I’ll always remember the sweltering night in Missouri, the pulsing din of the katydids, the prairie grass stretching away on the other side of the trees. In the dark woods across the pond, a lost calf bleats its anguish— six times, then eight, then six again. I sit at the camp table listening, as so many nights before. In the tent, sleeping, the boy, now thirteen, the woman, after twenty-seven years. Moths and greenbugs attack the lantern, flapping crazily. Before I finish tonight they will land in the halo of the hot gas light, diligently search out the lantern’s air vents and incinerate themselves. In the morning I will brush away the fine white ash. This is not a fitting metaphor for any human aspiration. The light we are seeking is not the kind that destroys those who seek it. True, the bright burning gas tempts us sometimes. I know, I know. There are nights when we feel that bad. I turn the valve of the lantern to off and wait for my vision to adjust to the darkness. The almost inaudible breathing from the tent comforts me. I think of us sitting on the shore as the last sunlight seeped from the sky, watching the boy cast his fishing line again and again out into the pond, catching nothing except happiness. The light we are seeking catches all the world in the shooting arc of the outthrown line, never to be lost, not bounded by night, dangerous only to death.
It wasn’t where we wanted to live but you have to put down roots to thrive. Daily we bore the shock of forbearance— our own and our neighbors’: the noise, the smell! Be fruitful! We tried. Soil of lead arsenate, cadmium. We added our detritus, peel and core: redemption. And now our mineral prison blooms in this, the year of our departure: now at last the berries fruit in blue abundance. Which goes to show our acts are not our own; what we make does not belong to us. At best we fade softly as timothy, and leave our harvest to the next people.
Great westerns have always wrestled with moral issues. John Ford’s The Searchers tackles racism; Howard Hawks’s Red River, loyalty; Sam Peckinpah’s The Wild Bunch, honor; Sergio Leone’s Once Upon a Time in the West, revenge; Clint Eastwood’s Unforgiven, redemption.
Through lashes, saw the weave of the crocus blowing backwards, and in this motion recognized my life, the full sadness of existence, but wanted it still: the earth and its sugars, these days like a bridge I could cross.
Sitting in a chapel high in the golden sculpted hills of California A few minutes before Mass I reach down to a small wooden box By my chair, where missals and songbooks are stored, and I find A set of ancient eyeglasses folded into an old cloth case, so worn That it feels like a pelt, and I realize that my chair must belong to A certain sister here at the old mission. Maybe she’s here at Mass, Trying not to be peeved that I snagged her seat. After Mass I ask Around and a sweet nun with a cane says oh no, dear, that’s Sister Maureen Mary’s seat. She passed over two years ago. She was tall And hilarious and subject to fits of darkness. She’d been a student Of engineering, a really brilliant girl, when she decided to join our Community. Her parents were appalled, or as Sister Maureen likes To say, aghast. She became a wonderful teacher with us. When she Died we got hundreds of notes from her former students. Teachers Have to cultivate the long view, as Sister said herself. You haven’t Much immediate evidence of your labors. But you get flashes, here And there, and hugs at the end of the year, she would say. She was Still an engineer, she said—still actually working in fluid mechanics. Her mom and dad began to visit once a year and then once a month. Her sister never visited even once although she sent money. Sister’s Parents died and willed us the truck in which they came to visit their Daughter. We use it all over the place. You’ll see it go by today, for Certain. When Sister died we left her glasses there just for moments Like this, when someone discovers her. Often it is us, of course, and We laugh, but then you spend the rest of the day remembering Sister Maureen Mary, who is a most remarkable soul, whom I miss terribly.
HoneyMaid, maker of graham crackers, received many negative responses to its “This is wholesome” ad featuring a same-sex couple. Rather than backing down or counterattacking, HoneyMaid printed all the negative comments and had a collage made from them spelling the word love. Cheerios likewise doubled down when it received negative feedback to its ad featuring a mixed-race couple with a cute daughter. Cheerios ran a sequel to it during the Super Bowl (Washington Post, April 4).