Magazine

LITTLE AMAL, an 11-foot-tall puppet of a 10-year-old Syrian refugee, is the star of “The Walk,” a live public production to honor millions of displaced children in the world. Named after the Arabic word for “hope,” Amal took her first steps at the Turkey-Syria border in July 2021. Since then, she’s traversed more than 5,500 miles in 13 different countries to share a poignant plea: “Don’t forget about us.”

Four puppeteers help Amal walk. One person sits inside her torso, visible through a cage, to operate her face, head, and feet; two move her hands with external rods; and one offers balance support from behind. Amal towers over the crowds who greet her, and the enormous space she occupies sends a powerful message: Forced displacement is an urgent and collective responsibility. The Walk embodies compassion, care, welcome, and belonging — core principles of Christianity. Amal, who has more than 170,000 followers on Instagram, has become a well-recognized humanitarian symbol, reminding us that displaced people are not “aliens” or “strangers.” They are our siblings, parents, children, neighbors, and friends.

P-VALLEY IS A DRAMA about employees of a fictional strip club in Mississippi called The Pynk. Watching the show, which Starz has renewed for a third season, gives me déjà vu. In the opening minutes of the first episode, we see a neighborhood overtaken by a flood, the camera eventually focusing on a floating suitcase — which a woman who looks like she just survived a hurricane grabs. I’m reminded of Toni Morrison’s titular character Beloved, who “walked out of the water”; it’s all instantly reminiscent of the Southern, sin-filled aura of stories by Flannery O’Connor. A few minutes later, I’m hit with production design as colorful as that of the TV show Pose — unabashed theatricality.

This description should feel as dizzying as twirling around a stripper pole — that’s the inevitable impact of the artistic and spiritual heft P-Valley wields. The show, which is an adaptation of a play by Pulitzer Prize winner and Tony Award nominee Katori Hall, is about nothing less than free will. Hall explores complex topics such as sex work, abuse by men, abortion, and homophobia. Here in the Mississippi Delta, viewers get to know a mostly Black community trying to live as freely as the Constitution of their nation built by slaves declares white men should.

MUSIC IS MY safe space. When all hell is breaking out, I can put in my AirPods and turn on part of the soundtrack of my life and reset. The pandemic created a chronic hell that illuminated oppressive forces that have existed for centuries. Music became even more essential for my survival.

I am a Black clergywoman who is clear that “my emancipation doesn’t fit” many people’s equation. Let me say that another way: My authentic expression of self makes some people uncomfortable. My unapologetic expression of womanist Blackness often sheds light in the shadows of a corrupt world.

I won’t pretend that I have always felt free to be me. It took a pandemic to give space to be reminded by theologian and prophet Lauryn Hill that “deep in my heart, the answer, it was in me.” Hill’s lyrics and very existence compelled me to “[make] up my mind to define my own destiny.”

Some consider Hill to be one of the greatest lyricists of all time. An eight-time Grammy winner (with 19 nominations), she sings, raps, and acts. She is hip-hop royalty. In the ’90s, I wanted to be her. She wore the dopest locked hair style, had the most beautiful brown skin, and expressed her Blackness with boldness and class. She had, and still has, a lyrical flow that men and women couldn’t ignore. She was fly. (Translated as cool, sexy, smart, and stylish.)

Her industry-shaking debut solo album The Miseducation of Lauryn Hill, released in August 1998, will stand the test of time. Hill speaks truth in ways that penetrate the soul. I was a young mother when the album came out. She articulated things that only a Black woman could identify with. She spoke of the tension and beauty of having a child when society was telling her that motherhood and a career couldn’t coexist. She sang and rapped about self-respect, love gained, and love lost. This album is life. This album ministers. This album is sacred.

THIS IS ONE way to tell the founding story of L’Arche:

The main character is a sailor-turned-ethicist named Jean Vanier. The son of the governor general of Canada, he was, as his biographer Anne-Sophie Constant wrote, “a child of privilege, he had danced with princesses, dined with politicians and philosophers, and circled the world twice.”

As the story goes, Vanier gave all that up in 1964 when his spiritual mentor, Thomas Philippe, a Dominican priest, took him on a tour of the psychiatric facility where Philippe was a chaplain. There, Vanier discovered, as he put it, “an immense world of pain.” This is not an exaggeration: At the time, asylums, which were notorious for overcrowding and abuse, functioned more as prisons than treatment centers. Inside these walls, Vanier heard an invitation — from Jesus and the men with intellectual disabilities — to do something.

So Vanier bought a broken-down house in Trosly, France, and invited two men from the mental institution to live with him. He named the home “L’Arche,” French for “The Ark,” a biblical symbol of protection in a storm-tossed world. Vanier traveled around the globe to tell the story of their life together, and soon L’Arche communities sprouted up in Canada, India, Australia, Haiti, and beyond — a constellation of communities where adults with and without intellectual disabilities have aspired to live, work, pray, and play together as equals. L’Arche became integral to the movement for the deinstitutionalization of people with intellectual disabilities, and Vanier became a best-selling Christian writer and hero to all of us looking to practice a faith that prioritized those on the margins.

