The trouble is the halo. He’s never dissected one, prying it open with a blade under cover of night to determine its component parts: seeking with his fingertips for the thin band of cartilage that holds it erect, or the branched nerves channeling light as coldly steady as foxfire on a rotting log. The same goes for wings. Without evidence from his cadavers, he dispenses with them, painting angels as fit as young quarrymen and pasta-loving cherubs to whom aerodynamic principles will never apply. Even God looks as if he climbs into bed each night stiff from a hard day’s work but not ready for sleep, his brain crammed with thumbnail sketches of airy beings aglow with inexhaustible fuel flying by faith in unborn Bernoulli’s constant.
These midwinter days that bridge Epiphany to Lent can seem anything but ordinary as the steady waxing light reflects across old December’s glaze of ice, a biting wind hisses across the stark bones of the bracken, and treetops signal sparse against a sky expecting still more snow before nightfall. Scarlet and speckled birds announce themselves about the brightness of the holly, spray from the creek creates bright frosted chandeliers among the tangled overhanging branches, and dusk draws down its spangling of stars so crystalline they lift the eye— heart too—toward a principality that banishes any vestige of routine predictability. Ordinariness exists—if at all— within the desiccated soul, too distracted by its fearful self to notice.
Soulful and tough in equal measure, The Pursuit of Happyness is the ideal movie for the Christmas season. It’s a triumph-of-the-spirit film in which the protagonist’s journey from poverty and occasional homelessness to solvency and the promise of a future is so thorny and obstacle-laden that you can’t imagine how he’s going to get there.
Near chamomile and rosebud potpourri a pair of porcelain camels rest, bit players glazed and unaware of this faux Nativity. Peasant extras lift their silent, pleasing prayers with seasonal adoration. None harbors signs of panic: no goats or stable maids, no wise trio, those dazzled star readers bearing gifts of frankincense and myrrh. Not the puzzled carpenter from Galilee. Not the curious shepherds, nor the virgin exhausted still from her spotless labor.
These figures encircle a barren trough. Where have you gone, O lost Christ child? In truth, the Messiah’s size is the stuff of legend: he’s been abducted. (No Ascension- Come-Early before the ministry begins) Not much bigger than a packing peanut, the babe’s become an object of devotion, begotten for those tenacious paws’ wild swatting or mouth that totes the Savior in haste. We spy the vacancy and know the culprit: fat Larry, golden pear and roly-poly cat,
that ring-tailed and recidivist felon. Regular brigand of the infant Son, he mocks this fragile coffee-table cast. We joke that his is a holy commission, converting birthplace to an empty tomb, Bethlehem yoking the born and risen. Each time He’s someplace new: laundry room or water dish. Under chair, in basement, unknown manger now. And still His grace and tiny lacquered limbs feel ever present, embodying their reliquaried space.
The diaries of World War I poet Siegfried Sassoon have been digitized and made available to the public by the University of Cambridge. Sassoon, a British soldier, was quickly disillusioned by the war and became an outspoken war critic. His diaries feature poetry, prose, and drawings and include his 1917 antiwar “Soldier’s Declaration,” which got him committed to a hospital for the duration of the war. He described the first day of the Battle of Somme as a “sunlit picture of hell” (BBC, July 31).