paradox

Caroline McTeer 6-02-2023
An illustration of Emily Dickinson: a white woman with brown hair in a blue dress and blue and white short neckscarf. Pink, turquoise, and teal paint is splattered across the background.

Emily Dickinson Dream / Miki De Goodaboom

WHEN EMILY DICKINSON first read the novel Jane Eyre, she didn’t know the name of its author. At the time, Charlotte Brontë wrote under the pseudonym Currer Bell, and her work was the subject of controversy. The British Quarterly Review referred to Bell as “a person who ... combines a total ignorance of the habits of society, a great coarseness of taste, and a heathenish doctrine of religion” and said, “the tone of mind and thought which has overthrown authority and violated every code human and divine ... is the same which has also written Jane Eyre.

When Dickinson returned Jane Eyre to the friend who lent it to her, she sent it with a bouquet of box leaves and a note that makes it clear she’d heard the gossip on Bell. She wrote, “If all these leaves were altars, and on every one a prayer that Currer Bell might be saved — and you were God — would you answer it?” Years later, when Brontë died, Dickinson wrote the following elegy: “Oh, what an afternoon for heaven, / When ‘Brontë’ entered there!”

As Dickinson’s biographer Alfred Habegger notes, this elegy not only grants Brontë salvation but also “made heaven the beneficiary.” Even in these brief notes on Brontë, we can see some of the common themes of Dickinson’s poetry. There is the impulse to engage with (and even affirm) the ideas of God and heaven but also the impulse to subvert rigid and exclusive notions of theology.

The Editors 8-07-2013

When most people think of Gaza, surfing is not the first thing that comes to mind. But photo journalist Ryan Rodrick Beiler has an eye for capturing the resilience and richness of life in this occupied land.

IN "SILENCE FOR GAZA,” Palestinian poet Mahmoud Darwish captures the contradictions of the coastal enclave, describing it alternately as “ugly, impoverished, miserable,” and “the most beautiful, the purest and richest among us.” Darwish’s antonyms evoke Gaza’s crushing conditions and resilient residents, exemplars of sumud, an Arabic word roughly translated as “steadfast perseverance”—a fundamental form of Palestinian resistance. Darwish’s poem also states that Gaza “did not believe that it was material for media. It did not prepare for cameras and did not put smiling paste on its face.” And yet every person, every story, every image of Gaza illustrates this persistent paradox of a land at once ugly and beautiful.

“I DON’T KNOW why they targeted us. No rockets were fired from our neighborhood,” says citrus farmer Yusuf Jilal Arafat, whose 5-year-old daughter Runan was killed when Israeli warplanes bombed their home. Arafat’s wife, four months pregnant, and their 8-year-old son were found alive in the rubble. His surviving children now suffer from frequent panic attacks at night. Many of Arafat’s trees were destroyed by the bombs, and the ground is covered with oranges now in various stages of decay. Rumors of contamination by Israeli weapons may hurt the sales of his crop, but he will still harvest. The family is living with Arafat’s father-in-law until they can rebuild.

Rebuilding under Israeli import restrictions is no simple task, so salvaging existing materials remains a vital practice—albeit risky, according to structural engineers. But ingenuity-by-necessity is constantly on display in Gaza, whether it’s recovering crushed stone from beneath ruined highways, straightening steel rebar from bombed-out buildings, or pulverizing concrete for reuse in new (but weaker) blocks.

Martin L. Smith 3-14-2013

(timy / Shutterstock)

HOW SHALL WE engage with scripture through all 50 days of Easter? There are clues in the haunting story of Jesus' appearance beside the sea of Tiberius. After Easter Day many of us are ready to let things quickly revert to normal. It is, strangely, both reassuring and uncomfortable to hear that those disciples, whose business had been fishing, wanted to get back to their boats so promptly after the horrors and wonders they had witnessed in Jerusalem.

Jesus is waiting for them by the shore with breakfast already cooking. All is ready, yet he wants them to bring some of what they haul up in their nets, so he can include samples of their own catch in the menu. And what a catch it was!

