The boy was thrown against the ground, his arms flung wide so I could see under the bent grille of the farmer’s truck his narrow chest rise and fall—so I could hear between the swish of passing cars that click of breath and bone.
Even now I watch the rain—but there was no rain— spark against the road. I see his hair— but from where I stood his face was turned— soaked against the ripe fruit of his cheek. Listen,
the bus had stopped for gas. I left my seat and walked across the empty lot hoping for a sink to rinse my mouth. I remember the black field beyond the road, the moonless sky and how I strained to tell heaven from earth.
Truth is, that morning no one was saved. No one lit a cigarette and proclaimed Never again to anything. Strange. How I can see each orange fall from the bed of the truck, thump onto the pavement and roll gently to a stop.
Before the advent of drug traffickers and serial killers, films often focused on conflicts over real estate. Think of the red dirt of Tara in Gone With The Wind, the stately mansion in The Magnificent Ambersons or the contested open plains in Shane. Property is also the focal point of House of Sand and Fog, based on the 1999 novel by Andre Dubus III.
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).