Did God create the microbes, too? On which day did God say, “Let there be Brie”?
Are these, then, messengers of the Holy One— Clostridium Gabriel Difficile and Staphylococcus Michael Aureus? The seraphim Influenza and Pneumonia?
No drunk driver will take her away. No warriors wage this assault. No mugger, no terrorist, no drive-by shooter. No one to blame. No one.
Unlike the monotonic booping of her monitor And tweeting IVAC pump, Her ventilator pipes an almost merry tune From time to time, Like close encounters of some kind, While tiny creatures who, naturally, Dance in colonies on heads of pins, Swing, Lo, to carry her home
Wendy Carroll (Michelle Williams) is a homeless woman driving cross-country with her dog, Lucy, and sleeping in her car at night to save money and stay warm. One morning, her car won’t start. Her funds are limited, and she finds herself at the mercy of the local mechanic (Will Patton). She panics and shoplifts some dog food. She is caught and arrested.
In June the World’s Fair with bright red strawberries and cream over seared Belgian waffles. It grows hot. Trapped in the crowd, a tangled skein of nerves, lost and hungry for quiet, for tenderness, I ride with my aunt on a long conveyor belt to see the Pietà. So gentle the grieving, tranquil mother with her downcast eyes, the stone folds still around her, the cold flesh of her perfect son. She does not attempt to cry. My aunt, primed by The Agony and the Ecstasy, leans to recognize “Buonarroti” on the chiseled band, tasting the contours of each round unaccustomed syllable. She whispers the name. She will not last two years. Silent, thrilled and careful as dancers, when we step off on solid ground we are joined by our secret, sworn never to tell what we have no words to say. This is how it will be in the winter we take our leave: bitter flakes in a sharp ribbon of wind beyond tears or anger, the long frozen loop home from the hospital waiting for me, as we both know. Suddenly shy and tongue-tied as a girl, she will reach out from her bed to touch me, recalling too the marble brow, faintly wrinkled, the white hand, open, as if it were asking a question.
For a practice to qualify as “evangelical” in the functional sense means first of all that it communicates news. It says something particular that would not be known and could not be believed were it not said.
Working at the top of his game as both a filmmaker and an actor’s director, Ron Howard has converted one of the most intriguing media events of the late 1970s—David Frost’s TV interviews with Richard Nixon three years after Nixon resigned as president—into memorable drama.
And I am one of your many amanuenses writing letters recommending you, then I am free to know you as I do and write you as I will, searching out your ways as I find you and longing to trust who it is I find.
But you are who I say you are and not, who they wrote you were and often are, who I wish you were and I hear Wish again.
So that I, exhausted, resign myself to Eckhart’s ecstatic, My me is God, and I am both glad and sad, for I turn around and there you are and it remains true that I see so little of me in you.
Still, no one is searching for me the way you are, even as I play my childish hide-and-seek with you, until you grow weary of my game and like a father with better things to do, go back to writing the ever evolving You.
Religion is often on display in professional athletics, with the exception of the National Hockey League. The few hockey players who are open about their faith buck a tradition of reticence or downright distrustfulness toward religion. Unlike professional football or basketball, many NHL players come from Canada or Europe, where the culture is much more secular and religious faith is closely guarded. There is also the suspicion in hockey that a person of faith might be too soft a player. Some hockey clubs make chapel services available, but far fewer than in professional basketball (Boston Globe, April 5).