Showing posts with label Stories. Show all posts
Showing posts with label Stories. Show all posts

Sunday, July 26, 2026

Divorce and the end of the Story

 Pretty down today. Another couple getting divorced at 60. After a lifetime of marriage. Just counting the poeple I know, and their families, these stories are getting more frequent, at least in my hearing. It hurts too much. Christian families too. Who made it decades together, before deciding now was the moment to call it quits.

How did we get here?

Our narrative is wrong.

The idea that suffering (and sin in our spouse) is a reason to end it. Somehow, by divorcing (even at 60) is standing up for yourself. Standing up for your grandchildren. Standing up for women or something. Somehow the divorce is making sure that everything wrong that the spouse has done is not forgotten Refusing to be codependent, not putting up with it. Now, somehow sticking it to the man. Somehow standing up for truth. Setting the record right, in a walk out protest.

And its basically setting off a bomb in our families, grown children's marriages shaken or broken or never started. Even the “thriving, stable” kids are coping, having trouble sleeping at night. Joy robbed from beautiful days of young motherhood, brooding about the emotional angst in their birth family. Sides taken for and against. What should be a fortress, torn apart in civil war. Separation is just that---a separation. A vacuum felt even in a grey-haired child's soul.

So much is lost. So much is destroyed

Our meta-narrative we chart reality onto, is all twisted up and backwards.

This divorce and remarriage archetype is but one finger of the hand. The hand is wrong. A world based in what ought to be, and not what is.

 That by protest, that by breaking what is left, we will somehow make the world anew, into what ought to be. Insisting on living in a world where power is never abused, where love is always healthy, where relatives only ever speak kind nontoxic words, where everything is as it should be. But this world exists only inside our own heads. Because the family reunions are shattered and never happen, people being cut off for mental health reasons. We aren't creating a better world. We are destroying what scraps of this one that we have left.

What is the narrative, the pattern that was given to us by a strange middle-eastern God, demanding absolute purity, demanding exactly how the world should be?

We failed. We broke the rules, broke the contract, trashed the place, ran up debts, and cheated on Him.

And He didn't cut us off.

He came anyway.

And then we killed Him.

Through suffering, through pain, through torture, comes the triumphant ending of the story. Through the crucifixion, through the dark night of doubt on saturday with a dead God, then comes Sunday morning. He comes, scarred and alive, to tell His bride that her debt is paid.

That is the pattern given to us.

Where did we go wrong? Where did we lose it? Despite You showing it to us, again and again and again?

God, come and save Your Bride. We are bat-shit crazy.

I'm still waiting for the end of the story, God. Where you come, and save us, Your bat-shit crazy narcissistic Bride. And somehow, make us, bright and clean, pure, holy and without blemish.

God, you've got Your work cut out for you.

Come, and save us. We are Yours. All the hot mess of us. Save us.




Thursday, July 2, 2026

Books about Reality: How to write Reality?

I perused a library, its young adult section brimming with books. Books set in the past and future, but mostly set in fictional universes in which our hero discovers she/he is the Chosen with great powers and given some important purpose.

(Here is ChatGPT's cover to a "YA novel in a medieval fantasy world with a teen who is the Chosen One)

In that they are not wrong. In fact, the cliche works because there is so much truth in it. It resonates with some part of the unjaded little souls because the resonant frequency programmed into them senses some truth.

Each of us is breathed in by the Breath of God, created for a mission and a calling, sent forth into a world at war between Evil and Good. Evil beyond our comprehension and Good beyond our wildest imagining.

But what struck me was how young a lot of the authors looked in their back-jacket pictures. It may be simply photoshop or judicious use of sunscreen, but a lot of those authors looked to be in their twenties. In your twenties, writing books that teens read that will shape their understanding of the structure of reality. 

As far as the book-jackets could show, these young authors didn't seem to be war veterans, or peace-keepers from soup kitchens, coming out of the trenches of war or humanitarian aid, with lots to tell of what they had seen. A lot of them seemed like just young people themselves who gathered their ideas about the world from other young adult novels they had spent the last decade reading.

The serpent is eating its tail. 

The AI is creating answers based on its own answers. 

