Arts & Culture
Tim Duggan Books
YET ANOTHER BOOK about climate change. What could it possibly say that we haven’t already heard?
Plenty, it turns out.
David Wallace-Wells’ extraordinary and chilling book The Uninhabitable Earth: Life After Warming gives an overview of the overwhelming scientific consensus that the planet is warming and changing at rates never seen before. But the real value for its readers are the 100 brutal pages of excruciating details about what life will be like if they do not quickly make extraordinary changes to their energy consumption. Wallace-Wells’ central message is that we are living in a time hotter than any other time humans have ever lived in, and we cannot go back in our lifetimes. And looking forward is nothing short of terrifying.
Justin Townes Earle / New West Records
APPROPRIATELY ENOUGH, The Saint of Lost Causes —the new Justin Townes Earle album—has an Orthodox icon of St. Jude on the cover. In Catholic lore, St. Jude is the patron saint of lost causes and desperate cases. But if a person can still turn to a saint for intercession, the cause isn’t entirely lost. The desperate act of prayer implies at least a sliver of hope for grace and mercy, and that’s mostly where the people in Earle’s new batch of songs are: down to their last desperate prayer but still hoping.
At the beginning of the album, in the title track, Earle lays it out, singing: “Now it’s a cruel world / But it ain’t hard to understand / You got your sheep, got your shepherds / Got your wolves amongst men.” Over the course of the next 11 songs, we see the world mostly from the point of view of the sheep. We hear from some fracked-out citizens in “Don’t Drink the Water” who are growing increasingly restless as some oil company hack keeps claiming that their poisoned land and water, and the occasional earthquake, are all an “act of God.” Later, in “Flint City Shake It,” a streetwise Michigander fills us in on how General Motors assassinated his still-resilient hometown. Then there’s the junkie desperado of “Appalachian Nightmare” who hopes God can forgive him at the moment of his death.
William Stringfellow
Shelter and Storm
Seeking Shelter: A Story of Place, Faith, and Resistance is a 30-minute documentary on the personal history of the late Christian activists Daniel Berrigan, William Stringfellow, and Anthony Towne. Using firsthand accounts, the film follows their work for civil rights, social justice, nuclear disarmament, and environmental action. Seekingshelterblockisland.org
Detail of “Under the Wave Off Kanagawa,” by Katsushika Hokusai / Apple’s wave emoji
WHEN I TRAVEL to a city, I find art museums and their masterpieces: “Sunflowers” in Amsterdam, the “Prodigal Son” in St. Petersburg, “David” in Florence. Van Gogh, Rembrandt, Michelangelo. These are masters, according to some cultural imagination.
But it wasn’t until this past April that I encountered an Asian master and masterpiece: Katsushika Hokusai’s “Under the Wave Off Kanagawa.” The print is better known as “The Great Wave”—you know, the Apple wave emoji. Why is this the first Asian masterpiece that I’ve seen?
The Peace Poets.
BEFORE THEY ARE hip-hop performers, educators, and poets, the Peace Poets are a family. “It’s been a development of a brotherhood,” Frank Antonio López (aka Frankie 4) says of the group’s formation. López and Abraham Velazquez Jr. (aka A-B-E) met when they were 3 years old. Enmanuel Candelario (aka The Last Emcee) was introduced to the pair in grade school and introduced to Frantz Jerome (aka Ram 3) in high school. Candelario would go on to meet Luke Nephew (aka Lu Aya) at Fordham University in New York.
Much of the Peace Poets’ foundational development occurred in Harlem at Brotherhood/Sister Sol, a leadership and educational organization for black and Latinx youth. It was there, López says, that the Peace Poets were “politicized through art.”
Image via REUTERS/Shannon Stapleton
"The reactions are full spectrum from shock to upset to being angry, but not angry at what I'm doing, angry at the stark fact that this could be a reality," the artist, who does not reveal his real name, said in an interview on Monday.
CREDIT: CORNELIUS FILM
Do you remember where you were four years ago when you heard the news?
The cast of "Choir Boy" performs. Image via REUTERS/Brendan McDermid
Good theater contains a strain of that gospel antidote, that powerful tradition of trying to name and recognize our demons and human propensities. The earnestness in story that pairs what we believe with what we do, can serve as a way to handle truths about ourselves and our dealings that make us uncomfortable. Often written off as fluffy and as a less effective means of activism, the tradition of plays and musicals has the power to stage an inner confrontation in real time, asking the audience to contend with a hard truth or recasting a social norm we seldom question.
From Netflix's 'When They See Us'
I watched Ava DuVernay’s Netflix series When They See Us and found myself angered by the people and systems that had a role in the incarceration of five innocent boys. The Central Park Five, Raymond Santana, Kevin Richardson, Antron McCray, Yusef Saalam, and Korey Wise, were wrongfully convicted and later exonerated of a variety of charges related to the rape and assault of a white female jogger in 1989. While the series itself honors the stories of the Central Park Five, in choosing to title the series When They See Us, DuVernay invites us into a broader conversation on the criminalization and mass incarceration of young boys and girls of color, and challenges us to define our own role within this system.
