At first—a leering mob circling the house, jeering, dancing naked, taunting the guests with their sex— the daughters thought their father brave to step outside, lock the door behind him, stretch his arms out in protection.
But then, even he offered them up, a sacrifice to protect strangers. Their father. The only “righteous man” in a city destined for flames, “Do with them what you like. But don’t do anything to these men.”
Then their eyes were like Isaac’s below the knife, the ram not yet in the bush, the blade gleaming.
What dread dug in the daughters’ betrayed hearts before the rioters, struck blind, stumbled, fell down, unable to find the door, Lot tugged back safely to the house?
And later, when they left that life behind, eyes straight toward Zoar, did they hear their mother turning, her stories sliced off mid-sentence?
What kept their gaze fixed? Their father’s almost-sacrifice or the intervention?
Fairy tales tend to be parables. They teach us to look beneath the surface (Beauty and the Beast), to exercise patience and to work to overcome obstacles (Sleeping Beauty), to avoid easy gratification and hold out for the real prizes in life (Pinocchio). In the fairy-tale films of the great Japanese animator Hayao Miyazaki, the meanings are often layered.
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).