We have finished reading Ruth, and might expect another story overflowing with God's covenant love. Ruth sings with ḥesed (חֶסֶד), that steadfast, life-giving love that binds Ruth to Naomi, Boaz to Ruth, and ultimately reveals God's own heart. Every act of kindness becomes another sentence in God's language of love.
Now we turn to Esther, a book of the Bible that never mentions God. Like Ruth, there are no prophets. No divine speech. No miracles. No covenant repeated. If someone removed God's name from every other book of the Bible, we would immediately notice. In Esther, God's presence is unacknowledged.
It becomes a great Biblical invitation. Can God be recognized when God is hidden? Chapter 1 hardly seems like a promising place to begin. The Persian emperor Ahasuerus throws a lavish banquet that lasts for months. Wealth is displayed. Power is flaunted. Women become ornaments for men's prestige. Queen Vashti is summoned not as a partner but as another possession to exhibit before drunken guests.
When she says no the empire trembles, not because of an invading army, but because one woman refuses to surrender her dignity. The king's advisors panic. If word spreads that women can say no, they fear, the entire social order might begin to crack. It sounds strangely familiar. Power often fears dignity more than rebellion. God is never mentioned in this scene, yet God's values quietly emerge through the courage of someone who refuses to be humiliated.
Perhaps this is how the hidden God works. Not always by speaking from heaven. Rather, sometimes by strengthening someone to simply speak from earth. The absence of God's name does not mean the absence of God's character.
After spending weeks with Ruth, we recognize the pattern. Ḥesed is still present, though disguised. In Ruth, God's steadfast love appears through gleaning fields, shared meals, and risky acts of generosity. In Esther, God's steadfast love begins by honoring the God-given worth of a woman who refuses to be treated as an object.
Before anyone rescues Israel, someone first protects human dignity. That is where ḥesed always begins. God speaking through ḥesed implies a belief that God is present,
Like many who watched or plan to watch the new Christopher Nolan film The Odyssey. I wonder about our cultural assumptions about God's presence. The Greeks believed their gods might disguise themselves and act in the world
In The Odyssey, Odysseus survives storms, monsters, temptations, and shipwrecks. The film, like the poem, suggests that gods frequently intervene, redirecting Odysseus' path with visible power. Athena appears, and it is suggested that Divine hands are everywhere and can appear as anyone. However, unlike today, Homer's Greeks would ask what Joan Osborne asks in her cover of the song, "What if God was one of us?' The Nolan film shies away from the true belief the ancients had.
Unlike now, most people then commonly thought that their gods might disguise themselves as "one of us" and act in the world. In Esther, no deities ever appear. Instead, ordinary people must navigate political danger without certainty, without visions, and without miraculous rescue. God's guidance is hidden within ordinary choices, quiet courage, and unlikely coincidences.
Our present lives and beliefs probably resemble Esther more than Homer. Most of us do not receive unmistakable signs from gods or heaven. We simply awaken each day wondering how to live faithfully amid complicated circumstances. And perhaps that is enough.
Another journey that I am examining through Greek myth is the Broadway musical Hadestown. In this Orpheus descends into the underworld believing that love is stronger than despair. Around him, workers endlessly build walls for a king who promises security while exploiting their labor. Fear becomes the currency of empire. Hope becomes an act of resistance.
King Hades and King Ahasuerus are not so different. Both build worlds where power demands obedience. Both surround themselves with displays of wealth. Both confuse domination with greatness. Yet Hadestown insists that its story "is a sad song, but we sing it anyway."
Why? Because telling stories of hope keeps hope alive.
Esther begins the same way. The first chapter appears to belong entirely to its empire. God is silent. Justice seems absent. Power dominates the stage, but readers already know something the emperor does not. Empires never have the final word.
The hidden God is already writing another story beneath the story. This may be the deepest gift that Esther offers for our own time. We also live in an age of dazzling displays of power. Wealth is celebrated. Fear is marketed. Some voices are amplified while others are silenced. It can feel as though God has withdrawn from the public square. Yet Esther invites us to read history with different eyes.
We seek the people who quietly refuse to cooperate with injustice, for the community that protects the vulnerable. We seek the strangers who choose compassion over comfort and for those speaking a courageous "no" that makes a thousand faithful "yeses" possible.
That is where the hidden God can often be found. Like Ruth, God still speaks the language of ḥesed. Like Odysseus, we continue our uncertain journey toward home. Like Orpheus, we keep singing against despair because hope itself becomes an act of resistance.
And like Esther, we discover that God's greatest work often begins long before anyone notices. The first chapter ends without mentioning God. Perhaps that is precisely the point. Faith is learning to recognize God's fingerprints even when God's name is missing.
For the hidden God is never absent. The hidden God is already preparing courage. Already awakening dignity. Already weaving ḥesed through ordinary lives. Already composing a song that no empire can silence. And if we listen carefully, even in the silence, we can discover that God's quiet melody has been accompanying us all along.
I am seeing Ruth, Esther, The Odyssey, and Hadestown as all being contemplations on essence, human dignity, empire, and hope. Many either provide metaphors or examples of ḥesed as God's language, or ask me to consider a hidden God who writes another story beneath what may be seen as an everyday story or coincidence.
Esther and Ruth function as companion books. Ruth teaches us how God speaks, through ḥesed, steadfast love. Esther teaches us how God remains present, even when silent. Together they offer a profound theology for our own age: God is revealed not only in miracles, but in ordinary people who practice courageous love in the face of systems that deny human dignity.
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