Vegan sausages - Bunnings

The advertisement on a Fcaebook page checked out as being fair dinkum. I'll report back after attending this Sunday.

 

Shalom,

Ozhamada

Review of a novel, 'Sound Mind Dead body' by Dave Warner – a collection of editing comments part 1

Sound Mind Dead Body was a novel that offered up some curious text. The peak point of amusement comes when the author offers his readers the dimensions of a gardener’s shed. 

To understand this text, you need first understand that a valuable item of jewellery has been lost from the property. A male character named Willets is in search of the jewellery.

“It [a door] creaked slowly inwards, revealing a space no more than six foot high, about eight feet deep and the width of one and a half Willets” (Chapter 7, page 74)

Can someone tell me? What is the equivalent in feet of a Willet? Does one recognise a Willet as being the distance between the gentleman’s shoulders (as would befitting to the width of a shed). Or is a Willet identified to the gentleman’s height? 

Shalom,

Ozhamada

Other humour: 

-              Chapter 4 opens with some of the characters at a town “Shagwell”. In reality, there is no Shagwell; only Shadwell. The author may have had Austin Powers on his mind!

-              In Chapter 10 Willets arrives at a pharmacy with an open soup pail full of tea. He asks the pharmacist to test the tea for evidence of poison, Willets had done well to travel to the pharmacy, with an open soup pail, on his motorbike.

Review of a novel, 'Sound Mind Dead body' by Dave Warner – a collection of editing comments part 3

Sound Mind Dead Body was a novel that offered up some curious text. The curious text first arises in Chapter 1, page 14 (see part 2 of this blog) and then arises again in Chapter 2. Indeed, the first page of Chapter 2 includes:

•  The opening sentence with its personification of the sun: “The sun beat down out of the blue sky as if it had not a care in the world”
• The oddity of the sun being said to not have a care in the world when that is quite logical -  that it is suspended in space quite separate from the world,
• And, that opening sentence is long, assaulting the reader with too many nouns to digest: in turn: the sun, a woman, the lawn, Watkins the grocer, and the buiding’s name Harcrofts.

And then there is also:

• The positioning statement of the location of a beach as “only a couple of hundred yards” back over a character’s shoulder where the author had not first established where the character was standing.
•  And, a reference to a “usually private beach” where beaches tend to be considered private even where the occasional adventurer finds their way onto the beach. 

Opening sentences that are packed with many nouns can work. Some are marvellous (think for instance of the opening sentence of Chapter 1 of Pride and Prejudice). Yet, a reader will recognise a long opening sentence as gimmicky if it is not solid.

Shalom,

Ozhamada

Review of a novel, 'Sound Mind Dead body' by Dave Warner – a collection of editing comments part 2

 Sound Mind Dead Body – a collection of editing comments part 2

Sound Mind Dead Body was a novel that offered up some curious text. The curious text first arises in Chapter 1, page 14.

To understand this text, you need first understand that the named character; Lucas, is a Police deputy. The author is reporting on the directions that a senior officer to Lucas had given to Lucas.

“He’d instructed Lucas not to engage the men if he discovered them but to return to the town until he himself returned.” (Chapter 1, page 14)

Now, there are a few curious features of that text; that “He” gets a good run, with a switching between the “he” that is referred to. That there is the presumption that rogues are “men”. The word “return” is overused. It takes the brain a while to absorb the intended meaning. An alternate version of that sentence is:

“He’d instructed Lucas not to engage the rogues should they be located but instead to return to the town and await his arrival.” 

Shalom,

Ozhamada

Hollywood lends from a Biblical literary device - part 2

Applying the Bible Matrix to Edge of Tomorrow (also known as Live Die Repeat) is a fascinating exercise because the film’s "time loop" mechanic perfectly mirrors the biblical concept of maturation through testing.

In Bull's framework, the hero must move from a "unformed and void" state to a state of "glorified wisdom." Here is the plot of Edge of Tomorrow through the seven-fold Dominion lens:

1. Sabbath (Transcendence)

The Decree of the King: The story begins with a command from a high authority (General Brigham) that Major William Cage cannot escape. Cage is an "empty" man—a PR officer with no real combat experience. He is cast out of his comfortable "heavenly" position and "descends" to the mud of Heathrow, mirroring the Spirit hovering over the chaotic, watery darkness before creation.

