Frederica Mathewes-Green is a wide-ranging author who has published 11 books and 800 essays, in such diverse publications as the Washington Post, Christianity Today, Smithsonian, and the Wall Street Journal. She has been a regular commentator for National Public Radio (NPR), a columnist for the Religion News Service, Beliefnet.com, and Christianity Today, and a podcaster for Ancient Faith Radio. (She was also a consultant for Veggie Tales.) She has published 10 books, and has appeared as a speaker over 600 times, at places like Yale, Harvard, Princeton, Wellesley, Cornell, Calvin, Baylor, and Westmont, and received a Doctor of Letters (honorary) from King University. She has been interviewed over 700 times, on venues like PrimeTime Live, the 700 Club, NPR, PBS, Time, Newsweek, and the New York Times. She lives with her husband, the Rev. Gregory Mathewes-Green, in Johnson City, TN. Their three children are grown and married, and they have fifteen grandchildren.
[Christianity Today Online; May 11, 2012]
3 stars
Cast: Nadine Labaki (Amale), Julian Farhat (Rabih), Leyla Hakim (Afaf), Yvonne Malouf (Yvonne), Ali Haidar (Roukoz)
Outside a small, dusty village in Lebanon, a few teens with an old-fashioned boom box are climbing the hills, trying to find a place where they can get good reception; their home town is so isolated that news from the outside world is an occasional thing. Only a narrow, badly-maintained bridge connects them with the surrounding countryside, and it is surrounded by land mines that were planted long ago and never removed. Yet it’s worth it to take that risk sometimes, if they can find a signal.
Just today I read about the Naked Face Project; two women in Charlotte, NC, Molly Barker and Caitlin Boyle, decided to try, for just 60 days, to go without makeup, jewelry, shaving, uncomfortable clothing (like tight skirts and high heels), painted nails, beauty lotions, and anything more than basic hair styling.
As the last scene of this movie faded away, replaced by a screen reading “Directed by Madonna,” I asked my companion, “If you’d known ahead of time that Madonna was the director, would you have enjoyed this movie as much?” He replied, “Honestly, no.”
Today is the 39th anniversary of Roe v. Wade, the Supreme Court decision that legalized abortion—through all 50 states, for any reason whatsoever. When I was a college student, back in the 70’s, I was in favor of legalizing abortion. I wasn’t a Christian then, but I was a feminist, the first feminist in my dorm, and I was loudly in favor of social revolution and women’s rights. I took it for granted that abortion was necessary, if women were ever going to be equal to men.
LISTENING INVOLVES THE WHOLE BODY
Don’t listen with your ears alone; use your eyes, as well, to gather clues from the person’s expression, stance, and overall demeanor. The body can reveal the soul. In writing about Eastern Orthodox spirituality, Metropolitan Anthony Bloom (1914-2003) said that the body is like a Geiger counter;[i] it can disclose what is going on in the soul. He was making the point that it is not necessary for a monk to continually plumb the psyche, because his own body will disclose his inner spiritual and emotional processes. We can use that insight as well. By paying attention to what the other person’s body communicates as we listen to them, we can discern what is going on inside the heart, soul, and understanding.
If you know anything about Anna Karenina, you know that it is the story of a woman who abandons her husband for another man, and comes to a bad end. What you might not know is that the novel is about two marriages: Anna’s, which ends sadly, and Levin’s, which, though not without the usual stresses, goes well. The often-quoted first sentence of the book sets up the dichotomy: “All happy families are alike; each unhappy family is unhappy in its own way.”
I have 11 grandchildren. I see plenty of children’s movies. I have acquired a jaundiced eye. As autumn leaves drift into piles, as souvenir teacups proliferate around a royal wedding, thus do crass, crude, cynical children’s movies pile up around the family DVD player.
Until now. The Adventures of Tintin is superb. Grandparents everywhere will babble tearful thanks: it’s so much better than it had to be, given the industry’s steadily decreasing quality (everywhere but Pixar-land). Credit must go to both the stars at the helm, Peter Jackson (of The Lord of the Rings) and Steven Spielberg (of too many hits to mention), and the new technologies (motion-capture animation, improved 3-D process) deserve a toast as well. However, none of this would be here without the hero himself.
This might be an excellent movie; it certainly looks impressive. But I’m only a little less baffled now, after reading up on the storyline, than I was when I walked out of the theater. Suffice it to say that reviews by people who had already read the novel, or viewed the 7-part BBC series, regard the movie with great appreciation. Those who didn’t already know the storyline range from appreciative-but-puzzled to frustrated-and-annoyed.
Playwright Horton Foote (1916-2009) made the comment a few years back, “The people hardest on [my work] always say that not a lot is happening.” Oh, but what delectable nothing it is. Foote won Oscars for Tender Mercies (1983) and To Kill a Mockingbird (1962), and was nominated for The Trip to Bountiful (1985)—all works of great tenderness and insight. (Let me recommend too the little-known 1918, which accumulates quietly and then unexpectedly provokes a painful compassion.) Many of his films also show a good grasp of what it is to be a person of faith, and how to persevere in prayer when things are hard.
First the bad news, for adolescent viewers, anyway: there don’t be any dragons. Not the leathery-winged kind, at least. The title refers to a medieval map-making custom of inscribing the warning “Hic Sunt Dracones” on unexplored regions. In this case the warning refers to the unexplored regions of the psyche, where destructive emotions may lurk.
