A friend of theirs had been festering like an old sandwich, rotting a little before disposal. They had to come, but it got to where they held their breath before they stepped inside the room. The wife remembered how anything with mayonnaise had to be refrigerated.
Even a sack lunch in an office was suspect if stored under the desk for a morning: egg salad was the worst. The husband recalled a tiny door in the stone wall of an English church, stage right from the modest altar—a place for lepers to take communion. Only part
of a soul could pass, and precious little of the smell. The wife and husband talked with their old friend like this, backing off from his suppurations, unwilling to think, This is our body, unwilling to think, Dust to dust, slipping their elements of decay into the outer cold and darkness.
Nick Cave might not be well known, but time spent with this complex Australian rocker is well spent. He doesn’t shy away from dense theological issues, which he explores in a rambling, lyrical style that recalls Jim Morrison at his poetic peak.
The makers of Hellboy II: The Golden Army must have had the time of their lives. The director, Guillermo del Toro, and his team of set, costume and special-effects designers provide a cornucopia of visual splendors.
Maggie, her grandparents’ dog, can’t come with us to the zoo, we say she’s not feeling well and try to leave it at that, bring up tigers and polar bears, offer Twizzlers and juice, but all she wants is the dog, asks if we gave her medicine, when will she come back so we can fix her with a screwdriver, today’s new word, so many new sounds, so much new these days we can’t keep track of all the people and places she knows, and the names of things, reminding us we cannot save her from the word, or save ourselves from having to explain what dead means, as if we’ve waded through all we were taught and emerged on one side or the other, unable to dismiss or believe there’s one true voice that could reveal a pattern we’ve never picked up on in the sunlight and trees, some force behind why that could lead us beyond our parents’ loving euphemisms, beyond we simply don’t know.
Thesis: What we commonly think of as Miracles, are mere Synchronicities, felicitous accidents, startling coincidences; Whereas that which we call common is actually miraculous. Whoa; let’s approach this slowly from the side, as we would Edge up shy and careful to a sleeping wolverine. Wolverines Are good to start with, come to think of it—I mean, consider A wolverine carefully. A whopping big one weighs less than Half the dogs you know, not to mention those two obese cats, Yet bears and cougars and even the most stupendously stupid Men back away from wolverines. They have been revered by People who know them well for years beyond counting. They Own their place. They were designed by immeasurable years. There are only a few of them, compared to, for example, ants. Are they not miraculous? Do they not inspire a reverent awe? Can any of us make any of those? No? Can it be that miracles Are things which we cannot comprehend or construct? Hawks, Elk, porpoises, children, damselflies, quasars—the list cannot Ever end, because every time we discover something, we also Discover more that we don’t know yet, isn’t that certainly so? So that which is miraculous is quotidian. While the occasional Inexplicable recovery, the avoidance of death and mayhem by The thinnest of margins, that only happens on occasion, right? So because it isn’t quotidian, perhaps it isn’t a miracle. Listen, I know your brain is buzzling right about now—it’s happening To me too. But the thought that miracles are normal, isn’t that The cool thought of the day? Let’s remember that until dinner, You and me, and then savor the miracles with whom we dine.
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).