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"And all ate and were filled; and they took up what was left over of the broken pieces, twelve baskets full. And those who ate were about five thousand men, besides women and children." --Matthew 14:13-21
Immediately before the story of the feeding of the 5,000 is a description of a very different sort of meal: John the Baptizer's head on a platter. And just as women and children are included among the multitude fed on the beach (a detail unique to Matthew's version of the story), the female sex is also represented in the account of John's demise: Herodias, sister-in-law of Herod, asks for the head of the Baptist; her nameless daughter, with no detectable squeamishness, delivers the request to the king and serves up the plated head to her mother. (That women in all of their moral complexity are present throughout Matthew's gospel - recall also the women who appear in the genealogy of Jesus in chapter one -- is an observation worthy of closer scrutiny. See, for instance, Jane Kopas's 1990 essay in Theology Today).
I couldn't bear to watch any of the coverage of the Casey Anthony murder trial. I heard snippets of information on occasion: intimations of incest; a car that "smelled of death"; fist fights breaking out as the curious and obsessed (or the profoundly bored?) tried to get a seat in the Florida courtroom.
When evangelical politicians pronounce on topics like the origins of the universe, the results are almost always awful -- embarrassing, infuriating, unwatchable. When a reclusive, visionary filmmaker like Terrence Malick treats the same subject matter, as he does in his new movie The Tree of Life, one is transported. Which is a useful reminder that the mysteries of creation are best grappled with through art. The book of Genesis, after all, begins not with scientific description or theological argument, but with a poem.