First there was the twitch of the olive leaf lipping its stem, then the sigh of silt, settling, and the surrender of crickets, their legs, like fans, folding, when the trill of a brook, intoxicating, irresistible, like the grace of his Lord, carried him away that evening— no chariot for Enoch at the age of 365 who walked with God and simply like the last day in a year was no more.
Mountain climbing may be one of the few modern dramatic subjects that contain the key elements of Greek tragedy: terror and folly, hubris and courage. You get a staggering sense of all four in Touching the Void, Kevin Macdonald’s film of Joe Simpson’s book.
This time of year, what with bulbs bursting through to light, crashing headlong into color, puff balls of sudden pink, cloud clumps of eager violet and white crowding, clustering, clambering up and along each naked stem and branch, what with the gray lawn’s sweet, impulsive greening, the chill creek’s snow-melt speedy surface coat of foam and flashing ripples, what with these birdsong brimming dawns, these chirping, marsh-born, peeper chants that hymn the day to rest, what with such hastening, glad abandon rushing, coursing, flooding, charging toward life, tales of a vacant tomb, of bindings cast like scattered husks and the rumbling of a cold, dead rock to clear the way for all that is to come, such tales seem almost natural. What else should we have expected, after all?
In the 1927 silent version of The King of Kings, directed by Cecil B. DeMille, Christ is first seen from the point of view of a blind man regaining his sight. It is a masterful touch that adds grandeur to the story. Over the decades, scores of films have been made about Jesus of Nazareth. Many of these productions dripped with Hollywood glitz, while others tackled serious issues of faith.
This soot-dark smear across the brow, between the eyes, will lead you, if the way be clear, through all the endless winter of our year, toward an elemental table, the tears and savage hubbub of that agonizing garden, the treacherous courtyard, hilltop, nails and spear, the cry, the dark descending fear, and then another garden with a cave and such an austere emptiness will fill the rest of history with clear resounding alleluias.
At least half of churchgoers in the United Kingdom claim they’ve heard their church organist occasionally slip in unexpected tunes, from popular songs to advertising jingles and theme songs from TV programs or movies. Sometimes organists are motivated by playfulness, other times revenge. One organist played “Money, Money, Money” by Abba while the offering was taken. Another played “Roll Out the Barrel” at a funeral for a man known for his drinking. (The organist got sacked for this transgression.) An organist in Scotland at odds with the elders played a thinly disguised version of “Send in the Clowns” during the procession in a worship service (Telegraph, May 3, 2013).