A friend of mine has an idea for teaching youth about sex: have them view one of those graphic birthing videos that the hospital has for first-time parents, the kind that shows the crowning and the afterbirth, the agony and the joy. The kids will get the idea.
Up north, my wife, Felice, slipped away with emphysema, and my work cruised on without me—accounts balanced, mortgages afloat. My sleep done down here in Florida, I stand looking out a darkened window no one’s looking in. The morning paper never comes too soon with its rites of scandal and opinion. I finger my few stocks’ shifting fractions, consult the weather map’s puzzle,
while the percolator gurgles and sighs. I wait for the light, wait for that moment when Felice appears, pouring my cream, easing my bitterness by asking, “Where will you go today, and who will you carry?”
This soot-dark smear across the brow, between the eyes, will lead you, if the way be clear, through all the endless winter of our year, toward an elemental table, the tears and savage hubbub of that agonizing garden, the treacherous courtyard, hilltop, nails and spear, the cry, the dark descending fear, and then another garden with a cave and such an austere emptiness will fill the rest of history with clear resounding alleluias.
At least half of churchgoers in the United Kingdom claim they’ve heard their church organist occasionally slip in unexpected tunes, from popular songs to advertising jingles and theme songs from TV programs or movies. Sometimes organists are motivated by playfulness, other times revenge. One organist played “Money, Money, Money” by Abba while the offering was taken. Another played “Roll Out the Barrel” at a funeral for a man known for his drinking. (The organist got sacked for this transgression.) An organist in Scotland at odds with the elders played a thinly disguised version of “Send in the Clowns” during the procession in a worship service (Telegraph, May 3, 2013).