Illustration by MUTI
This seep of droplets sponged by moss leaked
from a cleft in the rock; the waters in the cleft
rose osmotically from earth:
the aquifers of earth rained down
from cloudburst skies;
HUMANITY HAS BEEN reaching ever since Eve put her hand out and plucked the forbidden fruit. Since then, our acts of extension have been plagued far too often with violence and, in the end, death and despair. Philip Kolin’s new book of poetry, Reaching Forever: Poems, takes on those stretches and examines them with grace. His book is a fresh take on what it means to be loved and loving.
In the poem “God Comes to the Eternal Gate Holiness Church,” Kolin makes short work of people whose reaching is unsuccessful, via one of my favorite lines: “Bystanders down country roads reach out to him.” In other words, the spiritual life is not one for spectators but for those who do God’s will.
"AND THERE SAT a dark leather-bound Bible soaked in blood. A bullet had pierced its pages.”
The Bible belonged to Felicia Sanders, one of the five people to walk out of Mother Emanuel AME Church alive after a stranger who had been welcomed to a Bible study shot and killed Rev. Clementa Pinckney, Cynthia Hurd, Susie Jackson, Ethel Lance, Rev. DePayne Middleton-Doctor, Tywanza Sanders, Rev. Daniel L. Simmons, Rev. Sharonda Coleman-Singleton, and Myra Thompson.
The quote is from Jennifer Berry Hawes’ new book, Grace Will Lead Us Home: The Charleston Church Massacre and the Hard, Inspiring Journey to Forgiveness. With measured prose and journalistic excellence, this book rounds out the forgiveness and grace that have become synonymous with the Charleston massacre by exposing the outrage, isolation, and bumpy road of grief that followed the deaths.
THE CHURCH THAT baptized me and was my spiritual home does not provide marriage counseling to LGBTQ couples. I doubt it even allows openly LGBTQ people to join its congregation. This treatment isn’t unusual: For years, many LGBTQ people have been denied true belonging and dignity in church bodies worldwide. Their romantic partnerships have been damned by clergy and discredited by loved ones. While heterosexual couples have been given pastors’ blessings and guidance, many LGBTQ couples have been abandoned to the harshness of life’s challenges.
David and Constantino Khalaf know this struggle well and don’t want queer Christians interested in finding a partner to have to figure out the complexities of faith, marriage, and commitment on their own. That’s why they have bravely written the book Modern Kinship: A Queer Guide to Christian Marriage.
Alphabet/Good Humor, 1975, Claes Oldenburg / Bridgeman Images
“ARTISTS EXPRESS things that people don’t have words for; that’s why it’s so important to have them in justice spaces.”
With that neat answer, the panelist sits back in her chair, satisfied, bedazzled nails glimmering in the stage lights. I roll my eyes, then immediately feel guilty. You know you’re in for a rough night when you find yourself side-eyeing a Tony Award-winning actress—at a Martin Luther King Jr. Day event, no less—but I can’t help myself. Her answer smacks of the vague, self-congratulatory art-speak I hear on a regular basis, in which people tell me their work is a “metaphor for capitalism,” without any kind of explanation.
"Things That Grow" by Tracy Howe.
Among the Branches
Retro sounds meet recent dangers in the album Things That Grow. Backed by Memphis rock musicians, songwriter Tracy Howe sings of liberation from violence, racism, and environmental destruction. Soul and gospel lift her prayerful words and guide listeners forward on the shared “justice road.” Just Love Music
Spike Lee. Wesley Mann / August Image
“Always do the right thing.”
“That’s it?”
“That’s it.”
“I got it. I’m gone.”
DA MAYOR (Ossie Davis) and Mookie (Spike Lee) share this exchange in Lee’s film Do the Right Thing, which turns 30 this summer. Three decades on, Lee’s masterpiece on racism and community still stands out for its trailblazing voice. Lee, and the film that blasted him into broad public consciousness, continue to inspire powerful work by filmmakers of color, including Dear White People, Get Out, and The Hate U Give.
It’s undeniable that Do the Right Thing’s bold style and perspective are what helped it become iconic. Its depiction of the police killing of black men also remains powerful and, as it turned out, prescient. The film almost seems to have predicted events that unfolded 25 years later following the deaths of Michael Brown, Eric Garner, and so many others.
Lauren Anderson. Photo by Owen Conflenti
BLACK BALLERINAS have long perfected the art of altering pink tights and ballet shoes to match their skin tones. The night before a class with company members of the Dance Theatre of Harlem, the first black classical ballet company, pots of water with multiple tea bags boiled on the stove in my home, so I could dye my legwear and footwear. It was a process my mother swore by—and it worked.
In November 2018, nearly 200 years after pink ballet shoes were designed for white dancers, the company Freed of London released pointe shoes in colors that match Asian and black skin tones. It’s a step in the right direction, even though the ballet world continues to be characterized by whiteness.
screenshot from Field of Dreams
The promise of Field of Dreams is that when we give ourselves to serving the common good at the place where our “deep gladness and the world’s hunger meet,” as Frederick Buechner writes, we don’t just help advance the healing of the people we touch, we also begin to heal our pain.
Photo by Brandon Mowinkel on Unsplash
My high school alma mater is not an anti-Semitic or Islamophobic school, as far as I know. But its mascot is.
So when we seek direction, remind us what is true:
the Advocate is with us to help us follow you.
Christ, guided by the Spirit, may we your people be
A loving, faithful witness in this community.