Devotees of children’s literature have received an unexpected lift from the nearly simultaneous release of the new film of Charlotte’s Web, based on the story by E. B. White, and Miss Potter, a biography of Peter Rabbit’s creator, Beatrix Potter. Each in its way is a charmer.
Psalm 96 issues an invitation repeated throughout the Old Testament: “Sing to the Lord a new song.” Today’s Christian musicians follow that call into vistas that David could never have foreseen, from Celtic folk to speed metal to reggae.
Now forty winters have besieged this brow that bears the mark of ashes once again, its shallow furrows yielding to time’s plow as, on command, I turn and turn again. With every year the mark goes deeper still and stays there longer than the year before, reminding me, despite my flesh’s will, there comes a spring when I’ll be marked no more.
Yet still I bow and part my graying hair to make way for the dust that makes us all, the mortal touch, the cross traced in the air, the voice that tells me to regard the fall that each of us must know before we rise and raise unwrinkled brows to greet God’s eyes.
A dead girl lies in a grassy field. Her blood-soaked body has started to decompose. Who is she? How did she get there? Was the killing a crime of passion or opportunity? And who committed the heinous act?
How can children read, with words wobbling any way they feel like? Spelling shows up as speling, and spelin spills to spleen. Stolen bases slide to stollen basis. There’s no Too Far, no leash to keep the feral hound from escape, no property line between ideas, no surveyor to fasten edges.
And if Johnson doesn’t finish soon, words might wander further into wildness, soar like index cards in a hurricane, and scatter like so much litter. Or worse— careen like bullets into meanings, blowing every deal to pieces.
If he finishes, you could be stuck in a poem entirely on spelling, longing for rescue from the strait- jacket they tied us into so we can read and write this. How fragile the guide rope of logic seems between us! How tenuous sweet mutual understanding!
Sam Johnson, in your stained shirt, big as Fleet Street, rehearsing for the thousandth time your smudgy slips of paper, you’ve never finished anything on time, you rarely finish. This is a prayer for you. But shall I bless or curse?
Some call us yesterday’s bees, working old honeycomb. Are we only circling, a phrizz of amber, un-hived? The call to be golden crescendos within, clothed in stone, a kind of falling, over and over. “Sink deeper,” is one whisper, all winter, earth like bronze and scores of husks—the exiled, shattered. Workers know this: honey splits the great hum, come spring. What is a life without lavender, rag-tag monarda, or the silky cosmos?— myriad shivers of wing, months of rehearsing hunger, bowing down in the warm dark, the pregnant dust, with its little sails.
Ten refugees have been selected to compete in the Summer Olympics in Brazil this year. Five of them are runners from South Sudan who have been living in Kakuma, a refugee camp in Kenya. The Sudanese will be joined by two Congolese judo fighters, two Syrian swimmers, and an Ethiopian marathoner. Anjelina Nadai, one of the Sudanese runners, said she first started running while tending her family’s cows. She discovered she could get to the cows in half the time by running instead of walking. These athletes will compete under the Olympic flag, not that of any nation. If any of them should win a medal, the Olympic theme song will be played (The Christian Science Monitor, June 3).