The computer program is stuck in a loop, recursively spitting out its cyclic version of reality.

George R. Martin, comic book nerd and draft dodger, tells other comic book nerds what true gritty war is like, from a lifetime of consuming novels and comic books.  

In contrast, by the time J.R.R Tolkien wrote The Hobbit he had fought in a world war, grieved his best friends, convinced his teenage crush to marry him, held down a job interacting with other humans, raised 4 kids, and then was sending The Hobbit in chapters to encourage his son fighting another world war. 

He had seen a lot. He had experienced a lot. He had interacted with others who had experienced a lot.

He'd lived. 

(It's possible George R Martin maybe based his stories on actual stories of his fellow men who did go and fight in wars that he didn't believe in. I don't know, I haven't read his novels. I know he did consume a vast amount of fiction & comics, by his own account. But if I had a choice of hearing about war from the minstrel, or the soldier, I'd rather pick the soldier. Guns Up or something by a man of George's generation who actually fought)

When people write to escape their lives, their works by definition are all conjecture. The brain must draw on something.

The Bronte sisters, stuck on the moor in a small village, consuming a lot of gothic novels, wrote of what they didn't know. Thus we have fantastical stories woven mostly of threads from other gothic novels, forgettable works like Emily Bronte's "Wuthering Heights" which felt like sticking my head into an AI simulator or a surreal nightmare. A simulator in which an introverted pastor's daughter wrote what she thought it might be like to be embroiled in a tormented paranormal gothic romance.

And then we have her sister Charlotte's more enduring "Jane Eyre" in which she blends a lot more of her own experience into the gothic nightmare. Now we have a very real childhood friendship as one of them dies of consumption (her sister),  the warm mission-minded family with the driven Greek-studying boy in love with the idea of India, the gossipy maid, the real people woven into the strange nightmare. And thus, Jane Eyre has just enough realism in it to maybe make the gothic nightmare worth it. 

Then there is Jane Austen, another nerdy pastor's daughter, who in her own words "writes on 2 inches of ivory." She knew she was limited to write what she knew, and she did it so well that those people she knew still come to life in her pages. You can even chart the same characters, as she looks back on them with older eyes, change and morph throughout her novels. I found her "Pride and Prejuidice" penned at 21, to have the flattest characters. Her later books, reincarnations of those same characters become every more deeper. She finally forgives Mrs. Bennet and gives her a whole book as the protoganist (Emma). 

L. M. Montgomery's genius was writing her own village church people....Anne of Green Gables, Rilla of  Ingleside...all the side characters, all the real people she wove into her stories....now, nearly 200 years later I can love her nosy neighbor, and laugh and cry over the struggles of this small town in the throes of being the homefront in WWI. The most forgettable of her stories are the ones I suspect she strayed most from her lived experience "Anne's House of Dreams", where as the romantic writer proposes to the girl with the floorlength hair of swirling gold, it feels like we really have wandered into one of Anne's dreams. Give me Ken and Rilla's awkward date on the porch while Old Susan crashes the party and starts sharing embarrassing stories of them as children. One of those scenes felt so much realer, because I would bet $100, it was.

Can young people write good books, my son asks? Is it required to actually live everything you write about? No. Tolkien didn't become king, or destroy a ring of power. 

But on some level the stories (and people) we write must come from somewhere. 

  1. Your life of the life of someone you know [primary]
  2. The life of someone else who wrote about it [secondary]
  3. The novel of someone you hope got it from reality, or at least, another novel based in reality.
Obviously, even 1 & 2 have some level of distortion, in that we are interpreting reality all the time, trying to make sense of it. That's what writing is.


