Winter dawn pinks even this dirty air, here where the currents of the world stall between mountain ranges. We awaken inhaling fumes and dust, the calls of crows, breath and prayers from around the globe.
A child in church, I knelt with the congregation, leaned into the wails of women around me pleading for the son lost to Chicago, for Hiroshimo’s victims, the girl with the iron lung. They would begin on a pitch around middle C and slowly rise with arched phrases into a high tremolo toward the amen, as though reaching to heaven.
Now the sun tears the gray veil, and doves repeat their soft, low moaning, for heaven is nearer than we think—in the undersides of leaves and in their shine, warmth on my shoulder, scent of bread. Even in that sick, black night when a man stood in the center of the lane, his arms out, pleading for the headlights to come in, as we stood beside him, now in a silent heap, his boots flung off, as we breathed “mercy,” as we breathed “help.”
Since time flies one way like an arrow, the sugar can’t be stirred out of your oatmeal and no matter how long the murderer sobs on the median strip—sorry!—he can’t reverse his swerve, cannot rescind his drink
before the crash. Like him, was Jesus heartsick to find history’s not a zipper running both ways? He who loved eternity—its roominess, its reversibility—as he grew up, did he have to learn he never could unsay a thing
he’d said? And yet today, like all Good Fridays, He hangs on the cross again. On altars he hangs. On necklaces. His death is like an x that rides the wheels of time to come again in ritual, that miniature eternity, that spring
re-sprung. Dear God, there in your big eternity, remember that your hands and feet can never be unscarred again. Hear these words spoken by a body that suffers, by a tongue that will stiffen soon and be gone.
Have mercy on us who love time. May this prayer be a tire that rolls over every inch of the way to find You. May it be a bell which can never be unrung.
A pair of British imports explores faith of different kinds. Millions, directed by Danny Boyle from a script by Frank Cottrell Boyce, is by far the slicker of the two. It is chock-full of glitzy visual effects, something to be expected from the man who directed the kinetic drug film Trainspotting.
Danielle Snyderman, a geriatrician, says it isn’t possible to work successfully with an elderly patient without knowing about that person’s relationship with his or her spouse. This awareness led her to start collecting stories about the love lives of the couples she was working with. These stories are “packed with humor, history, wisdom, and grace. Who wouldn’t feel better after bearing witness to love that has weathered child-rearing, war, poverty, financial success, and physical decline?” Couples have difficulty addressing one question: “How do you anticipate a time without each other?” (Philadelphia Inquirer, June 14).