She likes to watch her children in the long grass, how they disappear, emerge, like they’re swimming in an ocean without current but the one of growing. See how the long blades part for them, how they close up all around, Watch the gold heads bob, hands reach up for the sun as if it’s the transportation of these years. Hear the silence, the safe silence. And then the muffled noise rolling through the shafts, secured forever by the wrinkled smile of her hearing. Children are nature’s people now, but her nature too, the one that says, play here, will later sigh, but how could I prevent you.
Guilt and remorse over Nazi atrocities and the horrors of World War II have consumed Germany for decades, influencing politics, culture and the arts, including cinema. The rise of the German New Wave of filmmakers in the 1970s (led by Werner Herzog, Wim Wenders and Rainer Fassbinder) was fueled in part by a desire to exorcise Germany’s dark past.
Winter dawn pinks even this dirty air, here where the currents of the world stall between mountain ranges. We awaken inhaling fumes and dust, the calls of crows, breath and prayers from around the globe.
A child in church, I knelt with the congregation, leaned into the wails of women around me pleading for the son lost to Chicago, for Hiroshimo’s victims, the girl with the iron lung. They would begin on a pitch around middle C and slowly rise with arched phrases into a high tremolo toward the amen, as though reaching to heaven.
Now the sun tears the gray veil, and doves repeat their soft, low moaning, for heaven is nearer than we think—in the undersides of leaves and in their shine, warmth on my shoulder, scent of bread. Even in that sick, black night when a man stood in the center of the lane, his arms out, pleading for the headlights to come in, as we stood beside him, now in a silent heap, his boots flung off, as we breathed “mercy,” as we breathed “help.”
Orchard Gardens, a K-8 pilot school started in Roxbury, Massachusetts, in 2003 did not live up to expectations. It was racked by violence, and its 2010 test scores placed it among the bottom five public schools in the state. Andrew Bott, the school’s sixth principal in seven years, fired all the security guards and devoted the money to teaching the arts. It was a risky move that’s paid off. Tests scores have improved, even though they’re still below average, and student behavior has improved. “I’ve been more open, and I’ve expressed myself more than I would have before the arts came,” said one student who has been accepted into a public high school specializing in visual and performing arts (NBC News, May 1).