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Advent is coming – the first Sunday is less than a month away, December 1. That gives you plenty of time to order print copies of any of these, and many are available in digital formats as well.

(BTW – I don’t make any $$ from the sales of these booklets. The way it works is that these kinds of materials are, for the most part, written as works-for-hire. You write it, you get paid a flat fee, and that’s it. I just …think what I’ve written is not terrible and hope my words might be helpful to someone out there…so I continue to spread the word!)

First, and most current, is a brand-new devotional I wrote for Creative Communications for the Parish. Lots of supplementary materials are available – please take a look!

There’s a digital version available here.  So if you’d like it for your own use in that format – go for it! 

Wonders Of His Love

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More samples – pdf 

Also new this year, and not an Advent devotional, specifically – since it’s a daily devotional, it of course…contains Advent devotionals!

2020 – Grace Filled Days – begins on December 1, 2019 and continues through December 31, 2020. Two Advents!

Purchase through Loyola here.

(Bulk pricing available, if you’d like to purchase several for, say – a parish or school staff.)

Online here. 

Several years ago, I wrote another Advent family devotional. It’s no longer available in a print version, but the digital version can still be had here.  Only .99!

In 2016, Liguori published daily devotions I wrote for both Lent and Easter. They publish new booklets by different authors every year, but mine are still available, both through Liguori and Amazon.

Liguori – English

(pdf sample)

Liguori  – Spanish

(pdf sample)

Single used copies also available through Amazon. No Kindle version. 

A daily Advent meditation book I pulled together from reflections my late husband had posted on his blog:

Nicholas-Of-Myra

Nicholas of Myra

Samples of the St. Nicholas booklet here.

For more about St. Nicholas, visit the invaluable St. Nicholas Center.

 

Years ago, I wrote a few pamphlets for OSV, among them these two:

How to Celebrate Advent. Also available in Spanish. 

PDF review copy of English version here.

PDF review copy of Spanish version here. 

How to Celebrate Christmas as a Catholic. 

 

 

PDF available for review here. 

PDF of the Spanish version available for review here.

And then….Bambinelli Sunday!

(Also – if you would like to purchase books as Christmas gifts from me – here’s the link. I don’t have everything, but what I have…I have. The bookstore link is accurate and kept up to date. I will be out of town for much of November, so keep that in mind when you order)

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"amy welborn"

Happy All Saints!

I’m in Living Faith today. 

Before we get rolling here with some Thoughts, I’ll just mention, since it is obligatory on Social Media, our Halloween experience.

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Yeah, nada this year. I don’t think we had any trick-or-treaters last year (our house is in a neighborhood, yes, but the street is kind off enough to take it away from main Halloween traffic), so this year, I didn’t even purchase any candy – we had a few Gansito on hand, so I decided that if anyone showed up, that’s what they’d get.

Well, it was also in the 30’s here in Alabama, so add that to the situation, and you have, again, no trick-or-treaters, and an almost 15-year old who’s been over the holiday for a couple of years, so it was indeed, a quiet night here.

Which is fine. There might be some aspects of Parenting Young Children in America I miss at this point, but not many. My stance is more of walking past various aisles in the store – baby needs, feminine hygiene products, Halloween gear and (especially) Valentines  – and thinking Thank God that part of my life is in the past. What next?

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I am convicted of the truth of the Christian – Catholic faith by odd things. Yes, the traditional arguments and proofs have their power and make sense, but in the end, it is manifestations of paradox and a certain kind of skewing that gives me confidence of the truth. I am not as enamored of Chesterton as some are, but where he does appeal to me is his grasp of the paradox at the heart of reality, reflected and clarified in the Incarnation and the faith that flows from it.

The role of the saints in Catholic life makes a similar argument for me, if you will. There are many things to be said about saints, many ways in which they are used to argue for the Faith: they gave up so much for this…it must  be true. And so on. But I come at the saints from a slightly different angle.

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For when I look at the role of saints within Catholic life and spirituality, I see nothing like it any other institution, culture or subculture in human history. Yes, all cultures honor other human beings, some even have their miracle-workers. They have their wise men and founders, they have their holy fools and mystics.