2. Passover (Hierarchy)

The Bloody Initiation: On the beaches of Normandy (the "Red Beach"), Cage undergoes a literal baptism of blood. By killing an Alpha and being drenched in its blood, he is "marked." This death/rebirth cycle begins his Passover. He is now under a new, supernatural covenant with time itself, and he must submit to the "law" of the loop to survive.

3. Firstfruits (Life/Environment)

The Training in the Wilderness: Cage meets Rita Vrataski, the "Angel of Verdun," who becomes his priestess and mentor. This stage is about the development of "seed." Cage must spend "forty days" (represented by countless loops) in the wilderness of the training bay. He is no longer a civilian; he is becoming a "firstfruit" of a new kind of soldier, learning to navigate the environment of the battlefield with supernatural foresight.

4. Pentecost (Ethics/Sanctuary)

The Writing of the Law: This is the heart of the matrix, where the hero’s character is refined. Cage and Rita attempt to reach the farmhouse. This stage is about the "Inner Room." Cage moves from wanting to save only himself to truly caring for Rita. He "writes the law on his heart," gaining the wisdom and muscle memory required to move beyond mere survival toward a sacrificial purpose.

5. Trumpets (War/Succession)

The Call to the Final Charge: The "Trumpet" sounds when the visions lead them to the truth about the Omega’s location (the Louvre). The "old guard" (the military hierarchy) fails to listen, so Cage must assemble his own "tribes"—the J-Squad. He uses his "prophetic" knowledge of the future to convince them to follow him into a suicide mission. This is the gathering of the host for the final conflict.

6. Atonement (Judgment)

The Descent into the Deep: The climax takes place in the flooded basement of the Louvre (the "Abyss"). Cage has lost his "covenant sign" (the ability to reset), meaning his next death is final. He must dive into the waters to strike the head of the serpent (the Omega). This is a pure act of substitutionary atonement; he gives his life to judge the alien "false god" and wash away the threat to humanity.

7. Booths (Glorification)

The New Creation: Because Cage successfully destroyed the Omega, its blood triggers one final reset. He wakes up back at the beginning (Step 1), but the world has changed. The "enemy" is defeated before the battle even begins. Cage is now a "Glorified Man"—he possesses the wisdom of a thousand lifetimes but remains an anonymous saviour, ending the story with a smile of "rest" as he reunites with Rita in a world made new.

Shalom,

Ozhamada

Hollywood lends from a Biblical literary device - part 1

Michael Bull’s Bible Matrix (and the Dominion tool) uses a seven-fold structure derived from the Hebrew creation week and the Tabernacle layout. It maps out a process of "maturation" where a hero or a nation moves from a state of emptiness to a state of glorified authority.

Here is the plot of A New Hope mapped onto the seven steps of the Dominion matrix:

1. Sabbath (Transcendence)

The Call to Light: The story begins with a "Spirit hovering over the waters" moment. We are introduced to the vastness of space and the dualistic nature of the Force. The discovery of R2-D2’s message and the intervention of Obi-Wan Kenobi represent the divine call. Luke is invited to leave his "dusty" world (Tatooine) to enter a higher reality.

2. Passover (Hierarchy)

The Threshold and the Mentor: Luke must choose to follow the call. The death of his aunt and uncle serves as the "Passover sacrifice," severing his ties to his old life. He submits to the authority of a mentor (Obi-Wan), receives a symbolic "scepter" (his father's lightsaber), and begins his initiation into the ways of the Jedi.

3. Firstfruits (Life/Environment)

The Team and the Tools: This stage involves the gathering of resources. In Mos Eisley, the "wilderness" of the spaceport, Luke and Obi-Wan recruit Han Solo and Chewbacca. They board the Millennium Falcon—the vessel that will carry them through the "firmament." It is here that the physical journey truly begins as they leave the planet’s surface.

4. Pentecost (Ethics/Sanctuary)

The Heart of Darkness: The crew is pulled into the Death Star, which serves as a dark "tabernacle." This is the center of the matrix where the law is tested. Luke, Han, and Leia must navigate the labyrinthine corridors. It culminates in a moment of ultimate choice and sacrifice: Obi-Wan faces Vader and "ascends" through death, providing the law of sacrifice that Luke must now follow.

5. Trumpets (War/Succession)

The Gathering of the Host: After escaping the Death Star, the heroes arrive at the Rebel base on Yavin IV. This is the "Trumpets" phase—the call to assembly and the preparation for battle. The plans are analysed, the "tribes" (pilots) are organized, and the tactical weakness of the enemy is revealed.

