Before Malcolm’s funeral got started, I stood talking with John the blacksmith, who told me He’d been spending some pretty hard hours With a pair of two-year-old Friesian mares Who’d never had their feet trimmed. In a flash, I thought of a feral donkey In Ireland, back thirty years,
Poor animal, lowly mount of the Christ, Hobbling on hooves long as breadloaves. This had nothing whatever to do with Malcolm, But somehow it did, as it happened. Malcolm had once pronounced me as husband. A wonder. I’d gotten the girl, More than the clumsy hero can fathom
When it crops up in sappy movies. So Malcolm is part of a long, joyful marriage, And the family it made, including The children he baptized. One reading Came from a funny note He’d left for the pastor, which said in part: “Non-judgment day is coming,
Beware.” I could virtually feel Malcolm’s voice, Insisting as ever that God Was too big to conform to anyone’s will. There was no one so evil or ill To have strayed beyond the Lord’s grace, he claimed. He was frumpy and funny but mostly Just good. An accomplished athlete as well,
Improbably fierce on the courts, Although he loved his every opponent, He’d wanted his ashes interred In a tennis-ball can. It might seem absurd That I conjured horse or burro, But as we mourners chuckled and wept, I imagined I heard soft words, Malcolm’s, and knew his hand would have stroked
Those neglected, suffering creatures. That funeral day, for all who were there, Was so painful I’d almost swear It hurt them to stand on God’s green earth. For my part at least I wished I could somehow walk for a while on air.
Some preachers complain about the Palm Sunday lectionary, which puts together the “palm” and the “passion” Gospel texts. One complaint relates to dissonance: it’s not easy to pair a celebratory parade with a trial and execution. Another complaint concerns scope: there is too much theological ground to cover and too much liturgical time required.
While many artists seek to convey a sense of the layers of suffering and anguish in the Passion of Christ, few consider what the medium itself conveys. This life-sized sculpture appears weightless, and it radiates light and lightness. “In the context of my artworks,” Scala writes, “the use of partially transparent wire fabrics allows the examination of the underlying structure of the subject. By shaping Christ’s image into a hollow form and introducing gold to the surface, the sculpture takes on a transparent and yet reflective character.”