The sedentary Presbyterians awoke, arose, and filed to tables spread with white, to humble bits that showed how God almighty had decided to embrace humanity, and why these clean, well-fed, well-dressed suburbanites might need his grace.
The pious cruel, the petty gossipers and callous climbers on the make, the wives with icy tongues and husbands with their hearts of stone, the ones who battle drink and do not always win, the power lawyers mute before this awful bar of mercy, boys uncertain of themselves and girls not sure of where they fit, the poor and rich hemmed in alike by cash, physicians waiting to be healed, two women side by side—the one with unrequited longing for a child, the other terrified by signs within of life, the saintly weary weary in pursuit of good, the academics (soft and cosseted) who posture over words, the travelers coming home from chasing wealth or power or wantonness, the mothers choked by dual duties, parents nearly crushed by children died or lost, and some with cancer-ridden bodies, some with spikes of pain in chest or back or knee or mind or heart. They come, O Christ, they come to you.
They came, they sat, they listened to the words, “for you my body broken.” Then they ate and turned away—the spent unspent, the dead recalled, a hint of color on the psychic cheek—from tables groaning under weight of tiny cups and little crumbs of bread.
Behind us, the channel half-clogged by bullhead lilies slips back into the smoke of yellow tamaracks clouding the shore and we glide on the silk of a dream so deep, herring break the surface from eighty feet below.
I am this hand skimming the water. I am these eyes dazzled by light.
I am you whom I loved before the seas were parted.
I like to compare notes with him, to count the shades of blue on a kingfisher’s back . . . —Robert Cording
“Come see this creature before I cut it loose,” my husband calls to me from the garage, something large and winged thrashing on a spider’s thread dangling down from the opened garage door— no holy ghost but a moth, caught there by a wing until he lifts the silk rigging down with a broom. The flailing insect twirls like an acrobat till he lays it, freed, in the grass. Tired, it doesn’t move. We admire and leave it, go about the business of our days. May it recover . . . may it not become prey for the neighbor’s cat . . . Later, when I remember to look again, it’s flown. (Like your souls, I want to take up the old healing grief metaphor, speaking to my lost father, my mother, my nephew, my grandmother . . . Flown like your souls, to some heaven we can’t— or can—imagine, or map . . .) That night, having lost our chance if not the means to identify it surely, we puzzle over the moth book, pointing: this? Or this? Or this?—(some type of sphinx)—joined in spirit as in body in our human need to capture and release meaning, feel the touch of beloved skin: and keep safe all the facts and fancies of our world, with their attendant terrors and grace, the mystery of the present moment and the escaping future, heart to hand.
The first ever Academy Award for Best Picture was given in 1929 to Wings, a World War I aviation drama full of groundbreaking aerial sequences. People flocked to see the film largely because they longed to feel what it might be like to fly.
The discovery of a Philistine cemetery outside the walls of the ancient city Ashkelon on the southern coast of Israel may provide clues to the origins of the ancient Philistines. A team of scholars is using DNA research and other techniques to determine the Philistines’ origins. Existing archaeological and textual evidence indicates that they originated somewhere in the Aegean region (National Geographic, July).