He spoke to you in blue, in the long call of light from the top of a Tuscan hill. Your hand answered, the quick sketch of a girl taking shape before you knew she was you, head uplifted, her angelful eyes sure of what they see: being bodied true as the stilled wings, the beatified sky. What words might have passed have passed as air sighed by the soul in the act of rapture. Now there is only ochre and thin-skinned cream, struck gold against the garden’s sudden green, forever as present as it once seemed, her hands crossed soft against her hidden fear and angel’s breath still warm within your ear.
The modest Irish picture The Eclipse has slipped below almost everyone’s radar; it’s moving quietly across the country in brief art-house engagements. This contemporary ghost story about loneliness and connection is worthy of attention.
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.
From South and East, from West and North they gather, on foot, by car, in rickshaw, tram, and bus, health, in wheelchair, in joy, in sorrow, relaxed, uptight, disheveled, and fastidious. They come, O Christ, to you, to taste the body that once for all was slain, to sing and pray and take a cup whose balm brings life from dying— throughout the world and somewhere, somewhere every day.
The words they hear when they have come together are chanted, lisped, intoned, or simply said and tell in myriad tongues with every accent of body broken and of life’s blood shed. Mere words convey a gift of perfect freedom, a debt of love that no one can repay, a yoke of new and welcomed obligation— throughout the world and somewhere, somewhere every day.
The spaces where they meet are huge, resplendent, or huts and hovels all but falling down, on Sundays jammed but often solitary, both nowhere and on squares of world renown. Yet all are hewn from just one Rock unbroken in whose protection no one is betrayed, which lets itself be smashed to bits for sinners— throughout the world and somewhere, somewhere every day.
The hands that tender host and cup are youthful, emaciated, worn, and manicured. They take so little time, they bring so little, to do a work by which so much is cured. These hands that bring the Savior near are icons of hands once torn in order to display with lines of blood the names who come receiving— throughout the world and somewhere, somewhere every day.
One morning this summer I was basking in the sun With the brother closest to me in age. We had been Brought up almost as twins but then took disparate Roads, as twins do. He was sobbing and I was near Tears and the ocean was muttering. I heard a heron. We had been having the most naked open talk we’d Had in many years. I wanted to tell him how deeply I loved him but words are just so weak and shallow. So I talked about the forsythia bush we used to hide Under together. It was the safest place on the planet. The light was always amazing in there and it wasn’t Ever muddy somehow and you were draped in gold. It was a hut a huddle a tent a canopy a cave a refuge. Sometimes you have to use a thing to say something Else. We do this all the time. We talk sideways, yes? But sidelong is often the only road that gets to where You know you need to go. So much means lots more Than it seems like it could mean. Tears, for example.
John Coleman, who died recently, presided over Haverford College during the tumultuous Vietnam War era. He sympathized with students’ antiwar protests but also tried to channel the antiwar movement in constructive ways. When students considered burning the American flag, Coleman placed a washing machine at the center of the campus and encouraged students to wash the flag instead. He persuaded dozens of college presidents to sign an antiwar statement. On sabbaticals he took blue-collar jobs to explore the gap between academics and workers (Inside Higher Ed, September 12).