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.
In the nightmare of the dark All the dogs of Europe bark, And the living nations wait, Each sequestered in its hate W. H. Auden
In this dark time, I want to make light bigger, to throw it in the air like a pizza chef, to stick my fists in, stretching it till I can get both arms into radiance to the elbow spinning it above us.
But oh, dark is such a genius at argument, using all the rhetorical figures. And you aren’t bad yourself, Mr. Auden, elucidating war, how it subtracts and subtracts light till each nation becomes a blind man alone in his own dark, gripping his cane, unable to cross to his lover who waits by the pizza parlor. Unable even to see her, unable to sing out to her the way a lover might sing out, Susan, it’s you!
In truth, the dark is that personal, fluttering like a red moth behind my eyelids. My Texas cousin lies dead this afternoon and his widow’s at the Funeral Home with their child, trying to explain where he went. Isn’t that the brilliant final move of dark, Poof! to separate us from each other? Between us, Mr. Auden, you and I have multiplied
the dark till some might say there’s no escape. But seeing darkness is seeing something. Maybe that’s why, as Susan crosses to the blind man, I notice the horizon begins leaking into the sky. Light reaches the treetops. It falls in chutes. And then, god help us, like everything, it breeds and breeds.
Readers of P. D. James’s novel Children of Men won’t be prepared for the emotional breadth of the film version by Alfonso Cuarón. Like most dystopian stories, the book is relentlessly grim, icy and pedantic.
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 our wardrobe according to seasonal trends” (Not Just a Label, April 9).