Easter 2017

I had so many things I wanted to say today, about hope and resurrection and the joys of Easter. I thought about all the Easter sermons that will be preached today, and marveled that almost 2,000 years later there are still ways to tell the story that are fresh and intriguing.

I thought about telling you about the importance of Easter, what it means not just for society but for individuals. Then I thought you might already know that already (if you don’t send me an email or leave a comment and I’ll get back to you.

So instead, I thought I would reproduce my post from Easter Sunday 2016.  I really liked that one, and it captures Easter through images in a way that is beyond my skills with pen and ink.  I am adding three cartoons I didn’t use in last year’s post so that there is some content you haven’t seen here before.

We live in an uncertain world, but of this we can be certain: Christ is risen!


It’s Easter, and today I miss Johnny Hart. The creator of two popular late 20th century comic strips died in 2007.

Neither the Wizard of Id nor B.C. is among my all-time favourite strips. I am more partial to Doonesbury, Dilbert, Calvin and Hobbes and Bloom County. Still, most of the time I would find Hart’s comics to be entertaining, and sometimes downright funny.

Except at Easter. As Easter approached I would begin to anticipate what Hart would do with B.C. And hope that it wasn’t so offensive that my local paper would refuse to carry it.

Easter, of course, is always on a Sunday, and the Sunday comic strips have historically been different. They are not the small four-panel black and white daily strips but full-colour multi-panel extravaganzas. Sunday comics give far more scope to really tell a story. (As a historical aside, when I was a child Canadian newspapers did not publish on Sundays, so the Sunday strips were an added bonus in Saturday’s paper. When Canadian newspapers started putting out Sunday editions they usually left the Sunday strips in their “traditional” Saturday slot.)

Johnny Hart on Easter Sunday did more than tell a story. He told The Story.

He did it at Christmas too, but Christmas seems less offensive somehow. His comics then didn’t provoke the same strong reaction from readers. Easter was different.

I can only assume Hart got away with it because his comic strips really were popular. Newspaper editors allowed him free rein because he was funny the rest of the year. Not that the Easter comics weren’t amusing, but they were blatantly Christian, a rarity in post-Christian Canada and certainly not reflective of the prevailing worldview. He presented the Easter message like it is and didn’t water it down in order to be politically correct (though he did wind up apologizing for at least one strip that offended a large group of people). There was, if you think of it, also a theological message when you have a comic strip about a group of cavemen, obviously set millennia before Christ, yet they celebrate Easter.

So today, in memory of Johnny and to celebrate Easter and the resurrection of Jesus Christ, two of Johnny Hart’s best.(It helps if you are aware that the caveman in the first one is named Peter.)

B_C EASTER COMIC STRIP.jpgBC_20Apr2001.jpg

And for 2017:



One comment

  1. The Pilate stone is a damaged block (82 cm x 65 cm) of carved limestone with a partially intact inscription attributed to, and mentioning, Pontius Pilate, a prefect of the Roman province of Judea from AD 26–36. It was discovered at the archaeological site of Caesarea Maritima in 1961. The artifact is particularly significant because it is an archaeological find of an authentic 1st-century Roman inscription mentioning the name “Pontius Pilatus”. It is contemporary to Pilate’s lifetime, and accords with what is known of his reported career. In effect, the writing constitutes the earliest surviving record and a contemporaneous evidence for the historical existence of this person; otherwise known from the New Testament, Jewish Literature and brief mentions in retrospective Roman histories, which have themselves survived in still-later copies.

    It is likely that Pontius Pilate made his base at Caesarea Maritima, a city that had replaced Jerusalem since AD 6 as the administrative capital and military headquarters of the province, and the site where the stone was discovered. Pilate probably travelled to Jerusalem, the central city of the province’s Jewish population, only as often as necessary.

    The Pilate stone is currently located at the Israel Museum in Jerusalem. Replica castings can be found at the Archaeological Museum in Milan, Italy, and on display in Caesarea Maritima itself.

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