also.
Like The
Shack, Cross
Roads employs nontraditional
manifestations of the Trinity. How do you choose how to portray the
Father, Son and Holy Spirit? The beautiful reality of
imagery is that it employs word pictures, and as we all know, a good
picture is worth. … Even in the Hebrew Scriptures and the New
Testament, imagery is rampant and provocative. God is father,
but also wind and breath, but also a mother hen who covers and
protects her own, an eagle who rescues, a rock that is solid, a
fortress that shields, a woman who loses a coin, a man who finds an
abandoned baby girl and falls in love with her (Ezekiel, in case you
were wondering). Idolatry is when one fastens upon a single image as
a definition of God, and begins to assemble one’s life around that
single facet. Imagery was never intended to define God, but like
facets of a precious stone, each reflects the light of God’s
character and the wonder of God’s nature in a way that we can
perceive and sense and know. As a word-painter then, I am given
freedom to express this magnificence in creative ways. God is not
male or female, but all maleness and all femaleness is derived from
the Beautiful One, who is a community of other-centered, self-giving
love. So, part of the art is to craft metaphors and imagery that
satisfies the heart, incompletely but partially, and bends the
framework of our paradigms to allow for more space, more light, more
love, more anger at all that damages and hurts, more beauty, more
grace. The incarnation means that God fully joined our humanity.
Jesus is the ultimate bridge birthed in bone and blood. I can touch
and understand this man. God has found a son-language that I can
comprehend. Can the Holy Spirit not come to me in a way that I can
grasp, inside the wonder of a child or the honor of an elder? I think
the landscape is open as we participate with the One who the
creative.
Your main
character, Tony, has quite a few relationship troubles. How did he
get so entangled? To use language from Cross Roads,
Tony is not entangled because of life, but rather because of death;
not just the fear of the event of death, but the ubiquitous presence
of death that we dwell within and to which we seem to willingly give
ourselves. We find it so much easier to refrain from the conversation
that might heal or bridge, to be right than to love, to judge the
other, to be afraid of imaginations, than to embrace the person and
Spirit of Jesus, who welcomes the stranger, carries the enemy’s
pack, receives the outcast along with the religious. We are entangled
by death. Tony’s drive for control and significance is birthed
within that “beautiful mess,” beautiful because he is made in the
image of God and a mess because he knows it not.
While
Tony is in a coma, he spends time in some unusual places—from a
place that manifests the state of his heart to the mind of an
Alzheimer’s patient. Where exactly is he in that in-between state?
I don’t know exactly, that’s why I have called it the
in-between. It gave me an opportunity to explore this space, the
territory of the soul, if you would. How expansive do we think the
human soul is? I like to think that it is an expanding universe
barely understood, but exploding outward. I have lived with Kim, my
wife, for 33 years. How little do I comprehend the depth and breadth
of her soul, but I get to witness and learn and wonder. So for Tony,
my question was: What if Tony was given the invitation to explore not
only his own soul, but also the soul of another? How would that
impact him or effect change? A worthy investigation, at least from my
point of view.
C.S. Lewis
makes an appearance in the story. Why did you choose “Jack” as a
key figure? Many readers will not understand that Jack is
indeed C.S. Lewis, at least not without a little work. Introducing
him into the story was actually the suggestion of Baxter Kruger, the
author of The Shack Revisited. It was one of those playful
ideas that took root and grew. Through his mother, Tony was
introduced as a child to some of this man’s work, and like a seed
planted but ignored, it simply waited for the right conditions to
spring to life. Jack gave me a character to “play” with as well
as hint at the significant role that authors, teachers, artists,
musicians, friends and family have in the formation of our lives. It
was also a way for me to give a nod to this brilliant brother, who
has astounded me, given me hours of wonder and slipped into some of
the precious places of my own soul.
How do you cultivate your imagination from
which spring stories like The
Shack and Cross
Roads? Good
question. I think that being around good stories helps to cultivate
the imagination, whether you are listening to another who is a story,
or reading or watching, etc. A good story may be shocking, or odd at
first glance, or completely other than the expected, but will contain
the ring of truth and longing and humanity and meaning. Learning to
ask questions and doing so with openness is vital, along with the
permission to imagine and explore. Being comfortable with silence and
friends with imagination itself.
First
printing for this book is 1 million copies. What do you have to
say about such a significant first print run? That is so
cool, don’t you think? The first real printing of The Shack
was 10,000 copies, and we were told that usually means 8,000 in your
garage after two years. Frankly, my first printing of 15 copies at
Office Depot accomplished everything that I wanted it to do, so this
sort of thing just makes me grin and shake my head. Don’t confuse
me with someone who actually knows what they are doing. My gift is
quite narrow, and I am so grateful that others know what they are
doing.
How
might Christian retailers best present this book to their customers?
Read it yourself, and then you will know how best to
present Cross Roads. While The Shack and Cross Roads
come from the same parent, I find it rather difficult to compare one
child with another. However, when you meet either one, you will
recognize the family resemblance and the more time you spend with
either, you will understand their distinctive natures. So fun!
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