Books about reality

In no particular order

Autobiographies---Primary Sources

  • The Word Came with Power
  • Search for the Source by Neil T. Anderson
  • ?Mission Possible by Marilyn Lazlo
  • Guns Up, Johnnie M Clark
  • ??Korean War book
  • ?book by Amy Carmichal? Mimosa?
  • The Cross and the Switchblade
  • Through the Valley of the Kwai
  • Guadalcanal Diary
  • Laura Ingalls Wilder books, Farmer Boy
  • Caddie Woodlawn
  • First 2 Ralph Moody Books [Little Britches, Man of the Family]
  • Water by the Inch
  • Cheaper by the Dozen
  • The Hiding Place
  • ?Surviving the Angel of Death by Eva Moses Kor
  • ?Leap into Darkness, by Leo Bretholz
  • ?Diary of Anne Frank
  • With God in Solitary Confinement/In God’s Underground/With Christ in the communist prisons
  • Pastor’s Wife
  • Between Hammer and Sickle by Mihai Wurmbrand
  • If Prison Walls Could Speak
  • ?Gulag Archipelago
  • Son of Hamas
  • Seeking Allah, Finding Jesus
  • ??Unbroken, Louis Zamperini
  • Joker One 
  • Guns Up by Johnnie M. Clark
  • The Search for the Source by Neil Andersen
  • Yoneko, rice child, daughter of happiness by Yoneko Tahara
  • ????Daylight must come.
  • ????The insanity of God

Biographies

  • Joan of Arc: Her Story by Regine Pernoud
  • Kit Carson by Ralph Moody
  • ?Christopher coulubus by Fernando Aresto
  • ?Mary Lincoln by Ruth Painter Randall
  • ?William Wilberforce, by Eric Metaxes
  • William Wilberforce by Belmonte
  • ???TO the golden shore, [adoniram Judson] by Courtney Anderson
  • Never Say Die (Gladys Aylward) by Cyril Davies
  • Sundar Singh by Cyril Davies
  • Vanya: A True Story by Myrna Grant
  • Rees Howells Intercessor
  • ?[something about Francis Xavier]
  • ?[Something about John Donne]
  • ?Wounded Tiger by

Epics & Legends & Ballads

  • Illiad & Odyssey
  • Beowulf
  • Song of Roland
  • Silmarillion
  • The Lord of the Rings
  • George MacDonald The Golden Key
  • Fairy tales (Lang, irish one, etc)
  • ???Viking Sagas???
  • Demon Lover, Wanderer, [Medieval Ballads]
  • Ballad of the White Horse

Novels

  • All the Trailblazer books (Dave and Neta Jackson) especially “Bandit of Asheley Downs” and “Listen for the Whippoorwill” and “Captured by the River Rats”
  • God King by Joanne Williamson
  • The Lantern Bearers by Rosemary Sutcliff
  • Narnia Books CS Lewis
  • CS Lewis’ space trilogy
  • Till We Have Faces by CS Lewis
  • The Lord of the Rings & The Hobbit by JRR Tolkien
  • Roll of Thunder, Hear my cry
  • To Kill a Mockingbird
  • Tell me a riddle, by Tillie Olsen
  • Chesterton’s Father Brown Mysteries, Four Faultess Felons, Man Who Was Thursday
  • George MacDonald something
  • Bronze Bow by Elisabeth George Speare
  • Rolf and the Viking Bow by Allen French
  • Cry the Beloved Country
  • Crime and Punishment
  • Number the Stars 
  • Allegiance & Choices of One by Timothy Zahn [Star Wars]
  • [The Giver]
  • Anne of Green Gables series by L. M. Montgomery
  • Little Women by Louisa May Alcott
  • Pride and Prejudice, Sense and Sensibility, and Emma etc by Jane Austen
  • Enemy Brothers by Constance Savery
  • Huckleberry Finn by Mark Twain
  • Mark Twain's Joan of Arc
  • ?Jane Eyre? mixed feelings on this. It's a Christian response to a gothic novel, but it's still a gothic novel....my favorite characters die
  • ???Starship Troopers
  • ????something by Isaac Asimov?
  • The Eight Arrow
  • Strangers and Sojourners & Plague Journal by Michael D. O'Brien
  • Sophia House by Michael D. O'Brien





MORE BOOK RECCOMENDATIONS from a friend. ( I haven't read all of these yet)

For kids and teens to read:


