So here we go again. The grit of darkened seasons past between the eyes, across the brow. The purple cloths of grief, tall cloistered candles, numbered days. Six more weeks of wintered trudging through a wilderness bereft of alleluias. All this to show that everything we know— and are—is dust and will return in just the way it came and always has come. Yet, here and there, bent brave above the snow the clustered Lenten rose bleeds color from pale sunlight, gently points itself toward a cross, an emptied cave, that bright unending summer glimpsed in childhood, and forever after longed for past the terminus of measured time.
Viewing Bill Guttentag and Dan Sturman’s Nanking is emotionally devastating. The film is a record of the Japanese occupation of Nanking in 1937, which entailed unimaginable cruelty. In addition to the wholesale slaughter of the Chinese, the Japanese committed 20,000 acts of rape in the first month of occupation, according to the Tokyo Tribunal on War Crimes, convened after World War II.
There are few tasks more daunting for a filmmaker than straddling the line between comedy and tragedy. It is hard enough to establish a tone for a movie without the added challenge of making the funny stuff and the melancholy moments work together like the ingredients of a magic potion.
“I have been even as a man that hath no strength, free among the dead . . . Shall thy loving-kindness be showed in the grave?” —Psalm 88
Some days I feel as old as father Abraham, doddering father of a teen-aged daughter who last week attended her first “real” concert, at the crowded Aragon Ballroom in Uptown. When will my own days feel real again, the frozen clock hands begin to turn again? When will this chemical burning in the veins stop, and hope, perhaps, be recompensed? I wear this long wool coat against the cold that hurts me, covered with two scarves, my face covered to avoid any feeling of cobwebs, with their every thread feeling like a tiny razor blade slicing the skin. There is no ounce of benignity in this feeling. Maybe that is why the winter mask, last week found at Target, most accurately resembles a terrorist accessory, all black- hooded with eye slits. Were I to wear it, I would appear on campus like an ISIS recruit, no doubt a proud servant in his mind, clouded by the violence of the mission and sentence he honors. O the necessary horrors, those airstrikes occurring in the body’s battleground, leveled at the cells. If I were to wear the black hood, guise of a hangman (not the one hanged), I fear that campus security would target me, bucolic space locked down in emergency protocol. That’s all I would be: self-terrorist, strapped with the various wires of my sickness.
On the day the Supreme Court declared same-sex marriage legal, Iowans Bob Vander Plaats and Donna Red Wing had a chance meeting and hugged one another—even though they are culture warriors on opposite sides of the same-sex marriage debate. Vander Plaats heads Family Leader, which supports traditional marriage; he believes Red Wing’s lesbian marriage is unnatural. Red Wing, head of One Iowa, an LGBT rights group, has called Vander Plaats “bigoted” and “cruel.” But a few years ago, at Red Wing’s initiative, the two met for coffee and struck up a friendship. Since then they have been trying to soften the rhetoric of their organizations while still sticking to their principles (Washington Post, July 4).