When he was introduced to give lectures, Vanier often said, “I feel uncomfortable when people say nice things about me.” Yet the world had lots of nice things to say, bestowing upon Vanier countless awards, including the French Legion of Honor, the Companion of the Order of Canada, and the Templeton Prize. But for me, a certain 2010 accolade feels the most poignant: Astrophysicist C.J. Krieger discovered an asteroid and named it after Vanier. Vanier is above us; Vanier spins on a different celestial plane than the rest of us.

Before he died, Vanier was often called a living saint. Upon his death in 2019, Pope Francis sent his sympathies, asking Jesus to welcome Vanier into heaven as his faithful servant. It’s the type of eulogizing that you expect for someone who saw beauty and divinity where others saw shame and destitution.

It’s an inspiring story that changed thousands of lives: At the time of Vanier’s death, there were 147 L’Arche communities in 37 countries, home to approximately 10,000 people with intellectual disabilities. The protagonist of the story also saved my faith, showing me how Christianity is capable of destabilizing dangerous institutions, rocking the boat, building new arks.

Unfortunately, it’s a bad story.

HAVE YOU EVER had one of those perfect moments?

My wife and I sat on a bench at the farmers market with a plate of steaming hot tamales before us and a bag of crisp fennel bulbs, Pink Lady apples, and fresh spinach at our feet. The air smelled of salt and cooking oil. A deep yellow and iridescent gold light wrapped around us. Every noise fell away in a holy hush. We met, however fleeting, the “still point of the turning world” described by poet T.S. Eliot. Held and beheld.

To be honest, I usually miss these moments. Though I try (religiously) to keep custody of my mind and attention, the world we live in now beeps, dings, buzzes, and updates 24/7. It’s hard for God to break in. Perhaps this description of digital architecture’s pointed intrusions into our one beautiful life is too minimalist. Most days, I’m holding my breath against the crushing dynamics of digital onrush and knowledge outflow. I miss the still points between the crest and lip of that wave.

I KNEW ALMOST immediately it was bad news.

“Maria was separated at the border from her auntie,” my friend said in a phone call. “We don’t know where she is. Her auntie was sent back to Mexico and we think is being held by a drug cartel. They separated them under Title 42.”

I felt sick. Four-year-old Maria (not her real name) and her aunt were fleeing violent circumstances. They arrived at the U.S.-Mexico border to exercise their legal right — protected by both international and U.S. law — to request asylum, as other members of Maria’s family had done prior to the COVID-19 pandemic.

In March 2020, everything changed. The Trump administration, through the Centers for Disease Control and Prevention (CDC), invoked a rarely used subsection of public health code called Title 42 to close U.S. borders to asylum seekers and unaccompanied children under the guise of preventing the spread of COVID-19. It made that decision against the advice of many public health experts, including some within the CDC, who agreed there was no public health rationale for a ban on asylum seekers as a group. Though the border remained open to truckers, temporary workers, students, and others, border agents turned back asylum seekers to Mexico or their home country.

ALL THREE FEATURE articles in this issue revolve around issues of power. Jenna Barnett looks at the power wielded by charismatic leaders such as Jean Vanier, one of the founders of the L’Arche communities, and how his power — and a lack of accountability — became a fountainhead of abuse. Mae Elise Cannon, executive director of Churches for Middle East Peace, explores the May 2022 killing of Palestinian Christian Shireen Abu Akleh by the Israeli military, a consequence of the massive power imbalance between the State of Israel and the Occupied Territories of Palestine. And Sojourners’ Moya Harris, an itinerant elder in the African Methodist Episcopal Church, looks at the spiritual power of Lauryn Hill and other female rappers who address questions of “sexual power, sexism, embodiment, racism, and economic issues” in their lives and music.

As Christians enter the season of Lent, we reflect on human brokenness and who we are before the cross. Abusive power is not new. But it also does not have the final word, as the people in these stories show.

I was wrapping up some research in the Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University when I requested a box of Lucille Clifton’s personal writings. I had not come to study Clifton. I was researching anti-lynching activism in Georgia, specifically a 1936 lynching photograph. But by the end of the week, I began turning to Clifton’s personal writing as an oasis. “Resolve to try to fear less and trust more and be healthy,” she wrote in her red Writer’s Digest Daily Diary on December 31, 1979. Clifton was a published children’s book author, memoirist, activist, and the poet laureate of Maryland when she wrote those words. She was also 43, the same age I was that September day. Her body of work, which includes Two-Headed Woman and Blessing the Boats, crossed oceans, told family stories, and revealed both the sting of injustice and the heart of what’s holy.

The day after Clifton resolved to “fear less and trust more and be healthy,” she wrote in her journal that she returned to a house with “no central heat; bad plumbing; and foreclosure.” A few weeks later, the house was auctioned off to the highest bidder. She sat down and wrote something anyway.

What moved me the most was a tiny hand,
like the claw of a cub, pawing at my
rib cage in time to the suckle of his lips.
This beautiful, wild person sustained
by milk drawn from unknown wells within me.
I remember nursing once in the basement
restroom of the zoo’s primate house.
The floor tile was cold — no other place to sit.