Easter is our time to experience the grace that is always ahead of our game and is underway for us before we are ready. Yet grace does not exclude what we bring to the table. Grace expects and includes the work of our hands, the weavings of our imaginations, and the gifts of our unique experiences. In one sense, Eastertide is more truly a season of repentance than is Lent. One thing we might need to repent of is our passivity—those times when we expect God to hand us on a plate the meaning we are hungry for. We need to bring our own bits to the cooking fire if we are to really eat with Jesus. It is part of the mix of grace that we must participate, not just receive.

Shefa Siegel 2-11-2013

(gcluskey / Shutterstock)

IF YOU ARE not overly familiar with the repertoire of a Leonard Cohen concert, it's hard to tell the new songs from the old. Songs from a different age sound neither anachronistic nor nostalgic, while the new echo as though they have been around forever. It's the same show night after night, with songs from the latest album, Old Ideas (released in 2012), woven into the familiar canon. Cohen tells audiences that his revivalist tour might end in two years, so that he can start smoking again by the time he turns 80.

It is a joke you know Cohen has cracked a hundred times, the kind that makes my brother call him the Jewish Dean Martin. The humor is one part of a precise choreography, whose arrangements shift from blues to waltzes to New Orleans jazz, Celtic, gospel, country, and disco, all set in the mode of Hebrew Minor and conspiring to create a vivid world that does not exist, except in paradox. Honey is the texture that comes to mind. Viscous and turbid, neither solid nor liquid. Sensual relief from the coarse, metallic world. And sweet. Sweet in the meaning of the verse from the Persian song "Navaee"—"High sweet melody, and sadness of love, dwelling in the bottom of the heart, where nobody sees"—the mixing of sorrow and transcendence into sublime paradox.

He is and has been many things to his devotees: poet, singer, writer, band leader, lover, satirist, artist, and novelist. But one thing Leonard Cohen is not is a preacher.

Prostrating and posing on bended knee, eyes knit tight, hat pulled low—he could say anything he pleases, from treatises to treason, and people would listen. Given a room and a crowd, the born preachers cannot tame the urge to climb atop the pulpit. This political instinct to prophesy and govern is noted but subdued in the opening song of Old Ideas, called "Going Home," the cry of an old man liberated from burdens of desire for love and for mission: "He will speak these words of wisdom / like a sage, a man of vision / though he knows he's really nothing / but the brief elaboration of a tube ... a lazy bastard living in a suit."

Debra Dean Murphy 6-27-2011

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.

Julie Clawson 3-30-2011
When I was in high school as part of my participation in the International Baccalaureate (IB) program, I had to write what was called an "extended essay" -- basically an essay of the (then) extreme
Jeannie Choi 3-04-2011

A North Korean restaurant. Christian jerks. Bloody Sunday. Here's a little round up of links from around the Web you may have missed this week.

Eugene Cho 2-24-2011
In a pluralistic world of a plethora of thoughts, ideas, philosophies, and worldviews, it makes total sense to me that Christians need to be equipped and engaged in "contending" for the gospel.

Duane Shank 5-12-2010
Two recent news reports on the war in Afghanistan present a more complete story together.

Cesar Baldelomar 4-08-2010

The Catholic church is reeling from the several sexual abuse allegations that have come to light over the past three months. Downplaying the severity of this scandal will only further damage the already beleaguered church's image and credibility. Many in the media blame Pope Benedict XVI for the mismanagement of the sexual abuse crisis.

My friend Joe told me the story of relocating his family to be part of a church that takes community seriously.
Roi Ben-Yehuda 3-29-2010
In preparing a Passover seder in which many of my guests are first-timers and non-Jews, I am challenged by a number of factors: There is the barrier of language -- some of the texts that we read ar
Robert Ellsberg 3-29-2010

It was surprising to see Dorothy Day, founder of the Catholic Worker movement, described on the Glenn Beck show as a Marxist.

The United States is a country that is at once overweight and hungry. There are those among us who are overweight and obese. There are those among us who live with food insecurity.
Logan Isaac 11-11-2009
Nobody today will be able to celebrate our many veterans without the memory of Fort Hood<
There comes a moment when we can say a word or speak a concept so often that it loses meaning and simply becomes sound. The concept becomes exhausted, thin, one-dimensional.
Ryan Rodrick Beiler 11-09-2009
People who do diversity work run the risk of setting impossible goals for themselves: The Beloved Community. The Kingdom of God.