I am fearfully made and I imagine the sleek curves of my kidneys and the round red onion shape of my bladder. I will never see those parts with their perfect forms, their elegant overlaps sealed in my skin. All I know is their transparent function, or its change, or that blind nerve dance we call pain.
I will never see those long pale ropes that take my food and turn it to steps or speech. All I know is the wonder of containing such exchange, that lets the morning eggs and the noon bread rise as song in the kitchen, laughter in the back yard, rise as indignation, care, or grieving, rise as love or longing or belated thanks.
I read The Catcher in the Rye when I was in college. J.D. Salinger’s book, published in 1951, has sold more than 65 million copies and still sells 250,000 a year. Catcher became required reading for a whole generation. The antihero of the book, Holden Caulfield, remains a cult hero for some.
As soon as you hear the title, you can probably guess what kind of film The Book of Eli is going to be. Yes, it is the story about a man named Eli (played by Denzel Washington, who is also one of the film’s producers), who has a book; it is also about the Bible, which in this case seems to provide not a set of beliefs but simply the hope that humanity has a future.
Things go unnoticed around here while we do the important stuff the singing praying sermonizing baptizing. We don’t read the instructions want to get on with it insert the batteries push the button watch the screen light up. Script stage directions steps one two three are all fine print we think, or don’t until we find ourselves at home watching rain soak the garden and notice that the screen has gone dark. When is it that we turn to face the back of the church? Do we stand or sit at the Psalm and is there anything at all about bowing as the cross makes its leisurely progress? What words are to be said while earth is cast upon the coffin and who was it after all who was supposed to meet the body
So you doubt the whereabouts of God, a quark, everywhere yet nowhere at once. So the hell what? Doubt you the wind, doubt sandstone erosion and trilobite carapace. Let faith in dawn weather slow as feldspar. The sperm whale’s lungs collapse a thousandfold in unfathomable depths, yet bear it, unyielding. You who preach against miracles, go doubt the arctic tern asleep on the wing. Doubt that a father will leave untouched constellations of frost inside his windshield, the breath of his child frozen overnight. Doubt that bodies lose a few grams the moment of death. Doubt that, you who will, doubt that.
Americans now donate five times as many clothes to charity than they did in 1980. The supply of donated clothing outstrips the demand: typically, only 20 percent of donated clothing is sold where it is donated. In 2014, 11 percent of clothing donated to Goodwill ended up in landfills. About 45 percent of all donated clothing is exported to foreign countries by for-profit companies. The glut of used clothing disrupts local economies in developing countries, putting textile workers out of jobs. Bre Cruickshank recommends that clothing donors invest “in timeless styles of better quality,” rather than “refreshing o