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 protagonist of The Visitor is Walter Vale, an academic who has retired from life after his wife’s death. A political economist at a small Connecticut college, Walter (played by Richard Jenkins) is no longer engaged with his students. He’s taken a reduced teaching load ostensibly to complete a book, but he’s not writing one.
Rome is over. Not just the republic, but the TV show. Despite solid ratings and Golden Globe nominations, the popular cable series ended last year. HBO, the BBC and the Italian RAI had teamed up to offer two seasons of ten episodes each about ancient Rome. Now the series is available on DVD.
The smile on your mouth was the deadest thing Alive enough to have the strength to die. —“Neutral Tones” (Psalm 72))
It won’t last long, this snow that sheathes the dooryard pine in April and lays its feckless cover on the slope behind. Crocuses, just tall enough, poke their small blue noses through. It’s clear that they’re alive enough to live. April’s gale is loud as bombers. What’s left of ice around the pond in town is rough as predators’ teeth. The fisher fells the luckless squirrel.
There’s much I too may try to cover. For all of that I feel a gladness in watching this omni-inclusive white blot out the neutral tones that pushed our brilliant poet to ponder death, and love’s deceit, its cruelty. We’ve been together, my love and I, near three decades, which have scudded by like these sideways flakes. My lover-wife. There can come pangs, but the freshets have started
to wander the brush and make their signs: soon we’ll find the trillium, the painted kind, in that secret place which I discovered springs ago, and which since then I’ve kept a secret from all but her—from even our children; and the valley’s white-faced Herefords, while winter endured, dropped new calves, which now, though mud clots up like blood, shine clean as a man’s most colorful dream.
What is this one’s dream? That life go on as ever. That all our lives go on. No more than dream, of course. I know, the planet heating up, the cretin politicians waving swords, as if, by counter-logic, war might transform earth into something more saintly. So many hard facts conspire against me. To know that, though, is to make me cling the harder to gifts that appear to be given
without my having to deserve them. Flowers, beasts, the glinting trees. My disposition, which has moved me here to mute dispute with my great better, in spite of all my darker doubt. Inkling that something will soon come down like rain upon the mown grass, as showers that water the earth. Let us praise the Lord, and every weather. Or the smile on the mouth of my lover, which still can blind like snow.
Or the road agent waving from his bright-red plow as it smooths the mud-clotted back lanes over.
Cemetery crowding, especially in large cities or among religious groups that forbid cremation, is becoming a problem worldwide, forcing some creative solutions. Residents of Mexico City must exhume and remove their relatives’ remains after a number of years. A Tower for the Dead project is in the works there: it will include a vertical necropolis along with a subterranean complex 820 feet deep. A simpler solution is to stack graves on top of each other and to share tombstones. Other options being considered are stacking the dead above the ground in niches built into a wall or housing the dead in buildings with each floor resembling a traditional cemetery (AP).