But in what other human context are rulers and managers and the wealthy told that their life – their real life  – depends on honoring, emulating and humbly seeking the prayers of a beggar?

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Or a young woman who died in her early 20’s, almost completely unknown?

 

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Or a young African woman?

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When I consider the Communion of Saints, I see a great deal. I see the Body of Christ, visible and invisible, militant and triumphant. But I also see the breadth and depth of human experience in a way that no other aspect of life affords me and which, in fact, some aspects of life – parochialism, pride, secularism – hide from me. In touch with the saints, I stay in touch with real history in a more complete way, with human experience and with the presence of the Word made Flesh, encountered and embodied in the lives of his saints. Every single day, in the calendar of memorials and feasts, I meet them. I can’t rest easy and pretend that my corner of experience affords me all I need to know.

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Here with the saints, we are taught that grace can dwell in every life, from any corner or level that the world erects. We can’t sit easily, proud and blind and dismissive of the other. The peacemaker is invited to beg the soldier’s prayers. The professor turns to the untutored child martyr. The merchant busily engaged with the world encounters the intense bearded figure, alone in the desert.

 

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On today’s Solemnity of All Saints, our hearts are dilated to the dimensions of Heaven, exceeding the limits of time and space.

-B16

"amy welborn"

 

 

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And yes, I like to read and write about saints:

 

 

More on my books related to saints here. 

For more Quick Takes, visit This Ain’t the Lyceum!

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In case you missed it, I have some thoughts on the post-Vatican II era, riffing off the novels of David Lodge, here at Church Life Journal from Notre Dame. 

Please to read and share.

Writer/Film Guy Son has been working through Kubrick, as he did through Bergman and Marvel. Go here to see what he thinks.

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Canonization of Cardinal Newman coming on Sunday – more on him from me here. 

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Images from Praying with the Pivotal Players and Be Saints! 

 

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Yah, by the time you read this, El Camino will either be ready for viewing on Netflix, or close to it. I’m staying away from SpoilerLand all day and seeing it Friday night in the theater (unless I look at the traffic in the afternoon and it’s a mess around Talladega – it’s the big racing weekend, and I-20 goes right by the track. A couple of times over the past few years, I’ve forgotten that it was race weekend, and gone either to or from Atlanta, and gotten stuck. )

So, in any case, if you are interested, come back here late Friday night for my thoughts. I’ll have them, I’m sure.

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Heroes of the Fourth Turning is a play I would very much like to see – and if I did, indeed live in Atlanta and could hop Spirit Airlines to NYC for a hundred bucks, I’d probably do it. But since I don’t and life is fairly busy here, I’ll have to pass and read about it instead. From Chad Pecknold:

The play often works around internal conservative disputes — Bannonist, Benedict Option, Traditionalist — but the deeper undercurrents are those ‘dark and complicated’ mysteries of Catholicism. It is a strength of the play that the conservative and Catholic themes intermingle but never merge into one.

Theologically, the play is ambitious, covering everything from the nature of evil — inexplicable and meaningless disruptions which deprive us of goodness — to the Virgin Mary, to the Eucharist, to pulling human suffering into Christ’s sacrifice. Emily, a character racked by the pain of Lyme Disease, speaks about how each of us is a gift, akin to Christ himself who was “begotten not made.” And in a very important monologue in the play Teresa the young Bannonist tells her friend Kevin that he doesn’t understand the Virgin Mary because he’s “afraid of the scandal of particularity.”

“This is the thing about God. He makes us work out our salvation through other people.”

“We’re not meant to structure our society according to every freakish chosen ‘right.’ We’re supposed to strive for the good,” Teresa fervently implores in her Marian speech, “The particular, written, incarnate, natural Christian good. Otherwise, what are we? A throbbing mass of genderless narcissists. There’s no ‘thisness’ in the liberal future. There’s no there there. It’s empty. What’s really radical is sacrifice.”

