We fought for one more sputter of the old life. Even though a breeze passing over your sieve of skin could send you screaming, you muscled up your diaphragm to whisk more air into the fire.
I held my own terrors to my chest: failures and brush-offs, cancers and crashes, all the anxieties I had grown to love heaving and cracking like your ribcage until we both gave out.
Then there was the mess of prying us loose: wailing women and splintered lumber, flesh stubbornly sticking to the nails. But what swift hands, that Joseph of Arimathea, what purposeful footsteps crunching the ground!
He wrapped us in linen and spices. Only the hapless world could think of packing fifty pounds of aloe around a dead man’s wounds. But we drank it in like deserts until finally even the lizards scurried home.
I lay in the cave and wanted to touch you, but my hands were no longer mine. They closed in on themselves like daylilies. The stone rumbled over the window of light, and then our difficult rising began.
The Young Victoria, a chronicle of Queen Victoria’s early days on the English throne, avoids all the historical-epic pitfalls. It’s a trim, robust film whose period-piece trappings—sumptuous production and costume design—never threaten to overwhelm the human interaction or muddy the dramatic arc.
Hardly a day passes without someone declaring the death of the book. Recently Lisa Miller of Newsweek viewed an electronic edition of the Bible that was replete with linked maps, a commentary and dictionary, and 700 paintings depicting biblical scenes. Astonished, she sputtered, “This is the beginning of the end of the Word.”Theologically, the future of the Word as the Bible remains assured. That is because the God met in Israel and Jesus Christ acts in history, and the church (as well as the synagogue) can give no remotely adequate account of its faith and practice without resort to the memory of a story that's been preserved via the spoken and written word.
I board the airplane to see my parents. They live far away and long ago And some years into the future; you never met such wry time machines In your life. Sometimes they will be about to pass the marmalade when Suddenly it is late 1941 and they are in college and kissing on the train; But then as you slather your toast it is 1967 and a war wants to eat their Son or 2012 and they are at that son’s wake or 1929 and a father comes Home without his job, or it is a week ago, and do you think that Federer Is the finest tennis player ever, or Laver, or Don Budge? It happens that Fast. It’s unnerving and glorious and confusing and perfect and I would Sit with them every afternoon, if I could, and say tell me tell me tell me, Tell me every moment of your whole lives, don’t leave me here without Your grace and humor and the extraordinary gleaming jar of marmalade From which come all your stories. Next year in Ireland . . . says my mother, And my dad grins, and I want to kneel and beg the Lord for this moment Again and again always, the inarguable yes of their bodies, the resonance Of their endurance, the hunch and hollow of their shoulders, the reverent Geography of their faces, the lean song of my father’s hands on the table.
A Turkish couple living near the Syrian border invited 4,000 Syrian refugees living in or near their city to their wedding party. The idea came from the groom’s father, who hoped their example would inspire others. The couple pooled money they had received from family members to throw the party, and wedding guests contributed food as well. The bride admitted being shocked when she first heard about the plan, but agreed that seeing the happiness in the Syrian children’s eyes was priceless. Ne