Chariot from Hades, fire glinting from its windshield, steel knife splitting the atom to pull in front of me, so close now I can see the driver, her phone, can hear death ring. Searching for a place to get away, I swerve into a corridor of hate, detesting her, my body fired with full throttle hatred, I rev up, speed ahead, so close now I can see her her mouth a frightened grimace. How exposed she is, wearing only the flimsy dress of a car, her brief face etched and dying on the air, when someone calls, Bless this child. May her parents see her alive tonight, speaking through me, a voice, then peace, as she passes safely by.
In 1994 Paul Rusesabagina, a hotel manager in Kigali, Rwanda, risked his life to help save more than 1,200 men, women and children from the ethnic cleansing that wiped out nearly 1 million Rwandans in 100 days. Through this true story Hotel Rwanda tells the story of the genocide in Rwanda.
Purporting to deliver the straight goods on modern sexual interactions, Closer is glossier than last summer’s similarly themed We Don’t Live Here Anymore, and it has a more impressive pedigree—an award-winning director (Mike Nichols), a highly acclaimed British stage play (by Patrick Marber) for its source, and a glamorous cast: Julia Roberts, Clive Owen, Jude Law and Natalie Portman
It is hard to be moved anymore by films about concentration camps. The grainy images of scarecrow figures; maniacal guards firing pistols on a whim; parents dragged away while children stare—Hollywood has managed to turn such horrors into stock visuals. It has made the unspeakable not only speakable, but almost rote.
The snow in North Dakota asks a question with no question mark, no capital letter, to indicate where it begins and ends or what lies in the middle, for that matter. The question is white and drifts above the cab of the snowplow while in its orange light people lean into the wind along the curb, digging out cars that vanish in the night.
At home their dogs are silent, hearing no sound. The cattle huddle and freeze, and buffalo crossing the buried fence, free now to roam, stand silver and stiff as nickels in the dawn— eyes frozen wide and blank as if they tried to comprehend the question while they died.
So Jesus’ wealthy friends did prove useful in the end. All four narratives seem to agree on this. Joseph, after all—the one from Arimathea, not his Dad— Joseph pulled strings with Pilate. Did he have to call in a few favors earned in questionable ways so he could claim possession of the corpse? Old Nicodemus too, Jesus’ night-shift friend from the Sanhedrin, Nicodemus makes his own fleeting reprise, carting along a ton—almost—of fragrant spices, nard and myrrh (again!), for preservation purposes. Although where he got such pricey stuff, late on a holiday Friday afternoon, is never quite explained. And that convenient, fresh-hewn, garden tomb; even back in the day, sepulchres such as those did not come ten-a-penny! Add in all the hired help they must have needed to get stuff from here to there and, of course, to roll and seal that massive rock . . . Whole thing makes you wonder—doesn’t it?— wonder if that narrow needle’s eye got prized wide open— camel-size, at least—to accommodate these late allies.
Children who sing in a choir, play in an orchestra, or perform in a play are more likely to make good moral choices compared to their peers. This finding was the result of a study at the University of Birmingham involving 10,000 British children and 250 teachers. The study also concluded that participation in sports doesn’t necessarily lead to better moral choices. The findings suggest that sports build character only when parents and coaches work to ensure that outcome. Children who go to church, get good grades, and have parents with a higher level of education also did better in the moral choices measure (Telegraph, February 27).