Teresa’s political speeches are always theological, and her speech about the scandal of particularity above is precisely in the place of the deer’s blood, which Justin occasionally wipes down throughout the play to remind the audience of the presence of a sacrifice. For Teresa, however, “thisness” seems to keep her on the surface of things. It takes Emily, the Lyme Disease suffering woman whose body she describes as a “prairie of pain,” who breaks into the substance of things, who near the end of the play drags herself across a figure of Christ’s sacrifice, brings her suffering into contact with something real.

The play is remarkable for managing to make progressives and conservatives think about the parts we are playing in history – less Plato’s historical determinism and more Augustine’s “we are the times”. Fundamentally it’s a play which asks about the moral thinness of our present crisis, our “fourth turning,” and asks the audience to break into a bigger conversation about a “terrible beauty which sustains us.”

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One of the long blog posts I have up my sleeve is, of course, about gender. Yes, another one. To tide you over, here’s a philosophical primer from Public Discourse. 

Notwithstanding all the talk of people being “born that way,” the gender construct means to release us precisely from the way we were born. This is particularly evident in the most prominent representative of gender theory, Judith Butler, who adamantly rejects the need for any justification for being at variance with one’s bodily sex. For Butler, “gender” is not something we observe in ourselves, whether in our bodies or in our “deep-seated feelings.” It is something we do to ourselves. It is a groundless deed “performed” on ourselves, a sort of self-creation ex nihilo.

Indeed, it is noteworthy that despite the many “naturalistic” references to the lifelong deep-seated feelings of the respondent in the Harris Homes case, they are not used in the Sixth Circuit decision in his favor. On the contrary, there, only the most voluntarist definition of “gender” is used: something “fluid, variable, and difficult to define . . . [having] . . . a deeply personal, internal genesis that lacks a fixed external referent.” What in the end does it matter if someone has a “deep-seated feeling”? Why can it not be just a choice? It is enough that the employee has declared himself to be a woman for him to be one and to be treated as such. “Gender” has effectively vaporized the “fixed external referent,” all the evidence of our birth.

Benedict XVI summed up this final stage of the new philosophy of sex, saying:

Man and woman as created realities, as the nature of the human being, no longer exist. Man calls his nature into question. From now on he is merely spirit and will. The manipulation of nature, which we deplore today where our environment is concerned, now becomes man’s fundamental choice where he himself is concerned. From now on there is only the abstract human being, who chooses for himself what his nature is to be.

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This might interest you. I’m just tossing it out here and will do a deeper dive later.

The Experience of Worship Project – an fascinating project to recreate various medieval liturgies in situ. 

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What was it like to be in a church in the Middle Ages? What did you see around you? What did you hear, sense and feel? At one level at least, these are unanswerable questions, because the lost past is irrecoverable. But imagination has always been a crucial tool for historians seeking to understand the past – imagination combined with the evidence that can be garnered from what does survive. That is what this research project is about. But in asking these questions, and in combining imagination with evidence in seeking to answer them, it goes beyond the written narrative of historical study: it seeks to address the questions directly by active participation in the processes of making and enacting: enriching a medieval space with the furnishings, artefacts, vestments and books; filling it with the sights, sounds and sensory experience of medieval worship; and populating it by being the people performing and attending medieval liturgies.

A thorough exploration, complete with video, glossaries and explanations of artifacts. As I said – meriting a deeper look.

An article about the project:

Pragmatism and practicality had inevitably to be exercised. This was particularly true in the preparation of texts and ritual directions for both clergy and singers. Apart from limited time for rehearsal, there was no hope of achieving the accumulated memory, mores, habits and conventions that medieval clergy and singers took for granted in their recitation of 60 or more liturgies each week. Recitation and singing in Latin may have been attainable, but rubrics had to be adapted and in English. In the Mass, a medieval priest or singer was used to turning to at least three parts of the Missal or Gradual to find the necessary texts; these needed to be placed in sequence. Even so, the three clergy, the four assisting servers, and the singers all have their own ritual narrative to follow; and only the priest and the singers have constant access to a text. Furthermore, up to five different actions may be taking place simultaneously.

