In Suzanne Collins's trilogy, and the recent movie
adaptation of the first book, the Hunger Games are a nationally-televised
spectacle in which 24 randomly chosen teenagers are forced to fight to the
death in a man-made arena. The annual Hunger Games are an instrument of
oppression by the Capitol--the center of totalitarian power that survived a
rebellion--to remind the 12 districts under its power just how powerless they
The citizens of the Capitol love the Hunger Games. To
them it is pure entertainment. To the citizens of the 12 subservient districts,
it is a form of torture. Their children and neighbors become murderers or
victims, and they are forced to watch (literally--viewing is mandatory).
There is a paradox at the heart of The Hunger Games' appeal.
April 4 issue of the Century offers Ruth Burrows's witness to her life as a
contemplative Carmelite; it also includes an homage to a community
of students shaped by their experience with Trappist monks, which in turn shaped Faith Matters writer Stephanie Paulsell in her
faith and thinking.
Yet Carmelite, Benedictine, Trappist and other
monastic communities find themselves in a precarious place these days, with many
of them closed or closing. Must we lose these Catholic (and Protestant) communities before we
realize that they are a profound presence
to those of us out wandering in the world?
I know some people who refuse to sit on church committees
because they think it's a waste of time. I've known some church committees that
prove them correct. In one case, the chair has become something of an
establishment. She's rather undisciplined, drags meetings out needlessly and
talks excessively herself.
Brian Bantum, a theologian at Seattle Pacific, was
mentioned in the Century's recent article on the new black theology. Readers
intrigued by that topic will be interested in Bantum's comments
on a book on racial reconciliation
written by a white Minneapolis preacher, John Piper.
Chicago-based artist Michael Rakowitz is opening a
food-truck this week, a date set to coincide with the ninth anniversary of the
beginning of the Iraq War.
Through his project Enemy Kitchen, Rakowitz has been using
Iraqi food and culture to break down cultural barriers for several years. He is
launching the food truck as part of the Smart Museum of Art's new exhibit
called "Feast: Radical Hospitality in Contemporary Art."