Like The Lion, the Witch and the Wardrobe (2005), the first nonanimated big-screen feature film based on C. S. Lewis’s Chronicles of Narnia books, Prince Caspian is visually spectacular, emotionally stirring and dramatically potent.
The biblical archaeologist at my seminary once donned Indiana Jones–inspired attire to publicize one of his discoveries. He claimed not to enjoy this publicity stunt. If so, he’s about the only movie-watching male who didn’t want to play at being Indy, the brainy, hip, unflappable professor of archaeology who could fight off Nazis with little more than a fedora and a bullwhip.
Holy Spirit: do not descend as a dove. Better to return as a millipede hidden beneath decaying bark than anything that can soar. Ponder the incarnational worth of Pneumodesmus Newmani, the oldest known form of life on land, linking air breathing with the surname of the Scottish bus driver and amateur paleontologist who chiseled its fossil from harbor rocks north of Stonehaven, observing through his field lens small openings in its exoskeleton used for inspiration, meaning it moved its many legs on dry ground, not seabed. Or consider this descendent of Pneumo, younger by four hundred million years, curled for self-preservation on my palm, a hard button of red legs whorled inward, circled by dark armor plate, both of us breathing air while we wait for a sign that it is safe to resume whatever it was we were scurrying to do prior to this disruption of our forward flow to make a theological point: Of what use are metaphors of flight for things with feet?
His fascination with light begins in a lantern held by a shepherd, over a little family against inky velvet. Then light shifts; Christ becomes core. When he preaches rays fall like song on some earnest, captivated faces, some distracted by other conversations, and a dog facing the wrong way.
From his raised hand light spills like waterfall over Lazarus and lifts him, pale and twisted into that luminous aura. Even on the cross, the thin etched lines leave an ivory bowl around him, gather from dimness the only dawn.
The limp corpse with extended ribs still radiates. Its slide starts at a peasant face, guided into arms that catch the contagious light, leaking onto the stocky official, plumply supervising procedures. Visual poems carved on copperplate: I stood rinsed in that light.
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).