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‘… They Strike the Cheek of the Judge of Israel.’

From the Armadio degli Argenti of Blessed John of Fiesole, OP (Fra Angelico), c. 1450

‘ Now shall you be laid waste, O daughter of the robber: they have laid siege against us, with a rod shall they strike the cheek of the judge of Israel.’

Micah 4:14

‘…They Shall Bind You…’

From the Armadio degli Argenti of Blessed John of Fiesole, OP (Fra Angelico), c. 1450

‘And you, O son of man, behold they shall put bands upon you, and they shall bind you with them: and you shall not go forth from the midst of them. And I will make your tongue stick fast to the roof of your mouth, and you shall be dumb….’

Ezekiel 3: 25-26

‘…Even the Man Who Ate My Bread….’

From the Armadio degli Argenti of Blessed John of Fiesole, OP (Fra Angelico), c. 1450

… Even the man … in whom I trusted, who ate my bread, has greatly supplanted me.’

Psalm 41: 10

‘…My Victim, Which I Slay for You…’

From the Armadio degli Argenti of Blessed John of Fiesole, OP (Fra Angelico), c. 1450

‘Assemble yourselves, make haste, come together from every side to my victim, which I slay for you, a great victim upon the mountains of Israel: to eat flesh, and drink blood.’

Ezekiel 39:17

‘…Be Clean…’

From the Armadio degli Argenti of Blessed John of Fiesole, OP (Fra Angelico), c. 1450

‘… when you multiply prayer, I will not hear: for your hands are full of blood. Wash yourselves, be clean, take away the evil of your devices from my eyes, cease to do perversely, learn to do well: seek judgment, relieve the oppressed, judge for the fatherless, defend the widow.’

Isaiah 1: 15-17

The First Word on Silence . . .

. . . which is to say the novel, Chinmoku, will always belong to Endo. After reading Mark Lickona’s article I had a few questions, so I went back to my well-worn copy of the book and read a couple of paragraphs from an interview with the author in 1967 (the year after Silence was published). The first should seem familiar to readers of Korrektiv—or anybody’s inner existentialist. With a Japanese twist:

For a long time I was attracted to a meaningless nihilism and when I finally came to realize the fearfulness of such a void I was struck once again with the grandeur of the Catholic Faith. This problem of the reconciliation of my Catholicism with my Japanese blood . . . has taught me one thing: that is, that the Japanese must absorb Christianity without the support of a Christian tradition or history or legacy or sensibility.

Say what? “Without the support of a Christian tradition or history …” How is that possible? What does that even mean?

Good thing there’s another paragraph:

But after all it seems to me that Catholicism is not a solo, but a symphony … If I have trust in Catholicism, it is because I find in it much more possibility than in any other religion for presenting the full symphony of humanity. The other religions have almost no fullness; they have but solo parts. Only Catholicism can present the full symphony. And unless there is in that symphony a part that corresponds to Japan’s mud swamp, it cannot be a true religion. What exactly this part is—that is what I want to find out.

I’m really not sure what to make of the first paragraph, so please, if you can, enlighten me with your comments below. But the second paragraph I rather like, and not just because he uses music as a metaphor. What I find stirring is the resolution he exhibits as he looks ahead to the next thirty years of his career. And even more than that, perhaps, is his ready admittance that he isn’t exactly sure what he makes of the predicament in which he finds himself.

And since Scorsese’s version has fallen upon awfully rocky ground in these parts, I’ll provide a link here to a 1971 Japanese version, directed by Masahiro Shinoda from a screenplay by Endo himself with the director. It differs from the novel in several ways, but I won’t give the game away here.

Last of all, here’s a look at the author himself, shilling for something called the “Bungo Mini”. And coffee:

We were poets once and young…

…or younger, anyway.

Desktop5So JOB was visiting the Dappled Things website, as one does, and he stumbled across this in the “featured poem of the day” department: a little ditty he composed a while back for some M.L. character…

Screen Shot 2017-02-08 at 11.18.37 AMI do so love “ogling theologians.”

[Image: Gargoyles at Notre Dame, and the Café Grotesque mascots they inspired.]

Rally, Korrektiv, rally — here cometh Sister Sinjin!

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Friend of Korrektiv Betty Duffy has formed a band and recorded an album. Let that be a spur for your own efforts, and also a spur to go, listen, and purchase.

From the Sister Sinjin blog: What Does Creativity Look Like Within the Covenant and Constrictions of Life’s Obligations?

When we met for the first time we talked about creativity as our culture celebrates it: Freeing yourself from distractions, surrounding yourself with all things beautiful, being lost inside the space created for yourself whether in nature or a coffee shop, throwing off any labels the world has placed on you and discovering your true self. Who doesn’t want all of that from time to time?

 We are at a different stage in our lives, however, where time for leisurely creativity is at a premium. And do we even want that? We all have families and loved ones that we’re not willing to sacrifice to art.

 Elise threw out the phrase “Creativity of Obligation” as a topic for exploration. What does it mean to be creative while embracing the roles, responsibilities and obligations of mother, wife, friend, minister, employee, Christian?

 What if creativity does not flow best into the limitless space we strive to create around ourselves? What if, instead, it is pressed out of us by the constant, repetitive, unending cycle of daily life? What if creativity is not the result of acting on our every desire, but rather what’s found after everything else has been drained from us?

 Maybe there, in the uncomfortable realities of our lives is where creativity is expressed, because it must be in order to survive the exhausting and the mundane. Maybe creativity is more incarnation than transcendence.

 Creativity of obligation requires us to show up with all our baggage and create something anyway.

 Two weeks after we first met we began recording an album. We have carved out space though it has been brief and hard won. Most of our creative process, however, has happened with children surrounding us, in dirty kitchens and cluttered cars.

 If we had all the time and resources in the world we could create something more grand, more elaborate, but not more beautiful. What results will be all of what we had to give in a brief period of time with pinched pennies and crying babies at our side.

 Our obligations do not stop us from creating, they compel us.

Out for a Larkin

crucifix-santa-croce-florence-italy

Walk into a Catholic church, and tell me what you see
A dead man, pierced and naked, hanging from a tree
A God you’re told to worship, though he looks like you and me
A dead man, pierced and naked, hanging from a tree
An ad that sells you sorrow, with some pain thrown in for free
A dead man, whipped and bloody, hanging from a tree
And you wonder how, with such a pitch, it ever came to be
A dead man, whipped and bloody, hanging from a tree
Since no one’s seen a dead man rise since AD 33
A dead man, sent to save us, hanging from a tree

If you’re clapping, stop it.

IMG_20150502_200308Rotate Caeli has a great sermon for this past Sunday (Extraordinary Form) by a priest in full communion with Rome on the Holy Father’s new document, The Joy of Marriage Sex. Listen and you’ll be mad you did – but at least now you can say, you know, you know.

Readings for this past Sunday (Extraordinary Form). (FYI)