In all, three liturgies took place in Salisbury Cathedral, including a major procession around the cathedral and cloisters; and nine in St Teilo’s Church at St Fagans. The audio-visual recordings provide a record not of polished performances but of a fluent working through of these rituals. The procession and two Masses were enacted in both buildings, and revealed some of the challenges faced by local parish clergy, who lacked both the space and human resources of Salisbury Cathedral. The ritual of Salisbury (the so-called Use of Sarum) was used in over 7,000 churches by the end of the Middle Ages, all varying from the cathedral and from one another to a greater or lesser extent in configuration and resources. St Teilo’s is about an eighth of the length of Salisbury Cathedral, yet the same texts and ritual directions were to be followed in both buildings. Where did the priest of St Teilo’s go in procession in a church without the choir aisles and cloisters that are part of the directed route on great feast days? Where, on days when the Gospel was to be recited from the pulpitum above the choir screen, did the two clergy and three servers specified undertake this ritual when the only access to the top of the screen was a ladder – bearing in mind that they were processing formally, wearing vestments and carrying either book, candlestick or thurible? The texts recited and the chants sung may have been identical, but, notwithstanding the directions of the rubrics, the ritual had to be adapted.

Clergy, singers and the furniture, vestments and artefacts they required, formed one dimension of medieval worship at the east end of the church. The people formed the other dimension, unspecified in number, and largely unscripted, in the nave. Most of the participants in the enactments were either engaged in master’s or higher degrees or were research-active staff, and most were practising Christians, Newly constructed great lectern in use, with the 15th-century Ranworth Antiphonal. Photo: Mark Cator. 65 British Academy Review Spring 2019 though from a variety of denominations, traditions and spiritualities. Freed from expectations to follow a book text or to participate actively, they found themselves alert to a richer mix of the sensory, emotional, spiritual and intellectual qualities of worship, including long periods of silence during the Canon of the Mass; to use images or memorised devotional text as a focus, and to be enveloped by the whole experience of worship, thereby discovering new means of participation. Certain moments of engagement proved especially significant, like the kissing of the Pax Board by each person present, often the nearest that medieval laity came to contact with the consecrated bread and wine of the priest’s sacrifice. These were experiences of 21st-century individuals, but they have offered new insights on the artefacts, decorative elements, and devotional texts of late medieval religion

 

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Are you in parish/school or diocesan ministry? Advent is coming! Consider these resources – for Advent 2019, a family devotional I wrote for Creative Communications

Wonders Of His Love

amy-welborn

 

 

More samples – pdf 

Also this pamphlet on St. Nicholas, from Creative Communications as well:

Nicholas Of Myra

pdf sample

And this 2020 daily devotional – useful (I hope) for anyone, but, as I understand it from the publisher, a popular choice for Catholic institutions to share with employees and volunteers. It goes from the beginning of Advent 2019 to the December 31, 2020. 

 

Note: None of those links go to Amazon. Also, these were each written for a stipend, paid and delivered, in some cases (the Nicholas pamphlet), years ago. No royalties come to me from their sales. I’m just happy to share them and hope they help. 

For more Quick Takes, visit This Ain’t the Lyceum!

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I’ve been highlighting elements of my books that are related to Mary. Today it’s The Loyola Kids Book of Catholic Signs and Symbols. 

Of course, the wealth of Marian imagery in Catholic tradition is…beyond one book. Especially one relatively short, basic children’s book. But here’s some of what we have.

Remember the structure of the book. Each entry has three parts – an illustration, a brief definition/explanation under that illustration, and then on the facing page, a more detailed explanation suitable for older children.

What I’m sharing is by no means complete – just a few samples!

EPSON MFP image

 

For more information.

Mary and the Christian Life

Salve Regina

Ave Maria and Memorare

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I’ll start with the easy stuff and work my way up (or down)

Watching: I ended up watching most of Mission Impossible: Fallout with Son #2 on MondaySunday evening. Yes, he has school on Monday, but he did some good work (more below on that) this afternoon, so he merited a treat. He and brother had seen it this past summer, but he spied it at Redbox and decided he’d like to watch it again.

I hadn’t seen it with them, but I walked into the room when the Paris part started, and since it was, well, Paris, I was interested, and ended up watching the rest of the whole gripping, silly thing. Very well done with entertaining supporting characters and (it should go without saying) fantastic action.

