Two weeks ago, in the lead-up to a concert, I got to read poetry off a video screen that was larger than the end zone of a football field.
Toward the end of the graduate bible study my wife and I led this past academic year, two things were almost always certain: cheesecakes and IRB forms.
I’ve found that the mundanities of teaching quickly and quietly bleed a name of its import.
But as much as this story would insist that Link is the star of this latest quest, the real star of the show isn’t a person at all. It’s Hyrule itself.
The number nineteen appears with such frequency in this deposition, it begins to feel rehearsed.
The show excels in precisely the same way as its source material: it approaches its subject matter with a pitch-perfect ear for dark humor, and with an impishly ironic attitude toward storytelling.
If this is grace, it’s as lovely as it is disconcerting. It takes the very ugliest of us and says, “I can work with this. Child, I can work with you.”
and when it bursts I imagine in my place a heap of broken bylines allusions clickbaits hottakes jpegs gifs intros outros all spooled out on the floor
If anyone in contemporary America can sympathize with the frustration of first-century Christians awaiting the imminent return of Christ, it’s we Cubs fans.
Specifically, I want to suggest that irrespective of the cloak-and-dagger politics it portrays, The X-Files does an excellent job of exposing our secret pleasure in conspiracy theories.
More crucially, the Time-Turner plot that comprises the latter two-thirds of the play codes almost as a kind of high-level fan-fiction.
Gollum’s torture reminds us of the hand that we the good, we the kind and generous-minded, have in producing “bad character.” We call forth the best and worst in each other.
Jessica, meanwhile, cut against the interpretive grain. She saw in Stephen’s lurching movements, his silent fury, his body at war with itself, something that looked like her.
I drag around furniture, scramble on top of kitchen counters. I dust, I sweep, I wipe. I also bleach and mop, neaten, vacuum, air, fluff, and polish.
During a Friday morning panel at the 2016 Festival of Faith and Writing in Grand Rapids, Michigan, writer Jessica Mesman Griffith said something that would later come to trouble me.
In contrast with games like Mafia, which lives and dies upon its players’ intuition, Secret Hitler introduces a mechanic that brings reason (or maybe reason’s bastard, hunch-prone son) to the table.
There are other rules too, in addition to these. Sit tight. Speak clearly. Press CALL if you need anything. Know your medication (Trivora, prednisone, plaquenil, Tylenol). Have insurance.
Shannara relies far too often upon chance encounters in forests—a kind of uncanny return, time and again, to the story’s protagonists.
Recently, my wife and I watched all six Star Wars movies in preparation for The Force Awakens—a feat I hadn’t done in years—and I remember my vaguely alarmed reaction during the credit-crawl for A New Hope.
On bad days, I get worried not when the writing dries up but when it comes too easily, when it tumbles out onto the keyboard with a clatter like a hailstorm. Obviously, in those moments, something went wrong.
But mostly when I laughed, I laughed not because of the priest-man’s antics, or because of the students’ enthusiasm for debauchery. Mostly I laughed to hide my uneasiness.
Things like sex or empathy work better the less you engage with them analytically, the less you step back and watch yourself doing them.
He suggests that imagination is the essential component of sympathy. To imagination, I would add faith, also—faith that what you feel is maybe not so different from what I feel.