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.
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.
Meg went to the Tower, somehow passed the halberds of the Yeomen of the Guard to embrace once more the father whose hair shirt she washed, whose “wholesome counsel and virtuous example” she received, whose mind and person she loved.
Not Holbein’s Chancellor but an El Greco saint, he was led out carrying his red cross, emaciated and ready. He reminded the axe man his neck was short, asked him not to miss. Then put that noble neck in the arc of the block, and the great, wedge axe lopped off his blessed head. Faithless Henry had it put on a pike on London Bridge, a horrible deterrent to heroic silence.
At what cost and courage Margaret rescued it, carried it home to Canterbury, buried it by St. Dunstan’s Church. How often did she gaze from home across to the church yard, longing for the King whose name is love, Whom she, and we, still await?
Katrina Spade, founder of the Urban Death Project, plans to compost human remains with wood chips inside a three-story concrete core. She argues that this approach is even more ecologically sound than cremation, which creates greenhouse gases. Bob Fells, executive director of the International Cemetery, Cremation and Funeral Association, thinks treating human remains as a waste product is disrespectful. Spade is hoping to break ground for the composting facility in Seattle by 2022 (Slate, July 15).