Peter Rabbit
Charlotte's Web
Trumpet of the Swan
Tom Sawyer
Little Women
Little Men (others if desired, Jo's Boys, Eight Cousins, and Old Fashioned Girl are among the next best) 
Alice in Wonderland 
Through the Looking Glass
Mrs. Frisby and Rats of Nihm 
Treasures of the Snow, other St. John
Peter Pan
The Secret Garden
The Little Princess
Treasure Island, other Stevenson
Mother Goose
Aesop's Fables 
Heidi
Robin Hood, Arthur, myths, fairy tales
Sherlock Holmes
Father Brown
Caddie Woodlawn
(Black Beauty)
(Black Stallion) 
The Princess and the Goblin 
The Princess and Curdie 
Narnia
Hobbit/LotR
Wind in the Willows 
Old Yeller
Where the Red Fern Grows
Little House on the Prairie 
Phantom Tollbooth 
Just So Stories or other Kipling
Winnie the Pooh
Sarah, Plain and Tall 
Skylark (other sequels, too, if interested)
Little Britches 
The Great Brain
Penderwicks and sequels
Anything by Robert McCloskey 
Dr. Doolittle?
(Pinocchio)
The Railway Children, other Nesbit 
Pollyanna
Witch of Blackbird Pond
Cheaper by the Dozen
Boxcar Children, first 19 only
Nancy Drew and Hardy Boys? At least one each
Sadako and the 1000 Cranes
Frindle, other by Clements if desired
Charlie and the Chocolate Factory
Anne of Green Gables, sequels and others if interested
Christmas Carol
Scarlet Pimpernel
All of a Kind Family
Brighto of the Grand Canyon, other Henry if interested
Captain's Courageous
Johnny Tremain
The Bible
The Westing Game
Little Pilgrim's Progress by Taylor
Original American Girl books
Chronicles of Prydain
The Little Engine that Could 
Velveteen Rabbit
Wizard of Oz
101 Dalmatians 
Mary Poppins
Chitty Chitty Bang Bang
Carry on Mr Bowditch
My Side of the Mountain
Call of the Wild
White Fang 
Incredible Journey
Tale of Despereaux
Jules Verne
Rebecca of Sunnybrook Farm
Understood Betsy


Older kids (~10+):
Huckleberry Finn 
Jane Eyre
Watership Down
Roll of Thunder, Hear my Cry
Dr. Jekyll and Mr. Hyde
Other C.S. Lewis
Cry, the Beloved Country
Any Jane Austen
Tale of Two Cities 
Anne Frank
Ender's Game
Pilgrim's Progress 
Agatha Christie
Dorothy Sayers
Robinson Crusoe
Swiss Family Robinson
To Kill a Mockingbird
Three Musketeers 
Count of Monte Cristo
Crime and Punishment
Frankenstein
Shakespeare
Gulliver's Travels
Importance of Being Earnest, other Wilde
The Giver and sequels
1984
(Animal Farm) 
Brave New World
Lord of the Flies
The Great Gatsby
(Grapes of Wrath) 
Uncle Tom's Cabin
The Scarlet Letter
(North and South) I've read another by her that was good.
Cranford
Pygmalion (My Fair Lady)
(Last of the Mohicans)
00000000000000

recommended by random ppl on the internet

Gay girl good God (Jackie Hill Perry)
Prison saved my life (Louis Dooley and Heidi Gruber O'Very
The Insanity of God (Nik Rripken)
Patrick of Ireland (Michael AG Haykin)
?????https://www.kevinhalloran.net/best-christian-biographies/  literally googled this, have no idea who this guy is



Monday, January 18, 2016

Goals for 2016

I had a bit of an early mid-life crisis as I realized I shall be 28 soon (more thoughts on that coming later) but I had some thoughts and goals for this year.



WRITING
This is an area I care a whole lot about, that I haven't really shared here, mostly because its been 5 years since I undertook a big writing project.
  • Finish and illustrate my first children's book (The Woodcutter and the Wolf-King)
  • At least finish the rough draft for a few novellas that have been kicking around in my head for over 10 years (Prodigal, The Amberstone, Where the Lilies Truly Grow [btw, despite its name, not a romance novel....more of a fairy-tale about 3 kids traveling to the end of the world with the body of their father])
  • Finish the screenplay for the first 2 seasons of Sojourners, a sci-fi steampunk adventure in which I have been drafted to be the principal screenwriter. I am not, the creative genius behind it, nor the final say, so this will be interesting
  • Rework my Joan of Arc Screenplay

SEWING & CRAFTING
I thought a good and reasonable goal would be to sew/craft 3 things every month, something for myself, something for someone else, and something practical/UFO (unfinished object..I've got tubs worth). About my "Everyday Lord of the Rings Inspired Clothes", I have spent so much time planning and analyzing, its about time I just churn some of these out.