And now someone who’s exempt from most of his exams and only has to go into school on Wednesday for Calculus is in there watching The Princess Bride. 

(Exam exemption? Best incentive ever.)

Listening: My youngest, playing the postlude at Vespers at the Cathedral Sunday evening. His teacher asked him to turn pages for him at the pre-Vespers organ concert and then do the postlude. If you to my Instagram page, you can hear an excerpt – it’s the last image in this post. 

I’ll stick this in here, because it also involved listening: it was a busy weekend at the Cathedral of St. Paul here in Birmingham. It began very early Saturday morning with a Rorate Mass

The Rorate Caeli Mass is a traditional Advent devotion wherein the Mass of the Blessed Virgin Mary for Advent is offered just before dawn. In many instances families and individuals travel an hour or more, rising and arriving very early for this stunningly beautiful Mass. The interplay of light and darkness speak to the meaning of Advent and the coming of the Light of the world.

The Mass takes its title, Rorate Caeli, from the first words of the Introit, which are from Isaiah 45:8:

“Rorate, caeli, desuper, et nubes pluant justum, aperiatur terra, et germinet Salvatorem.”

“Drop down dew, ye heavens, from above, and let the clouds rain the just: let the earth be opened and bud forth a Saviour.”

The Rorate Mass is lit only by candlelight. Because it is a votive Mass in Mary’s honor, white vestments are worn instead of Advent violet. In the dimly lit setting, priests and faithful prepare to honor the Light of the world, Who is soon to be born, and offer praise to God for the gift of Our Lady. As the Mass proceeds and sunrise approaches, the church becomes progressively brighter, illumined by the sun as our Faith is illumined by Christ.

As was indicated on the Cathedral’s Facebook page, they planned for 100 attendees. There were at least 200 present. I took some photos, but far better are those taken by Mary Dillard of the diocesan One Voice and Ryan Penny from the choir loft (more on the Cathedral’s Facebook page.)

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What a lovely, deeply meaningful tradition. One more profound way to enter into the spirit of waiting and expectation, of journeying from darkness to light: by joining the God-created natural rhythm of a day in the life to the spirituality reality at hand and making space for one to inform the other.

You begin in the dark..

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…and walk out into the light.

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More on our rector’s blog here. 

Then, Sunday morning, some Bambinelli Sunday coming your way:

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The Pope’s not the only one with a balcony!

And then, Vespers:

 

 

Wonderful listening in that pre-Vespers concert there. We’re very grateful for the music here at the Cathedral. Read more about it here. 

Reading: I had written quite a bit on this earlier today, but it somehow did not get saved during a computer restart. That’ll show me. I am going to try to recreate this in fifteen minutes, no more, and then move on with life.

Late last week I read Andre Dubus III’s Gone So LongDubus is a widely admired writer in his own right, but is also known as the son of Andre Dubus, fiction writer (mostly short stories) and essayist and Catholic. Dubus died in 1999, and I wrote a piece on him for, I believe, OSV. You can read it here. I often refer to Dubus’ story “A Father’s Story” and his essays in Broken Vessels and Meditations from a Moveable Chair are fine pieces of spiritual reflection.

Not that Dubus was a saint. Nor would he ever claim to be. He left Dubus III’s mother when his son was ten, and the son examined the subsequent struggles in his memoir Townie. Father and son came to a reconciliation of sorts before the father’s death. This past fall, America ran an interview with Dubus which offers insight.

FF: Your father was a devout Catholic. How did he live his faith day to day? Did he read the Bible, religious books, say the rosary?

