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The Contemplative Writer's avatar

Gilda, this is beautiful — the reframing from "prodigal son" to "waiting father" does exactly what good reframing should do: it doesn't just retitle the story, it relocates where the meaning lives.

I want to press gently on one thing, because it's been on my mind from an entirely different direction. I wrote a note yesterday about homecoming as a story trope — that it only works for me when the person returning has actually changed, not just left and come back the same. Otherwise it's scaffolding, not story.

Reading your piece, I realise your Father isn't waiting for that change at all. He's already running before the son's transformation is even visible — before the rehearsed speech is finished, before we can tell if the son means it. Grace goes first; it doesn't wait to see if we've earned the welcome by becoming someone new.

So which is it? Does the son need to have changed for the homecoming to be a story — even if he doesn't need to have changed for it to be a homecoming? I suspect the elder brother is the tell: he never left, never changed, and the father goes out to him just the same. Maybe the change isn't the price of return. Maybe it's what return, rightly received, makes possible afterward.

Thank you for sending me back to my own Note with a better question than I started with.

Hal Townsend's avatar

You’re right! The focus is on the father and his love for both of his sons. He’s always waiting, longing for us. A simple turn toward Him and He runs to us. What love!

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