  • "Eowyn" Everyday Lord of the Rings inspired dresses (Green Gown, Shieldmaiden, Dernhelm) with stenciling/printing on the fabric. Plus belt. Nursing Friendly. Minimum 4 outfits
  • "Arwen" Everyday Lord of the Rings dresses. Plus Everyday Elven Circlets. (Bloodred Gown, Grecian-looking "Bridge Dress") Maternity Friendly. Nursing Friendly
  • Hobbit-ish bodices & chemise-shirts (18th cent-ish)
  • Medieval-esque tunics
  • Leather bags & accessories for my Dwarven Adventure Woman outfit (Vikingish)
  • Mara-Jade blaster pack
  • Princess Leia for everyday, because it will make Isaiah happy

BLOGGING
Write about the kids every week.
  • Write one blog post every week, about the kids. 
  • Write up the projects I do every month (see above), so at least 3 more posts. 
Aiming to have 2 posts up a week.

HOME-MAKING LIKE RIVENDELL
I really want to get at the heart of home-making, that is, making my house (appartment) feel like the Last Homely House in middle earth...a place where kids remember firelight and laughter and singing around lanterns.
  • Make banners, and medieval wall hangings, lanterns, and a fake fire
  • Focusing on building traditions and rituals that makes a house a warm, happy, joyful place.

STUDYING
  • Restart Hebrew, to the point I can read 3 chapters of Tanakh every day
  • Possibly this is the year I convince Josh to start learning Greek with me....
  • Help my Dad with his book
Other goals...make a steampunk coat....re-acquaint myself with my thesis and Rabbinic Hebrew and the Pesikta Rabbati....finish my "fanfic" rewrite of Star Wars Ep I, II, III (Not so much fanfic, as what those episodes should have been....)

Monday, January 4, 2016

Movie Review: Thoughts on the New Star Wars Film Episode VII: The Force Awakens

Spoilers ahead.

Completely glossing over the total disregard for science (absorbing a Main Sequence star in an hour), Adolph Shmitler & his Shmazis, Gollum on Sauron's throne (how did he get there? Did the Shmazis vote him in?), and Han "losing" the Falcon, I will cut to the main things that stuck with me as I walked out of the theater.


I liked the new characters. What I loved best about them were that the good guys were good. Rey and Finn both seem to be driven by doing things because "it was the right thing to do." But the emotional pacing & connectivity seemed kind of "off." That is, the timing, their crises, their lines--it felt horribly rushed, and that I wasn't given enough information to really care with the characters, but merely at them. When Rey was crying and running away from the lightsaber, instead of crying with her, I felt like an awkward person on public transportation witnessing a stranger's meltdown in the seat next to me. Pity, yes--connection, no.

Emotional pacing is basic script-writing, so I have no idea why it seems to be so lacking in recent movies in franchises (Age of Ultron, Voyage of the Dawn Treader). In short, I wanted to care about the new characters, but it felt like more of a cerebral choice.

When the Disney franchise decided to jettison one of the most compelling badguys in science fiction history (Thrawn, a highly intelligent & heroic alien, whose fatal flaw is that he believes evil must be done to achieve salvation of the galaxy), and create their own, I wasn't expecting much. Which goes to show that there is always something far, far, lower than rock bottom because GOLLUM ON SAURON'S THRONE was not even a faint image in my wildest nightmares.
I really have nothing to add to that, other than, naming him "Snoke" was the icing on the cake.

