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Well, hey. If you only come here on Fridays, please stay a while and check out my previous posts. You might be interested in my account of the various Triduum liturgies I attended here in Birmingham or the page I’ve started collating much of the more substantive writing I’ve done on books.
The collage below (click on each image for a larger version) features images from my books related to recent and near future liturgical commemorations and highlights – saints, Scripture readings, seasons:
Divine Mercy (this coming Sunday), St. Mark (4/25), Mary Magdalene (Gospel accounts), Easter, last page of entry on St. Thomas’ encounter with Jesus (this coming Sunday), the Road to Emmaus, St. Catherine of Siena (Monday).
For more on these books, go here.
I also have copies of all of them except Heroes here, as well as The Catholic Woman’s Book of Days (great Mother’s Day gift!) Go here to order if you’d like a personalized copy!
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From the Catholic Herald: “What Happens when Celebrities Walk to Rome:”
They have their joking and bantering moments, but they grasp the deeper meaning of pilgrimage: a journey of discovery into the soul, as well as a physical challenge surrounded by inspiring scenery.
Each of the characters has a back story: most touching was Les Dennis’s feeling for the Ave Maria, because his mother had sung it as a young girl in Liverpool Cathedral (but she left the faith when a priest refused to baptise her child born out of wedlock – a very wrong clerical decision, surely). Dana didn’t say a lot, but when she spoke to illuminate a wayside shrine to Our Lady, she was so patently sincere in her faith that the whole group seemed moved.
The pilgrims have a sense of awe that they are following in the footsteps of so many who went before, on the same route, from Canterbury to Rome (although in this instance, they started off in Switzerland). They are also in the tradition of Chaucer, where adventure was part of the journey too.
And The Road to Rome has another striking dimension: in these Brexity days of adversarial debate and shouty political arguments, here’s a genuinely European experience which is about crossing frontiers in peace, discovery, spirituality and merry companionship.
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Sohrab Ahmari on the Sri Lankan martyrs:
“He who does not take his cross and follow me is not worthy of me,” but “he who loses his life for my sake will find it” (Matthew 10:38-9).
By that stark measure of discipleship, Sri Lanka’s slaughtered Christians have amply proved themselves. On Sunday, they filled their churches in Colombo to greet the Risen Jesus only to fall victim to Islamist savagery. The Christians of Sri Lanka lost their lives for the sake of the Lord – simply, beautifully, radically – and even now their wounds are glorified like his.
The question the Sri Lanka massacre, and others like it in places such as Egypt, Nigeria and Iraq, pose to Christians in the West is: what have we sacrificed for the faith lately? What have we suffered for the suffering God?
A friend of mine likes to say that “there are no Styrofoam crosses”. If you’re handed a real cross, you will recognise it by the heavy weight, by the pieces of wood that splinter off and prick your hands as you try to carry it.
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Geoffroy Lejeune: I have been going to Mass every Sunday for the last thirty years and have experienced almost all the liturgical styles. I frequented some charismatic meetings, notably with the Communauté de l’Emmanuel, and like you I saw people dancing, singing, speaking in tongues—in short, giving themselves over to all the effusions that we thought were reserved to Americans alone. I have to admit that a form of joy reigns over these assemblies that is sometimes a bit worrisome, because certain members seem possessed (their behavior during so-called “evenings of healing” leads one to believe that this mystery can only be experienced if one is in bad shape). And I have never felt farther from God than on these occasions: I was eighteen years old, I was neither sickly nor depressed, and I ended up believing that, because I was unable to sob uncontrollably or pour out my feelings into a microphone in front of people I didn’t know, I was simply not made for the faith.
There is a wound that ought to be treated by the Church: the wound of not knowing God, or of not knowing how to find him. In the 1960s, when the Beatles were making the world dance, the Church asked itself how to continue to announce the gospel. In 1962, it called the Second Vatican Council. Wags remarked that the cardinals arrived there by boat and left by plane: The institution had just entered modernity. In drawing closer to common mores, in speaking the language of its time, the Church believed it could maintain its tie with the faithful who were thrown off balance by the liberal and sexual revolutions.
The changes, notably, concerned liturgy: Latin was abandoned, ornamentation was simplified, and the priest turned toward the congregation. Parishes invested in synthesizers, and girls began to keep the beat in the choir. But the drama of style is that it goes out of style. Sixty years later, the synthesizers are still there, and the girls too, but they have grown old, and their voices quaver—even the priests can no longer put up with them. Only the dynamic parishes of the city centers escape this liturgical impoverishment, but even there on a Sunday one can hear a guitarist trying his hand at arpeggios, and recall this cruel reality: He’s no Mark Knopfler.
This race toward modernity is an obvious failure, and the churches are considerably emptied as a result. Before Vatican II, one-third of French people stated that they went to Mass every Sunday. In 2012, this number had fallen to six percent, the sign of a major cultural upheaval.
The phenomena are probably linked: The Church tried to conform itself to the world at a moment when the world was becoming uglier.
Well, that doesn’t actually represent an “exchange” – but you can click back and read it for yourself. I read Houellebecq’s Submission a couple of years ago and wrote briefly about it here. I’m looking forward to reading his new novel, which will be published in English in the fall.
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If you have followed the story of the Notre Dame fire, you have probably picked up on the fact that what we see of Notre Dame includes a great deal of restoration. Here’s an article detailing centuries of work, destruction, and rebuilding:
What many don’t realize is that the majority of what one sees when one looks at Notre-Dame’s west façade is a modern restoration. The French Revolution badly damaged the symbol of the hated monarchy, robbed the treasury, and threw many of the art and artifacts contained therein into the River Seine. The 28 statues of biblical kings on the west portal were beheaded, even as the flesh-and-blood Louis XVI had been; the majority of the other statues destroyed; and the building itself used as a warehouse.
While Napoleon Bonaparte restored the building to the church in 1802, Notre-Dame was still half-ruined. Victor Hugo’s bestselling 1831 novel Notre-Dame de Paris (better known in English as The Hunchback of Notre Dame) drew attention to the cathedral’s plight.
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Alabama prisons are terrible. Our governor wants to “fix” the problem by building more. A Republican state senator argues for a different approach – from a Christian point of view.
State Sen. Cam Ward, R-Alabaster, chairman of a key prison oversight committee, and a longtime advocate for justice-system reforms, describes himself as appalled by the report’s findings. And, from his bully pulpit at the Statehouse, he’s been doing some preaching about it.
In comments to AL.com and to NPR, Ward has wondered aloud how a proud Bible-believing state can countenance such shameful prisons in its midst.
“No one in this state should read this report and just roll their eyes,” Ward said to AL.com. “It’s a disgrace to our state. I know everyone says, ‘They are criminals’ and ‘Who cares?’ We profess to be the most Christian state in the country, but no Christian would allow their fellow man to be treated the way that they are said to be treated. That may not be the popular view, but it’s the truth.”
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Son who writes on film (and writes fiction) has a bunch of recent posts:
Harold Lloyd, I think, was closer in style to Buster Keaton than Charlie Chaplin. All three’s movies were primarily made up a series of gags, but Lloyd was more interested in stunts and laughs (like Keaton) than narrative cohesion (like Chaplin).
Still, his comedy remains distinct. Where Keaton was The Great Stone Face, Lloyd was extremely expressive. He also had very boyish looks as opposed to Keaton who kind of looks like he could have just been a stuntman. Lloyd was also probably as daring as Keaton was. It’s the combination of boyish innocence in his face along with the outlandishness of his stunts that makes Lloyd my personal favorite of these three.
For more Quick Takes, visit This Ain’t the Lyceum!
Charlotte was Both 