On this feast day of Saint Mother Teresa, I read the address that she gave upon being awarded the Templeton Prize and came upon this striking anecdote:
“And in one of the places in Melbourne I visited an old man and nobody ever knew that he existed. And I saw his room in a terrible state, and I wanted to clean his house, his room, and he kept on saying ‘I’m all right!’ but I repeated the same word, ‘You will be more all right if you will allow me to clean your place’, and at the end he allowed me. And there in that room there was a beautiful lamp covered with dirt of many years, and I asked him ‘Why do you not light your lamp?’ Then I asked him, ‘Will you light the lamp if the Sisters come to see you?’ He said, ‘Yes, if I hear a human voice I will do it.’ And the other day he sent me word, ‘Tell my friend the light she has lit in my life is still burning.’”
How many in our world, particularly after this painful season of mandatory isolation, also need to hear a human voice for the light of their life to be rekindled in their soul?
I love Rabbi Abraham Joshua Heschel’s writing so much.
It has that confident aphoristic quality to it that elicits attention.
Such is the case with his short essay entitled, “Death as Homecoming.”
Right at the beginning, Rabbi Heschel proposes that “in a way death is the test of the meaning of life. If death is devoid of meaning, then life is absurd. Life’s ultimate meaning remains obscure unless it is reflected upon in the face of death.”
Still, Heschel is keen to note that the Hebrew Bible and Jewish tradition do not stress “the problem of dying” so much as they stress “how to sanctify life.”
This evening I am recalling going with a friend to France on a trip that we themed: “Corpses, Cathedrals, and Combat.”
During our roadtrip through Normandy, we visited Bayeux.
There we came upon a memorial park, at the entrance to which we found a monument that said:
“Bayeux, which has witnessed a freedom dearly won has included the Memorial to Reporters in its ‘Liberty Alley’ to encourage the younger generations to think about what freedom really means.”
Parallel to that is a monument that says “Memorial to Reporters” and then:
“This place is dedicated to reporters and to freedom of the press. It is unique in Europe, forming a walkway among the stones engraved with the names of journalists killed all over the world since 1944.”
I took these monuments in with earnestness and solemnity, and I made a point of stopping especially at the monument that included the names of the Charlie Hebdo satirical journalists killed by Islamists in 2015 since I remembered this so well.
Sometimes I wonder about how we will look back at this Covid period of our lives.
Will this time be regarded as “lost years” or “missing years”?
Will we be able to recall events clearly or will they be blurred, absent the ordinarily vivid and communal expressions of milestones?
And, will trauma and grief be suppressed by gradual good humour and selective nostalgia?
In The Year of Our Lord 1943, Alan Jacobs writes about the effects of the end of World War II saying, “As war comes to an end, and its exigencies cease, and people return to a freedom absent for so long that its return is discomforting, they think of the apparent lawlessness of Nature and Man alike…”
According to the Cambridge Dictionary, the word “clinical” may denote “expressing no emotion or feelings” or “showing no character and warmth.” The sentence that is given to illustrate its meaning is this: “We were going to paint our kitchen white, but we decided that would look too clinical.”
Do you ever wonder why hospitals and doctor’s offices are so drab? Why does there seem to be so little attention paid to aesthetics? What impact does this have on doctors, nurses, patients, and visitors?
One day, Cecily Saunders, the British pioneer of modern-day hospice care, was “magnetically drawn” to an oil painting in a gallery window. She was so taken by it that she parked her car and entered the gallery moments before they were closing on the last day of the exhibition. Cecily Saunders moved eagerly from painting to painting. The blue Crucifixion had been the piece to catch her eye from the window, but the piece she impulsively chose to purchase was of ‘Christ Calming the Waters.’
The following day, she wrote the following to the artist, Marian Bohusz-Szyszko: