Between the Bible and the Complete Works of William Shakespeare is the story of humanity. Between the “Song of Solomon” and Shakespeare’s sonnets is the language of Western Civilization: a language that speaks to the better angels of our nature, while reminding us of the frailties of human nature, for temptations abound.
Unless we remember we live in a fallen world, where we alone must choose between the promise of the cross and the power of the crown, unless we understand what these symbols represent, that we need not be Christians to choose God over the false god of tyranny, unless we choose righteousness, we have no choice but to render everything—including our souls—unto a ruler far worse than Caesar.
The drama of that choice also makes for great storytelling.
In Return of Christ: The Second Coming by Jack Snyder, we get a novelistic version of that choice.
We get an authorial voice about sin and redemption, with more action—and consequences concerning people’s actions—than any standard action-adventure flick. We get the ultimate character in Jesus, too, whose importance Snyder describes with reverence and awe.
That Snyder is more ecumenical than evangelical, that he has a story to tell, not a sermon to deliver, is a testament (Old or New, take your pick) to his skill as a writer. One need not believe in the divinity of Jesus to accept Snyder’s depiction of Christ. One need only believe in the characters Snyder presents to know he respects all of God’s children—Jews and Gentiles, Protestants and Catholics.
To see a film adaptation of Snyder’s book would be a treat. To see theatergoers in line for this film, not because they are of one faith, but because they are of one opinion, that a film should entertain an audience; to see people return to see the same film would be a delight; to see Return of Christ would be worth the price of admission.