AD: Because I did not live with my father after the age of 10, I can only answer this question from that kind of distance. I do believe, however, that for years my father kept a copy of the New Testament beside his bed that he read from, though I’m pretty certain he read far more of the fiction stacked there. As I said above, until my father was run over and then spent the last 12 and a half years of his life in a wheelchair, he tried to attend Mass seven mornings a week. After he was crippled, he would have various lay people come by his house to administer Communion. I know, too, that my father said the rosary daily, something I don’t know how to do and know little about…

 …I’m no authority on forgiveness, but I do believe that my father, who was very young when he became a husband and a father, in his early 20s, did the best that he knew how to do at the time, which, of course, is not the same as doing the best he could do. This is true for all of us, though, isn’t it? And that’s where the potential for growth comes in. None of us are exempt from screwing up. I believe strongly, and I have a hunch my father would agree with me on this, that in his 62 years on the planet, my father put the very best part of himself into his writing. Everything else, including his wife and children, came after that. A close second I would add. But after that.

This way of being led to a masterful body of work, led to the kind of art that can change lives, art that will continue to live on for years and years. But there were costs to this. To him. To us, his six children (and ex-wives). On some level, I think my father knew he wouldn’t have a very long life, and he needed to get to that desk. Well, I’m grateful that he did just that.

Gone So Long is a novel about a shattered family: what happened, why, the life-long consequences and the possibility and question of reconciliation and forgiveness.

It’s told from three perspectives: Daniel, the father, 60-ish in the present day, Susan, the now adult daughter, and Lois, Susan’s grandmother who raised her after the loss of her daughter, Susan’s mother and Daniel’s wife Linda when Susan was three years old.

It is not really a secret what happened to Linda and that Daniel was responsible, but because the details are doled out only gradually over the course of the novel, to just lay it all out here would be spoilerish – and part of the building tension in the novel lies in the shadows around that foundational incident in the past, as well as the contemporary question of how this damage is playing out in the present and whether or not healing is possible.

It’s a serious, painful read so is it proper to say that I “enjoyed” reading it? Doesn’t seem right. But it was an interesting, engaging world to be involved in for a few hours over a few days: the shabby beach amusement park setting of the character’s early lives, the Florida of the present and more recent past, including – and this was surprising – those days in 1990 when the University of Florida campus was terrorized by serial killer Danny Rolling – interesting because I was living in Gainesville at the time.

Dubus is known for his deeply empathetic excavation of character, and that’s in evidence here. You get to know almost every character well, which means seeing their choices from their perspective and, if not agreeing with them, understanding them. This happens, though, because Dubus takes a great deal of time and space to explore these characters – and perhaps it’s just a bit too much. I felt the book was a little longer than it needed to be, with points being made several times in several different ways.

I have a couple of other critiques.

First, there’s an exception to the nuanced characterization: it’s Bobby, Susan’s jazz musicologist husband. If we had a photograph, he just might have a halo hovering over his head. In reflection, it seems to me that Bobby functions as an authorial substitute: he clearly seems to be that compassionate, all-understanding creator and manager of this little universe we’re living in. Even the quote he has painted on his wall from his favorite jazz musician about his fellow musicians expresses this:

I don’t want them to follow me. I want them to follow themself, but to be with me. 

While I found some of the other characters irritating in their bad choices, Bobby was irritating in his magnanimous perfection.

And then, this. Two points as introduction:

  1. Look, a character is a character created by a writer. That writer has the right to do whatever they want and create whatever they would like – what these people do in their fictional universe is up to the author, and that’s that.
  2. It’s absolutely true that the way we live out our sexuality and relationships are linked, in mysterious ways, to family dynamics and history. That’s not news. It’s absolutely true, and as we grow and come to understand ourselves, we see this. It can be a key to unpacking and unlearning destructive behaviors.

But I think it’s also true that explaining the impact of damaging family histories by drawing a line from that to sexual behavior is…kind of the easiest choice a creator can make to explain that history. I thought about this a lot (to pivot rather wildly) during Mad Men, which was a show I really liked a lot, but which also got tiresome in the way that the only way characters expressed tension in interpersonal dynamics was through falling into bed (or more often..on to a desk or office couch..). Okay, I would think – it’s quick and easy, and shorthand in a way, but honestly, there’s a lot more that happens in human life when people are uneasy or torn or broken – beyond sex.

What I’m getting at here is that Susan, deeply traumatized and torn from her parents for terrible reasons and raised in a less than optimal home, always yearning and wondering, acts out that pain through sexual promiscuity. Which would not be unheard of, of course – as one searches, vainly, for warmth and connection and love, to do so in a string of short-term relationships – it’s the story of modern life, isn’t it?

