— 1 —
Well, here we are, just about one week and counting from, we hope, The Return to College. Out of five classes, all but one will be (as far as we can tell) face-to-face, and I don’t mind paying for that.
What a ride.
So, next week: Hopefully get his old car sold (anyone in Alabama want a 2006 Mazda Miata?) get serious about lists and shopping and such. I’m not anxious about it because he’ll have a car with him and in case he needs toothpaste, he can just pop out to Wal-Mart and…go get some. There isn’t that concern to Buy All The Things because he won’t be able to restock for weeks or months.
But we do want to get most of the stuff before we go. Added to the usual this year: Masks? Check. Sanitizer? Check. Thermometer? Check. Etc. He has all of this textbooks. He’ll be in a single room, so no roommate concerns, and that also lessens the Pandemic Prevention Pressure.
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I’m in Living Faith today. Here ’tis.
My new favorite Twitter account. Language alert, blah, blah, blah.
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Working hard here, every day. Process?
In the evening, take a look at the material to be written about the next day. Read any unfamiliar Scripture passages. Let it simmer.
Get up the next morning, first thing revise the two or three chunks written the day before. Then write two-three new chunks.
Done by 10 am, usually.
Onward!
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In case you missed it earlier this week:
I’ll Fly Away – The Sister Servants from Sister Servants on Vimeo.
Learn more about the Sister Servants here.
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It is also noteworthy here that Mrs. May is described as being “pierced”—that word associated with suffering and with the cross—and that the piercing coincides with a kind or rapture or “ecstasy,” a word whose Greek root means “to stand outside of oneself” and suggests a transcendence of self. O’Connor’s heroine is cast as a modern-day version of Bernini’s St. Teresa in Ecstasy, who is pierced, in the midst of her visionary rapture, by a visiting angel.
Along similar lines, Hemingway associates the violence of the bullring with ecstasy, particularly the faena—the final third of the bullfight wherein the matador performs his capework with the bull before killing him. In Death in the Afternoon he writes of this rapture, describing the faena as a ritual
That takes a man out of himself and makes him feel immortal while it is proceeding, that gives him an ecstasy, that is, while momentary, as profound as any religious ecstasy; moving all the people in the ring together . . . in a growing ecstasy of ordered, formal, passionate, increasing disregard for death (206-207).
The ecstasy O’Connor and Hemingway describe—and that Bernini depicts— is the culmination of intense bodily sensation leading to enlightenment of the soul. The natural leads to the supernatural. Time becomes one with eternity. Suffering is redeemed. It is mystical, transcendent, and deeply Catholic.
The uses of violence by both Hemingway and O’Connor remind us of the reality human life is grounded in: we are all living “on the verge of eternity” (O’Connor, Mystery and Manners, 114), and the way we conduct our lives in the here and now has a spiritual dimension. Violence reminds us of our unceasing proximity to death, and this knowledge can serve as a conduit to grace.
Tomorrow? St. Dominic, here in the Loyola Kids’ Book of Saints. Only a page is available online, so here it is. He’s in “Saints are people who teach us new ways to pray” section.
For more Quick Takes, visit This Ain’t the Lyceum!
