We Are the Eighth Day, © Melanie Weidner


Another Lent

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.

The Savages

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.


More than half taken up
on the reel, the tape
plays Mozart’s Requiem.
By my front walk
three crocuses, blue
with saffron suns, thrive—
an early spring’s pledge.

At the same time
snow is falling.
It flies aloft
as if some dandelion clock
has blown apart ahead of season;
not a winter’s spite.

The reel takes up the slack
of the Lacrymosa
and I take on the year

its space
its flow
its breath.




This is the last outrage, what women do
in secret, slipping their fingers under bras or nightgowns
on wild, moon-driven nights, needing to true
the circle of their breasts, wanting to lunge
below desire, beneath arousal and beyond
the sweet milk-happiness of feeding children
to find the nuclear godawful contraband
their bodies might be hiding—the refrain
danger, danger, singing in their minds.

At dusk I slip into a pew, enthralled,
alert, combing through the week to find
what might destroy me, to send it away.
Lawyer, accused, bent to root out scandal,
my hands judging. And also, maybe guilty.