But something about this storyline irritated me, and I think it’s because of St. Bobby. If Susan had been dealing with all of this without a Perfect Older Man managing things, if she’d found inner strength and a way to deal with the unimaginable strangeness of her situation more on her own terms, I probably wouldn’t have reacted as negatively as I did.

In the end, I experienced Susan’s story as an expression – to use a popular critical term – of the male gaze at work – not, as it’s usually understood, in an objectifying sense, but in a paternalistic one.

Which perhaps makes sense in this world, since a father’s massive failure and sin is at the core  of her pain. But in the end, I suppose I was dissatisfied and irritated because I wanted Susan to find what she needed without being rescued, in part, by a saintly middle-aged man.

Writing: Still working on the manuscript due in January.

I’m in the Catholic World Report “Best Books I Read in 2018.” 

 

 

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Yes, it’s a thing. I’m amazed and gratified to report this: it’s a thing.

No, we didn’t start the blessing of the Bambinelli – I still am not sure who did, but it’s currently sponsored in Rome by a group called the Centro Oratori Romani. Here’s their poster for this year’s event:

Bambinelli Sunday

And somewhere along the line, Ann Engelhart heard about it, connected the practice with her own childhood appreciation of the Neapolitan presipi, particularly as experienced through the Christmas displays at the Met -and suggested a book.

More about how the book came to be. 

So here we are!

 

 

 

Every year, I try to note some of the places doing Bambinelli Sunday – here’s this year’s partial list – which starts, right here, with the Cathedral of St. Paul in Birmingham. The only order in this list is the order of search results. So here we go:

The Basilica of St. Mary in Minneapolis 

Divine Mercy, Hamden CT

St. Joseph, Mechanicsburg, PA

Liverpool Cathedral

Holy Spirit, Lubbock TX

St. Jude, Sandy Springs, GA

St. Gabriel School, Ontario, CA

Quinn Clooney Maghera Parish, Ireland

St. Francis of Assisi, St. Louis

Sacred Heart, Coronado, CO

Middleton Parish, Ireland

St. Catherine of Siena, Clearwater, FL

All Saints, Diocese of Plymouth, England

St. Senan’s, Diocese of Killaloe, Ireland

St. Augustine, Spokane

St. Bernadette, Westlake, OH

Ennis Cathedral Parish, Ireland

Nativity, Cincinnati

Killbritain Parish, Ireland

St. Edith, Livonia, MI

St. Brendan, Avalon, NJ

St. Brigid, Westbury, NY

St. Ferdinand, PA

St. Ignatius Loyola, NYC

St. Anne’s, Peterborough ON

Our Lady of Perpetual Succor, somewhere in Scotland

…And that’s all I have time to link.

Do a search for “Benedizione dei bambinelli” as well – you’ll come up with a slew. 

The point is that Advent and Christmas are about welcoming the Word of God into our lives – which means our homes. The blessing of the Bambinelli – which we bring from our homes and return there – is an embodiment of this.  As Pope Emeritus Benedict said in his 2008 prayer for the event:

God, our Father 
you so loved humankind 
that you sent us your only Son Jesus, 
born of the Virgin Mary, 
to save us and lead us back to you.

We pray that with your Blessing 
these images of Jesus, 
who is about to come among us, 
may be a sign of your presence and 
love in our homes.

Good Father, 
give your Blessing to us too, 
to our parents, to our families and 
to our friends.

Open our hearts, 
so that we may be able to 
receive Jesus in joy, 
always do what he asks 
and see him in all those 
who are in need of our love.

We ask you this in the name of Jesus, 
your beloved Son 
who comes to give the world peace.

He lives and reigns forever and ever. 
Amen.

 

 

 

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St. Ambrose, today.

He’s in the Loyola Kids Book of Saints, under “Saints are People Who Change Their Lives for God.” 

You can peek at the chapter here, at Google Books.