Weirdly enough, my least favorite scene of the movie was the one in which we meet Han again, caught between 2 pirate gangs he's ostensibly working for. It was the scene in which my suspension of disbelief crashed (even more than slurping up the sun in an hour)---because that scene was impossible for so many reasons. Once you leave the fringe, get all respectable, join an army, become a general, and marry a princess, there really isn't any going back. He's walking hostage-money to every gang, pirate, crime-ring, and bounty hunter out there. When he'd had Jabba's price on his head, you at least needed to get the slug to cough up the dough for a corpse, but when you've got a Han now with army intel in his head, and Princess/General Leia's heart---he is pure walking cash.

The fringe is all about who you know. When working with men who no longer fear the law, it all comes down to connections. Which rival gang will exact revenge if you torture him? What are the repercussions for not paying him for his work? How many real friends has he got who will come after you if you shoot him and take his stuff? Han has far too many connections now, even if his marriage is on the rocks and his generalship resigned, he's obviously worth something to somebody---too dangerous to operate as a free agent. The fringe is very unforgiving, respectability stains permanently.

And finally, at 70, you have neither the quick wit or physical agility that surviving in the fringe demands. Seeing them trying to make old Han act just like young Han hurt, like watching them trying to carve against the grain of the wood. Old Han is a much more interesting character than young Han, he's gone through life, suffering, fatherhood---Old Han is who we want to see. I wish they let us see him, they were stingy with the couple real glimpses they gave us of him between the one-liners. The two glimpses we got were his interaction with Leia about their son and his half-way apology for running away, and his interaction with Finn on the Death Star II, when he tells him a bit about the Force and how people are counting on them. I wanted more of that---real scenes with the Old Han. But what I desperately wanted was some actual fatherly dynamic with Rey. Instead, we are simply told that Rey feels that way about him when Kylo Ren is ripping info from her mind. (lazy scriptwriting! First law: Show, don't Tell!) Han barely interacts with her, merely on a proffessional/aquaintance level, before he's dead. All I needed was a 20 second scene, of Han teaching Rey something, or handing her tissues when she cried, or trying to encourage her to keep her chin up, and it would have been the emotional center of the movie for me...

Ok, one more thing that bugged me about Han back in the Fringe, I can see an embittered broken Han running away from Leia when things went south, but for crying out loud, he would have left Chewie to protect her. (Remember how protective he was of her he was in the Battle of Hoth?) And that is assuming Chewie would even let him run away from his wife. Chewie is a loyal sort, and also, over 7 feet tall. With claws.

When Carrie Fisher came on screen, I cried because she was so beautiful----etched in her face & eyes, the time passed, the pain, the struggle---life. I couldn't not care about all the horrible things they put her through, even though I tried not to be manipulated as they cavalierly sent her through a mother's worst nightmare. I cried in spite of my best attempts not to.

Which brings me to the biggest flaw in the movie, Ben didn't work. What would convince a kid with loving parents, his very own lightsaber & knighthood, and the reins of the rebellion to throw it all away to join the status quo empire? There had to be a compelling reason (perhaps a belief that this was the Only Way To Save The World, like Thrawn. Or a strange religion, like the Inquisitor. Or a desire for order & devotion to duty, like Agent Kallus. Or even a cynical child of idealists who thinks this is the only way to end the destructive conflict.). The scene where Kylo rips from Rey's brain, and thereby unwittingly opens his mind to her, could have been so compelling. But as I leaned forward to hear what secret drives Kylo/Ben/Jacen it fell completely flat.
"Afraid you'll never be as strong as Vader"

Sense this makes none.


Even supposing being the next Jedi of the Universe wasn't cool enough, or that everyone forgot to mention to him that Vader repented, and that Vader had repented out of love/weakness for his child in pain (bad role model for brutal strength), there has got to be an easier way of achieving awesomeness than being the pawn of a giant Gollum who makes you leave a crying Mom, ditch all your friends, execute civilian villages, and kill a loving Dad.


So what made him turn? Because I'm sure as heck it wasn't Snoke's charisma & vision.