6. Atonement (Judgment)

The Trench Run: The climax of the film is a literal "Day of Atonement" where the high priest (Luke) enters the "Holy of Holies" (the Death Star trench). He must trust the Force (the Spirit) over his targeting computer (the flesh). By destroying the Death Star, he executes judgment on the "False Temple" and saves the "Nation" (the Rebellion) from certain death.

7. Booths (Glorification)

The Royal Procession: The matrix concludes with a festival of rest and reward. Luke and Han are brought before the assembly in a grand ceremony. They receive medals and the acclaim of the people. The "New Hope" is established, and the hero is transformed from a farm boy into a recognized champion of the realm.

Shalom,

Ozhamada

How to really change a church? - book predates the podcast

I was struck on listening to a recent podcast that Sydney Anglicans have not come far from 2009 when they received a wonderful book written by their own. 

Overall, I reckon there is a trellis problem: Sydney Anglicans foci is trellis work (trellis work that is out of favour with the day). 

There is a cost to vine work..  

Here is some analysis.

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The podcast episode from The Pastor's Heart (2026) and the seminal book The Trellis and the Vine (2009/2015) both address the fundamental tension in church life: the relationship between structures (the "trellis") and the growth of people (the "vine").

While the podcast focuses on modern organisational psychology and structural collaboration, The Trellis and the Vine established the foundational philosophy that makes these discussions possible.

In what ways was the book there first?

1. The Core Shift: From Program-Focus to People-Focus

• The Book: Marshall and Payne’s primary contribution was the "Mindshift." They argued that churches often spend too much time on the "trellis" (committee meetings, building maintenance, and administration) and not enough on the "vine" (sharing the gospel and helping people grow).

• The Podcast: Archie Poulos and Kirsty Bucknell take this as a given. They discuss how administrative "compliance" [13:31] and "maintenance" [14:32] distract pastors from ministry. The book was "there first" by defining this distraction as a structural trap that requires a conscious shift in priority.

  
  
   

2. The Definition of Ministry as "Disciple-Making"

• The Book: The book famously defined Christian ministry as "people-work," specifically the prayerful speaking of God’s word by one person to another. It moved the goalpost from "running successful events" to "making disciples who make disciples."

• The Podcast: The guests discuss "reaching affinity groups" [06:56] and "re-targeting demographics" [21:11]. While the podcast uses more modern organisational language, the book provided the underlying theological rationale: that the structure (the trellis) only exists to support the organic growth of the people (the vine).

3. Challenging the "Professional Pastor" Model

• The Book: A key chapter in The Trellis and the Vine is "Why Sunday School is better than the 11 am service," which provocatively argues that training every member to be a "vine-worker" is more effective than relying on a single professional.

• The Podcast: Archie Poulos touches on this when he discusses the failure of the "Hub and Spoke" model [09:41]. He notes that churches often fail because they want the pastor to "do what they've always done, just better" [31:04]. The book preceded this by arguing that the pastor's primary job is not to do the ministry, but to train the people to do it.

 

 

Where the Podcast Expands Beyond the Book

While the book was the philosophical pioneer, the podcast introduces newer concepts that reflect a post-pandemic, highly mobile society:

• Geography vs. Affinity: Archie Poulos argues that the "village model" of church (based on where you live) is dying because people now define themselves by "affinity groups" (jobs, school, or interests) [04:09].

• Resource Stewardship & Hubs: The podcast gets much more granular about structural collaboration. While the book focuses on how a single church manages its trellis, the podcast suggests that multiple churches should share a trellis (sharing administrators or youth pastors) to free up more time for the vine [13:51].

• The ADKAR Model: Kirsty Bucknell introduces a formal change management framework—Awareness, Desire, Knowledge, Ability, Reinforcement [22:08]—to explain how to actually implement the shifts that Marshall and Payne first advocated for.

Summary of Analysis

The Trellis and the Vine was the "first mover" in diagnosing the theological problem: that structures often choke out the mission. The podcast acts as a practical sequel, diagnosing the structural problem: that in a modern, complex world, the "trellis" has become so heavy and technical (compliance, digital shifts, etc.) that churches must collaborate and change their organisational psychology just to survive.

Shalom,

Ozhamada