At the first cut the earth does not thank the blade. Is it rape then?—the bite of steel, its point incalculably harder than dirt, its mark the hiss of death, the metallic taste of sorrow. And what does the earth cry, its tangle of root a living shroud rent by force? Memory longs to preserve what has already grown. The furrow is wet with tears, brown heart exposed, underworld of worms and slugs prey to birds, dreamless of deep new roots, of shade: the palm tree of Deborah, towering crown of green.
The ravaging is not yet complete. Jeremiah’s voice rages against Yahweh’s violation, at first petulant and then violent in return. It has always been so. Sixty discs slice the remaining sod, merciless, efficient: vestiges of cover criss-crossed into oblivion. Blind stalks mourn the loss of the sun, overturned into darkness, food for the coming reign. There is a quiet loss, the peace of death— stillness in the wake of wrath.
The thunder god is always the god of heaven and of death. Rain and death both bring life, black earth signifying a bed, a womb for golden seeds dropped from the mouth of the god, for a cause not one’s own. Is there a more tender bliss than the sweet swelling, the burst seed? Tendril roots uncoil, the seedling unfurls— moon-pale shoots beneath green and gold. The seed takes possession, the violated earth sings, the rich strains reach heaven.
Classic romantic comedies follow this scenario: the hero and heroine begin as adversaries but are irresistibly drawn to each other; they overcome a series of obstacles and recognize that they belong together; their willingness to change—to discard the prejudices that kept them apart—denotes their growth as human beings and shows that they deserve each other.
The French film Caché (“Hidden”) is a stylish thriller tiptoeing around a psychological drama that lurks inside a political allegory. This is typical of the work of Austrian writer-director Michael Haneke (Code Unknown), who enjoys presenting confrontational films in which seemingly normal folks leading normal lives turn out to be not very normal at all. Caché, which won the Best Director Award at last year’s Cannes Film Festival, stars the enigmatic Daniel Auteuil and the luminescent Juliette Binoche as Georges and Anne Laurent. He hosts a television talk show about books; she is a writer who works in publishing—until an anonymous two-hour videotape interrupts their lives.
Her house was a three year old’s drawing of a house—two windows on the second floor with two below to flank the door. On the porch a pair of supermarket tube and webbing chairs in case a guest or two dropped by plus one where she could lean way back, a coverlet across her knees when fall was in the air or she felt ill.
The shades she always kept exactly so, the ones above just low enough to hide her on her way to bed, the ones below up high to let some daylight in. Now that the house is empty as a drum, they’re every whichway like an old drunk’s stare, and somebody’s pinched the supermarket chairs.
Sweet Jesus, forgive me all the days I spotted her in one of them and slunk behind the trees across the street. A caller on her porch for all to see she would have rated with her trip to England on a plane, or winning first prize for her grapenut pie, or the day that she retired from the Inn and they gave her a purple orchid on a pin.
Or having some boy ask her to dance, or being voted president of her class, or some spring morning with her room all warm and sunlit waking up in Spencer Tracy’s arms.
For nearly 75 years, travelers on the Pennsylvania Turnpike could pull off the highway and walk up the steps to St. John the Baptist Catholic Church to pray or attend mass. The church features rich wood and hand-carved accents, a beautiful staircase to a loft, and 14 Tiffany stained-glass windows. But the days of the “Church of the Turnpike,” 90 miles east of Pittsburgh, could be numbered. A highway widening project is under way that will permanently remove the legendary steps in two or three years (RNS).