Yes.

children, christmas, incarnation

Andy

:

Human beings, left to themselves, have imagined God in all sorts of shapes; but – although there were one or two instances, in Ancient Greece and Ancient Egypt, of gods being pictured as boys – it took Christianity to introduce the world to the idea of God in the form of a baby: in the form of complete dependence and fragility, without power or control. If you stop to think about it, it is still shocking. And it is also deeply challenging.

God chose to show himself to us in a complete human life, telling us that every stage in human existence, from conception to maturity and even death, was in principle capable of telling us something about God. Although what we learn from Jesus Christ and what his life makes possible is unique, that life still means that we look differently at every other life. There is something in us that is capable of communicating what God has to say – the image of God in each of us, which is expressed in its perfection only in Jesus.

Hence the reverence which as Christians we ought to show to human beings in every condition, at every stage of existence. This is why we cannot regard unborn children as less than members of the human family, why those with disabilities or deprivations have no less claim upon us than anyone else, why we try to make loving sense of human life even when it is near its end and we can hardly see any signs left of freedom or thought.

Used to be the passport was (or became, with travel) an album of other countries' weird juxtaposed iconography. For now, though, we can get the same without leaving home.

cultural worlds, iconography, travel

Nate

:

I also admire the State Department’s evident desire to create an Album of America—a collection of snapshots that, over the course of the passport’s twenty-eight pages, catalogues the members of our national family. And I am impressed with the diversity the State Department has achieved. Aside from (i) the distant silhouettes of the passengers and crew of the Mississippi Steamer and the Yankee Clipper, (ii) a shadowy herd of cows, and (iii) the identification photograph of the passport holder, the new passport depicts American life in the following numbers:

Of the eleven men, nine are white. The other two are cowboys whose race is rendered indeterminate by their Stetson hats. The lone woman is the Statue of Liberty.

A revival of West Side Story, directed by the 90-year-old author of the 1957 musical's book, aims to redress the original's anti-Puerto Rican bias (or just plain inaccuracy). I hope at least one of the gangs will hold on to the dorky-cool ballet swagger. But even if not, it'd be worth it to hear the songs in Spanish.

broadway, cultural worlds, dance, language, music, performing arts, spanish, theater

Nate

:

Added excitement comes from the bilingual reworking of the libretto. When Maria sings I Feel Pretty it comes out as: “Hoy me siento/Tan Hermosa/Tan preciosa que puedo volar/Y no hay diosa, en el mundo, que me va a alcanzar.”

Lin-Manuel Miranda, creator of the recent hit musical In The Heights, which focuses on a poor neighbourhood of Manhattan’s Washington Heights faced with gentrification, was recruited to rewrite the lyrics. The Sharks sing in Spanish, with English surtitles, while the delinquent Jets sing in English.

Laurents was given the idea of a bi-lingual show after his companion, Tom Hatcher, who died two years ago, saw an all-Spanish staging of the musical in Colombia in which the Sharks – the Capulets of Shakespeare’s play – were transformed into heroes, the Jets into villains.

Laurents intends to make the new version darker and more threatening than previous stagings, certainly more so than the film, of which he is disparaging. “I thought the whole thing was terrible. Day-Glo costumes and fake accents!” he told the Washington Post.

As an über-blogger, Seth Godin gets a special hyperbole permit not available to the rest of us. But I totally agree. We are exiting the consumption era, where people defined themselves by what they consumed (and took whatever job would pay for it) and entering the era of culture making, where people define themselves by what they contribute to the world. And, by the way, we don't have to "imagine" what would happen if 5,000 investment bankers were to put their talents to doing something else . . . the long-overdue Great Deleveraging will ensure that happens. Not without pain, to be sure, but I, like Seth, am hopeful.

business, finance, trends, vocation

Andy

:

Perhaps we’re on the verge at getting much better at making useful things, spreading ideas that matter and helping people, and not quite so good at leveraging capital for financial institutions. Imagine what would happen if 5,000 investment bankers or 500 M & A lawyers put their talents to work doing something else…

As I look through all the notes and applications I received for the program I’m running next year, I’m not just optimistic. I’m thrilled. There must be hundreds of thousands of movers and shakers out there, people of all ages who are smart and get things done. And more and more, they’re being motivated by the quest, or the outcome, or the people they work with, not just the cash payout. It’s exciting beyond words. The ten people I’ve chosen are just astonishing, each and every one of them.

If you can’t find people like these, you’re not looking in the right places. And if you can’t figure out how to work with them, you’re missing out.

A refreshingly sensible piece from the author of The Magician's Book: A Skeptic's Adventures in Narnia. Perhaps the cultural amalgamation that is Christmas is not a weakness, but a sign, as Tolkien said to Lewis before the latter's conversion, that the Incarnation is a myth that happens to be true.

christmas, holidays, narnia, pentecost and beyond, religion, tradition

Andy

:

The presence of Father Christmas [in The Lion, the Witch and the Wardrobe] bothered many of Lewis’s friends, including J.R.R. Tolkien. Tolkien, whose Middle-earth was free of the legends and religions of our world, objected to Narnia’s hodgepodge of motifs: the fauns and dryads lifted from classic mythology, the Germanic dwarfs and contemporary schoolboy slang lumped in with the obvious Christian symbolism.

But Lewis embraced the Middle Ages’ indiscriminate mixing of stories and motifs from seemingly incompatible sources. The medievals, he once wrote, enthusiastically adopted a habit from late antiquity of “gathering together and harmonizing views of very different origin: building a syncretistic model not only out of Platonic, Aristotelian and Stoical, but out of pagan and Christian elements.” . . .

The unifying principle of Narnia, unlike the vast complex of invented history behind Middle-earth, isn’t an illusion of authenticity or purity. Rather, what binds all the elements of Lewis’s fantasy together is something more like love. Narnia consists of every story, legend, myth or image — pagan or Christian — that moved the author over the course of his life.