Almost six years ago, we did a spring break trip to Milan (freaky low airfare.  I’ll bet if you flew to Orlando that year for spring break and went to Disney, I spent less than you did on our trip.).  And of course, Milan=Ambrose.

(What you might not know is that Milan, as the center of Lombardy in northern Italy, has been the focus of so much attempted conquest and other warfare over the centures, has very little ancient, medieval or even Renaissance architecture or infrastructure.  The basilica of St. Ambrose is an anomaly in the city. Leonardo’s Last Supper barely survived the Allied bombing of WWII.)

But first, to the Duomo –
In the crypt of the Duomo – the baptistry where St. Ambrose baptized St. Augustine:

The Metro stop is nearby, and an underground corridor passes the baptistry.  You can peek out at the passengers rushing by, and if you are on the other side you could peek in to the baptistry – if you knew it was there.

A different type of modern transport juxtaposed with the ancient.   Some wheels from the city’s bike-sharing service in front of the Basilica of Sant’Ambrogio –

one of the four churches built by Ambrose. (of course what we see is not the original – but is the result of building and rebuilding on the site.)

In other places you can find photos of the body of St. Ambrose in the crypt.  I  didn’t take his photo though. I probably could have – a little girl stuck her camera right through the grate and got a shot of the vested skeleton and no one stopped her. But it just didn’t feel right to me. Maybe because the boys were with me and I didn’t want to model “getting a good shot” as even Step Two (after “pray”) in “What To do in the Presence of Important Saints’ Relics.”

B16 at a General Audience, speaking about St. Ambrose:

Dear brothers and sisters, I would like further to propose to you a sort of “patristic icon”, which, interpreted in the light of what we have said, effectively represents “the heart” of Ambrosian doctrine. In the sixth book of the Confessions, Augustine tells of his meeting with Ambrose, an encounter that was indisputably of great importance in the history of the Church. He writes in his text that whenever he went to see the Bishop of Milan, he would regularly find him taken up with catervae of people full of problems for whose needs he did his utmost. There was always a long queue waiting to talk to Ambrose, seeking in him consolation and hope. When Ambrose was not with them, with the people (and this happened for the space of the briefest of moments), he was either restoring his body with the necessary food or nourishing his spirit with reading. Here Augustine marvels because Ambrose read the Scriptures with his mouth shut, only with his eyes (cf. Confessions, 6, 3). Indeed, in the early Christian centuries reading was conceived of strictly for proclamation, and reading aloud also facilitated the reader’s understanding. That Ambrose could scan the pages with his eyes alone suggested to the admiring Augustine a rare ability for reading and familiarity with the Scriptures. Well, in that “reading under one’s breath”, where the heart is committed to achieving knowledge of the Word of God – this is the “icon” to which we are referring -, one can glimpse the method of Ambrosian catechesis; it is Scripture itself, intimately assimilated, which suggests the content to proclaim that will lead to the conversion of hearts.

Thus, with regard to the magisterium of Ambrose and of Augustine, catechesis is inseparable from witness of life. What I wrote on the theologian in the Introduction to Christianity might also be useful to the catechist. An educator in the faith cannot risk appearing like a sort of clown who recites a part “by profession”. Rather – to use an image dear to Origen, a writer who was particularly appreciated by Ambrose -, he must be like the beloved disciple who rested his head against his Master’s heart and there learned the way to think, speak and act. The true disciple is ultimately the one whose proclamation of the Gospel is the most credible and effective.

Like the Apostle John, Bishop Ambrose – who never tired of saying: “Omnia Christus est nobis! To us Christ is all!” – continues to be a genuine witness of the Lord. Let us thus conclude our Catechesis with his same words, full of love for Jesus: “Omnia Christus est nobis! If you have a wound to heal, he is the doctor; if you are parched by fever, he is the spring; if you are oppressed by injustice, he is justice; if you are in need of help, he is strength; if you fear death, he is life; if you desire Heaven, he is the way; if you are in the darkness, he is light…. Taste and see how good is the Lord:  blessed is the man who hopes in him!” (De Virginitate, 16, 99). Let us also hope in Christ. We shall thus be blessed and shall live in peace.

 

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