"The U.S has created a vast legal system for racial and social control, unprecedented in world history. Yet we claim to be colorblind."
A rabbi and strong advocate for Palestinians’ rights told me this: "When you Christians start talking about divesting from Israel, it sounds to us as if you are undermining Israel’s economy and thus Israel’s existence. We close ranks."
Americans seem to relish putting their fellow citizens behind bars. Lately, some conservatives have begun to see this as a problem.
During spring break I made a pilgrimage. With my husband and my daughter, I traced the path Virginia Woolf took through Italy in 1908.
Among modern nations, a British imperial background seems to be correlated to secularism. But in Australia, the story is more complex.
I got the epidural. As the pain receded, I felt an ache of disappointment settle in.
Beneath the many contrasts Pamela Druckerman draws between French and U.S. children is a deeper one between the two societies.
Kathleen O'Connor's daringly imaginative rereading of Jeremiah reveals a community experiencing the classic accents of trauma.
“I’ve been telling everyone who’ll listen how great Downton Abbey is,” I said in a sermon that was technically about evangelism. I was illustrating St. Augustine’s point that when people love, say, a great actor they tell others about him—and so how much more should we tell others about the gospel. A week later I learned how (un)successful that point had been. “I’ve watched every episode,” a parishioner said. “Now what was it you were trying to say about that show?”
The Dardenne brothers, Jean-Pierre and Luc, are known for their low-key, plot-light, character-heavy tales of survival, usually played out in a small Belgian town that serves as their spiritual microcosm and often focused on the struggles of children to make it to adulthood in one piece. The Kid with a Bike, which won a top prize at last year’s Cannes Film Festival, continues down this path, though Dardenne purists may find fault with the film’s upbeat conclusion, a contrast to the harsher endings of their earlier efforts.
Readers of a certain age may remember “women’s pictures,” those four-hankie weepies from the 1940s and ’50s. Celebrated British director Terence Davies has lovingly embraced the once-popular genre via an adaptation of the 1952 play The Deep Blue Sea.