The film completely lacked a compelling villain. Tarkin believed in what he was doing ("the fear of this battle station will keep the systems in line"), Vader believed in what he was doing ("join me...together we will end this destructive conflict and restore peace to the galaxy"), the Inquisitor believed in what he was doing ("There are things far worse than death"), Kallus believed in what he was doing (jumping on a moving train alone to fight jedis who had previously force-thrown him, to stall for time). Thrawn believed in what he was doing (unifying the galaxy under an empire to face an external horror).
So far the Force Awakens has given us a bunch of Shmatzis ruled by Gollum with an insane kid vaguely reminiscent of a school shooter.

The stormtrooper with the mask and the lightsaber-proof weapon that shouts "Traitor!" is a runaway fan favorite. Why? Because he obviously believed in what he was doing. He had conviction. It says something when a masked actor with a single word overshadows the entire cast of badguys.

Lastly, I never realized how much I loved Han until he got skewered. (Luke was my hero)
But seriously, Han is a gambler. A gambler knows exactly what he's wagering when he walks out on that bridge to an insane son with force-throwing skills waving a lightsaber.
His life: Ben's repentance.
So when he loses the gamble, he wouldn't have looked shocked, only sad.
I resented the shock, as if he were the pathetic dad blindsided by this awful turn of events. Han knew what he was doing.
But at least he touched Ben's face. There was that small crumb that kept me from turning over the theater chairs.
I would have preferred bopping his nose and saying "God'll get you yet", or whatever the force-equivalent is in this galaxy far far away. Because even then, Ben felt like such an incredibly pathetic little kid, even legally changing his name to something jazzy trying to feel cool.

Patricide is incredibly dark, to me, it is on the level of rape. If they actually want to hash out this incredibly dark thing for the benefit of truth and repentance and hope, then yes. But if they were flippantly throwing it in for shock value, then shame on them. Time will tell.

Then of course, there was all the recycled material from Episode IV. But look, if you're going to recycle Ep. IV then DO A GOOD JOB. When Han thinks Ben is too far gone that even Luke couldn't save him, and Leia says "Luke's a Jedi, you're his Father", I was deeply moved....and then he gets bumped off.
In the spirit of Ep IV, if they wanted Kylo Ren skewering someone for dramatic effect, it should have been Luke---his mentor and a great Jedi. And then Han, his lowly mechanic father, would have gotten him to repent in Ep IX. I would have cried. I would have cared so much.

And if you're going to jettison Thrawn and Mara and everything from the books, but keep creepy Jacen, you may as well keep Jaina. If Princess Leia is going to Eve crying over her dead beloved and her killer-son, then you need Seth. Rey needs to be Ben's sister, needs to be Han and Leia's lost daughter, and put a beautiful grandbaby into the empty arms of the grieving Leia. We need some new hope here.

Ultimately, what will jettison or salvage these movies for me, is if Han's final gamble pays off, and at the end of everything, Ben repents.

In the words of one of my best friends "If Kylo Ren is saved, I'll forgive a lot."
And there is a lot to forgive in Episode VII.

Sunday, November 22, 2015

Brunette Eowyns and Human Heras: Thoughts on Cosplaying

Cosplaying is fun. I admit, I spent a good chunk of the last 5 years, saving pictures of really cool cosplays to my computer. I like dressing up, and I like stories. (Full disclaimer, despite spending hours of my life saving & researching cosplays, I have never actually been to a conference, or even a midnight showing, alas)


However, something I realized, sorting out the cosplays I particularly liked, is there are 2 things I value if I did cosplay--to look like the character, but also, to also be kind of like the character---if they were me. Sort of like capturing the "ethos" of the character, translated into the modern day me.


For example: An hours worth of make up on Princess Leia? Totally. Princesses have to keep up appearances. Princesses need to be careful how they dress, how they walk, how they look. So a princess would totally spend a lot of time on make up. Yes, Princess Leia is cool and independent. So that means she puts on her own makeup, and doesn't drag along a make-up assistant before battles. She's still a princess, you know.

So if I was pretending to be Princess Leia, then yes, I'd put on make up.

More than a minute's worth of makeup on Mara Jade? Think about it. Her idea of looking presentable when Luke was coming, was to wash her face in an icy creek when she hadn't had a shower in 2 weeks. (Specter of the Past). If Mara used make-up at all, she probably wouldn't put on any more than took 60 seconds....unless she was impersonating a duchess or something like in Allegiance. But most of her work seemed to be of the hijacking pirate ships and leaping over roof-struts to rescue hostages type of things.

