The story of the proud and vital man who has lost his power and nobility is a recurrent theme, especially at the movies. Films have specialized in showing us the washed-up boxer (The Set-Up, Requiem for a Heavyweight, Fat City) and cowboy (Red River, The Gunfighter, Unforgiven).
Wasn’t it Augustine who said, evil is matter out of place? He kisses his love as he pivots from the brothel gate, his ardent heart already gritty with guilt. I imagine the big A trying to shake sin from himself as I haul our red rug out and shake it. Dear God, what we track in, how sin sifts like fine silt into our deepest grooves! And once inside, the dirt forgets that it’s our backyard. We keep tracking the outside in, sweeping it out again.
Or that’s what I get from The Confessions. How love, like soil, is out of place for, maybe, half its orbit. How sinning and repentance follow one another like all the circles on this fickle earth, rain taken up by clouds, then falling on us again. Maples spinning whiffs that grow to seedlings. Children begetting children. And every insult you bestow whirring like graying underwear in some dryer of regret.
Way back in Christianity’s kindergarten, Augustine had it figured out. He guessed our remorse and longing as he closed the brothel door, seeing a woman gaze at the sooty outline on her white sheet of a tall blacksmith the morning after.
In recent years, “No problem” has become a customary response to a “Thank you” rendered to wait staff, service providers, hosts and gift givers. By my observation, this practice of replacing “You’re welcome” with “No problem” began with the generation now in their thirties. “No problem” is now widespread enough that Judith Martin (Miss Manners) has thought it necessary to pronounce against it.
A curving trail—the callused field obscures it until we shovel out the clotted brick, lug a ton or two of sand to fit trenches, level rumpled earth, correct courses. A mallet stuns a thumb, new blisters bud as self-impressed we shout, “This row is done!” but then a kid names names, prefers George Toad, Kate Cricket, slaps William Mosquito, pats Barkly, unleashed, our best company. We rest and share cold drinks. David brings homemade muffins, burned, blueberry plenty. Sun flickers around us, summer’s wings. Yet sand, we need more sand! Deer watch from trees while we adjust the pathways on our knees.
The diaries of World War I poet Siegfried Sassoon have been digitized and made available to the public by the University of Cambridge. Sassoon, a British soldier, was quickly disillusioned by the war and became an outspoken war critic. His diaries feature poetry, prose, and drawings and include his 1917 antiwar “Soldier’s Declaration,” which got him committed to a hospital for the duration of the war. He described the first day of the Battle of Somme as a “sunlit picture of hell” (BBC, July 31).