“Schools today, we say we’re preparing our kids for the 21st century,” said Jacqueline DeChiaro, the principal of Van Schaick Elementary School in Cohoes, N.Y., who is debating whether to cut cursive. “Is cursive really a 21st-century skill?”

via the nytimes

disgust, i think, is the word i'm looking for.

Over at First Things, George Weigel reports on the latest findings of the International Bulletin of Missionary Research.

Some of the statistics are provocative, particularly those related to the number of martyrs:


"The provocation in the 2011 report involves martyrdom. For purposes of research, the report defines “martyrs” as “believers in Christ who have lost their lives, prematurely, in situations of witness, as a result of human hostility.” The report estimates that there were, on average, 270 new Christian martyrs every 24 hours over the past decade, such that “the number of martyrs [in the period 2000-2010] was approximately 1 million.” Compare this to an estimated 34,000 Christian martyrs in 1900."

This is stunning and seems unbelievable, and one wonders how well we (western Christians) really are mourning with those who mourn. Are we really bearing the burdens of our brothers and sisters suffering for the sake of the gospel? How can we stand with them?

Meanwhile, we continue to splinter: Weigel writes, "As for the quest for Christian unity: There were 1,600 Christian denominations in 1900; there were 18,800 in 1970; and there are 42,000 today."

But as God frequently does, for all the dividing there is growth. The report suggests an overall, worldwide growth in Christianity, but the growth of Christianity in Africa is the most astonishing:

"Africa has been the most stunning area of Christian growth over the past century. There were 8.7 million African Christians in 1900 (primarily in Egypt, Ethiopia and South Africa); there are 475 million African Christians today and their numbers are projected to reach 670 million by 2025."

from Pastor Sumpter's blog

crushing and beautiful. truth and mercy are meeting more every day, righteousness and peace are forming a more perfect union as we watch.

Ecce autem elapsus Pyrrhi de caede Polites,

unus natorum Priami, per tela, per hostis

porticibus longis fugit, et uacua atria lustrat

saucius: illum ardens infesto volnere Pyrrhus

insequitur, iam iamque manu tenet et premit hasta.

Ut tandem ante oculos evasit et ora parentum,

concidit, ac multo vitam cum sanguine fudit.

Hic Priamus, quamquam in media iam morte tenetur,

non tamen abstinuit, nec voci iraeque pepercit:

'At tibi pro scelere,' exclamat, 'pro talibus ausis,

di, si qua est caelo pietas, quae talia curet,

persolvant grates dignas et praemia reddant

debita, qui nati coram me cernere letum

fecisti et patrios foedasti funere voltus.

At non ille, satum quo te mentiris, Achilles

talis in hoste fuit Priamo; sed iura fidemque

supplicis erubuit, corpusque exsangue sepulchro

reddidit Hectoreum, meque in mea regna remisit.'

Sic fatus senior, telumque imbelle sine ictu

coniecit, rauco quod protinus aere repulsum

e summo clipei nequiquam umbone pependit.

Cui Pyrrhus: 'Referes ergo haec et nuntius ibis

Pelidae genitori; illi mea tristia facta

degeneremque Neoptolemum narrare memento.

Nunc morere.' Hoc dicens altaria ad ipsa trementem

traxit et in multo lapsantem sanguine nati,

implicuitque comam laeua, dextraque coruscum

extulit, ac lateri capulo tenus abdidit ensem.

Haec finis Priami fatorum; hic exitus illum

sorte tulit, Troiam incensam et prolapsa videntem

Pergama, tot quondam populis terrisque superbum

regnatorem Asiae. Iacet ingens litore truncus,

avolsumque umeris caput, et sine nomine corpus.

virgil's aeneid, 2.526-558, the mors priami.

call me blasphemous, but the fact that a human being wrote this is proof that we are made in the image of God.

the suspension of saucius until the fourth line, past even the third, makes eliot himself (the master of suspension) look amateurish.

"nunc morere" may be the first time anyone in literature conveys this idea this succinctly. bruce willis has no clue what he's doing compared to virgil.

550-553 are arguably the crowning glory, with an image mary flannery could only dream of creating: the father slipping in his son's blood as he's dragged to the altar by his hair. capulo, in addition to hilt, also means coffin. the resulting double meaning ought to have made every poet since tear his hear in frustration.

if all of philosophy is a footnote to plato, all western poetry is a footnote to virgil. not that i really grant either, but if you grant the first i'd call you names if you didn't admit to the second.

For you evil does not exist at all, and not only for you but for your created universe, because there is nothing outside it which could break in and destroy the order which you have imposed upon it. But in the parts of the universe, there are certain elements which are thought evil because of a conflict of interest.... All these elements which have some mutual conflict of interest are congruous with the inferior part of the universe which we call earth.... Because my soul did not dare to say that my God displeased me, it refused to attribute to you whatever was displeasing. Hence it came to adopt the opinion that there are two substances.

augustine, confessions, vii.19

fragmentary thoughts on an aesthetic

"Augustine wants to praise God, but he has to know what God is to praise Him... Augustine must speak, and he can't speak."

dr. mac in traditio lecture on augustine's confessions, 24 jan 2011.

we here, in this world, need tension in our art: pain, suffering, some acknowledgment of evil. unless the artist shows us both the already and the not yet, we feel cheated. tragedies move us but so do comedies, and how does this make since unless we agree that both are in a sense true? the already is comedic, that Christ has already taken the world back, that knees everywhere already bow to Him, that the victory has been won. yet here we are, and the kingdom has not come on earth as it is in heaven. the not yet, the tragic, must be present in our work. more importantly, it must be taken seriously in our art. this can obviously be done either by writing hamlet or a modest proposal. both acknowledge tragedy, only the latter makes it conspicuous by its absence.

unless our beauty is pained, it rings hollow as long as we dwell here in the vale of tears.

and this makes me all the more excited and sure that we shall have an eternity of creativity when there is no more not yet. think of the comedy we can write when there is no more need for sadness. no really. no more deep longing in our souls, no more nameless void left unfilled. Christ seen as He is and all thereby made right. i think shakespeare will have himself a hell of a time.