Sometimes, at end of day, but not of care, Mozart or Beethoven our aural food, Her hand reaches into empty air, A tactile search for something understood; This is a nurse’s hand, a hand that heals, And yet, the reaching gives no hint of sense, No hint revealing what it is she feels, But still, incarnate eloquence. Perhaps it is within these vacancies That meaning lies. Or in the mystery Surrounding us in health, and in disease. Perhaps Alzheimer’s gives epiphany. She reaches her hand into the empty air; Who dares to say that there was nothing there?
Since time flies one way like an arrow, the sugar can’t be stirred out of your oatmeal and no matter how long the murderer sobs on the median strip—sorry!—he can’t reverse his swerve, cannot rescind his drink
before the crash. Like him, was Jesus heartsick to find history’s not a zipper running both ways? He who loved eternity—its roominess, its reversibility—as he grew up, did he have to learn he never could unsay a thing
he’d said? And yet today, like all Good Fridays, He hangs on the cross again. On altars he hangs. On necklaces. His death is like an x that rides the wheels of time to come again in ritual, that miniature eternity, that spring
re-sprung. Dear God, there in your big eternity, remember that your hands and feet can never be unscarred again. Hear these words spoken by a body that suffers, by a tongue that will stiffen soon and be gone.
Have mercy on us who love time. May this prayer be a tire that rolls over every inch of the way to find You. May it be a bell which can never be unrung.
A pair of British imports explores faith of different kinds. Millions, directed by Danny Boyle from a script by Frank Cottrell Boyce, is by far the slicker of the two. It is chock-full of glitzy visual effects, something to be expected from the man who directed the kinetic drug film Trainspotting.
Did the blessed mother note the measure of the moon? Ancient church tradition says they came on the same day— that Gabriel’s whispered “hail” shared Golgotha’s dark noon, that her pain embraced perfection and who are we to say?
It was exquisite sorrow to have her melody become counterpoint to her son’s words arduously spoken that afternoon of agony; below she stood mute, numb, to watch his body slowly punctured, torn and broken.
How did she ponder and how could her heart sustain a moment of astonishment, an anniversary gloss, now—forlorn as vinegar; bitter balm for pain. But she would hold to his wine, hard-won from torture, loss,
his new wine of forgiveness, now soaking into sod; trusting it could endow her to forgive even her God.
Hell wants him, heaven won’t take him, earth needs him.” So proclaims the poster for Constantine. It sounds like an ad for a previous Keanu Reeves movie, the ridiculous Devil’s Advocate. Yet some of the same publicists who promoted Mel Gibson’s The Passion of the Christ are promoting Constantine—and for similar reasons.
When Mary Magdalene said she’d seen the Lord it was strangely disappointing One of the worst women saved from the street to have been first I knew it must be true that’s just what he would do but then when I was the only one to fight fear & search for myself the others lagging behind it was like the soldier’s spear went right through me too when I returned to hear the others bragging (that was the worst) that I was the only one not to have been there not to have seen where his hands were pierced I went into denial I won’t believe I said Anything less than my fingers in his wounds won’t be enough My words sounded odd to my ears A week later I was among them when he appeared & called my bluff My Lord & my God Conviction rolled off my tongue
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).