I live in Washington D.C., a city in which mistakes are messaged and shortcomings are spun. True confession and true repentance do not occur — unless it is politically advantageous. Naturally, cynicism runs rampant.
In this environment, though we all know our own weaknesses, grace is rarely offered for failures.
Which is why Lent is such an important season on the Christian calendar. It is an opportunity to pause and reflect, to examine our hearts, and to acknowledge the ways in which we have fallen short. But we don’t confess our failures to a public waiting to crucify us. Instead, we confess our sins to one who loves us and was willing to be crucified in order to reconcile us once and for all.
Lent is rarely talked about as a celebration, but it is an opportunity to revel in the joy of forgiveness.
Will we sit and listen to a refugee mother talk about her family’s horrific life in her war-torn country, and realize we’re no longer afraid of her? Will we talk to the gay couple that needs a cake and hear their love story, and feel a bond because it reminds us of our own love story? Will we look into the eyes with the homeless person begging just outside our car window and see another human being in pain, and suddenly feel an urge to help them? Will we make ourselves divinely vulnerable?
In that moment, we reach beyond our fear. We’re finally freed by love. No longer hiding in a tiny room behind a locked door. That. We all need more of that.
The last days of Weiner’s mayoral campaign devolve into farce, with anxious aides running around and the candidate’s interactions with voters getting more and more contentious. While watching the ship go down is entertaining, what makes the story so fascinating is the boldfaced dishonesty at its core. Weiner the man misses what Weiner the film understands about his predicament: that being made a fool by trusting in the wrong person is an awfully hard thing to forgive.
Without his community of his sisters and family, who have been mourning his death and questioning God for not saving their brother and friend, Lazarus would remain entombed. Without community, we remain bound and entombed. I’m not saying that our actions are as great as Jesus raising someone from the dead. But I am saying that God entrusts us with living into community, so that we may welcome our brothers and sisters out of death and into life.
After hours of deciphering the directions and gathering together the countless tiny parts, inevitably you discover that a piece is missing. Somewhere in the unpacking of the zillion elements, you have dropped a small part under the refrigerator or behind the radiator. And it’s never just a missing piece, it’s usually the missing piece: the key part that transforms the pile of random plastic into the one-of-a-kind, fabulous piece it was meant to be.
Francis marked the start of the jubilee on Dec. 8, when he opened the Holy Door at St. Peter’s Basilica in Rome. The yearlong celebration calls on Catholics to reflect on the theme of mercy and forgiveness and showcase a more inviting faith. That theme resonates in Africa, home to about 200 million Catholics. A sizable part of this population is tormented by war, violence from Muslim extremists, HIV/AIDS, and poverty.
The murderous attacks in San Bernardino, Calif., are too fresh to address at any length.
The brutality and horror of the killings of the innocent and the bloody shootout, the indescribable grief of the families, and the sheer shock of such an incident occurring in an otherwise quiet community demand prayer, reflection, and comfort more than quick and inevitably inadequate pontification.
Sadly, these shootings are not unique. Too often, we have experienced the agony of slaughter in churches, homes, theaters, schools, and other venues of what has been the quiet commonplace.
Yet there is a striking facet of these tragedies that shines brightly amid their grim darkness: The witness of Christians who, in the face of evil, have displayed the love of their savior and the forgiveness he alone can bring.
We think it's wrong for a woman, much less a mother, to be angry. And so when anger inevitably, righteously, hits us — with its cousin fatigue and its brother frustration — we don't know what to do except to bury it beneath a smile that gets thinner and weaker as the day winds on.
We all get angry, though. It is a function of being human, and I daresay without anger we would never have won women the right to vote, school desegregation, or any other host of advances that came about when people got righteously angry and unleashed the power of justice and the Holy Spirit.
So be angry when you are angry. The Bible says so. Do not be ashamed to say, in the moment, "This is not right. I'm angry."
“WHAT YOU do to children matters. And they may never forget.”
This thread runs aggressively through Toni Morrison’s most recent novel, God Help the Child. The speaker is Sweetness, a woman who shares her family’s wounds from trying to pass for white, or “high-yellow,” for generations. Of trying to blend in well enough to drink at fountains, to try on hats in stores, to use the same Bible as whites during ceremonies. When her child and the novel’s focus, Bride, is born black, “midnight black, Sudanese black ... blue-black,” all the advancement Sweetness and her ancestors strove for dies. She loses her husband (who assumes she has been unfaithful), her social standing as a light-skinned woman, and any love for her child. “Her color is a cross she will always carry,” Sweetness says. “But it’s not my fault. It’s not my fault. It’s not my fault. It’s not.”
Bride grows up without the love of a mother’s touch and scorned for being so oddly dark, until she learns to use her color to make herself exotic and marketable. What may seem to be a character living into her identity as a black woman is really a façade in order to regain what was lost because of her skin. Of course, what Bride sees as progress is actually proof that she too has fallen into Sweetness’ obsession with what Morrison described in a recent NPR interview as “skin privilege—the ranking of color in terms of its closeness to white people or white-skinned people and its devaluation according to how dark one is and the impact that has on people who are dedicated to the privileges of certain levels of skin color.” But while race and color as social constructs are themes in the book, they are not explored as deeply or given as much emphasis as childhood trauma.
As in some of Morrison’s other novels, magical realism conveys the battle between the past and the present, the spiritual and the physical, playing a poignant, visceral part in Bride’s journey. Bride goes through a literal metamorphosis, assuming it is penance for gruesome choices she made as a child to feel alive and as an adult to feel powerful. She is numbed to what true progress and success are, constantly trying to put a fragmented identity together until she can no longer get up and must face her trauma and changing body.
The only people in the novel who allow themselves to truly heal are a child named Rain and an ex-convict named Sofia. They speak to the power of self-forgiveness. Too often we carry the shame and hate handed to us by other people’s evil, whether from childhood trauma and abuse or complacency and apathy as adults. While we can and must be held accountable for our own mistakes, we must also be willing to take off the shroud of self-loathing and guilt, and move forward past trauma into self-acceptance and healing. Both Rain and Sofia, young and old, can see the power of blame and regret and refuse to walk that path, while Bride, her lover Booker, and her mother Sweetness will arguably always drag the sins of their forebears behind them.
“What you do to children matters. And they may never forget.”
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