I like this picture of her I found on the internet. Red gold hair on a blazingly idealistic 18 yr old.
So if I were pretending to be Mara, I wouldn't bother with make-up. (And whomever illustrated the cover of Choices of One should have thought about that triple-applied mascara....)

So for portraying an alien (like Hera Syndulla), a human girl wearing a realistic & weathered aviator suit feels much more "authentic" to me, than one wearing hours worth of make-up and prosthetics to look like a Twilek. (Because a Twilek wouldn't need prosthetics.)

That said, I think when I do get round to making Josh a Grand Admiral Uniform, we will go the whole 9 yards with the blue skin and red eyes and all, because Josh basically is Thrawn already. (minus the superhuman IQ. And Josh is a Christian. And a sort of imperialist libertarian. So not the totalitarian part either.) But when we do give Josh blue skin, we will do it authentically. So I will feed him colloidal silver, to turn his skin bluish-grey naturally.

That was a joke.
We will use make-up.

Ok, back to my pointless ramble....

When trying to be like Tolkien's characters, I feel like it somehow isn't really the ethos of the Elves of Middle Earth to be wearing lots of make-up or wigs.
To me, Tolkien's world is about the natural beauty of things, the grain of the wood, the rustle of leaves, the tangle of rocks and trees and stars, elven maidens clad in simple dresses, water bubbling over rocks from a mountain brook. (As much as I love the complicated velvet gowns of the movies, they don't seem to really match the people in the book). When cosplaying Lord of the Rings characters, I like it when cosplayers just showcase the beauty of their natural hair (even forgoing their "usual" modern hair products, straighteners, curling irons, etc) go light on the make-up, and leave the artificial wigs alone.
To me, a brunette Eowyn or a blonde Arwen is so much more "authentic" than one with a wig. And an Arwen or an Eowyn climbing a tree or making breakfast feels more "authentic" to me than one at a convention playing dress up (which I imagine would be very very fun, hanging out with like-minded people, and I would love to do some day. However, it's not capturing the "ethos" of the elves).

this cosplayer "Mela"dress made by "Gen", captures more of the "ethos" of the elves for me than any of the elves in the movies did with their make up artists and fake trees.

Same for medieval looks. I feel more medieval by trying to capture the ethos of it in my everyday clothing. For me, that means having Isaiah wearing a medieval tunic with his jeans as he climbs a tree, and wearing cotton tunics & belts with my modern day pants, as I play with the kids in the back yard, make dinner, and pray. Also while learning how to shoot. But we haven't got there yet....

**********************************************************************************
-------A long ramble on the subject of hair, probably of interest to very few-------------------------------

I prefer dark haired Eowyns to Eowyns with yellow wigs. (Practically, because you have to drop a good bit of money into a blonde wig for it not to look fake.) But also, I don't think Middle Earthers wore wigs, at least, not the rough-and-tumble early-medieval-Saxon-esque people of Rohan, living in wattle & daub halls (maybe flax or hair extensions, but definitely not wigs. That would be Roman).


For Star Wars, their technology is obviously very advanced, so wigs definitely existed. Princess Leia would be following in a long line of royal tradition to be wearing hair extensions & hair rats/padding. (Also, hair extensions have been around for as long as women have been able to cut off and save their own braids.)

Cosplaying realistic red hair is an issue unto itself. Sadly, a good chunk of awesome women in fiction have red hair :(
Black Widow does obviously dye her hair all sorts of colors, so dyed red hair for her makes perfect sense. (But why she straightened it in Cap 2, when they were running for their lives and hiding at Falcon's house, no one knows. She probably used an actual iron though, because she's awesome like that.)
However, with Mara, I wouldn't use dye. Firstly, because for a dark brunette to pull of red-gold, it would take something far far beyond my skill (probably professional chemicals at a salon). Secondly, because Mara would never have bothered to dye her hair, even when it would have been practical for camouflage (When she gets caught flat footed by a bounty hunter in Dark Force Rising who recognizes her by her hair). She wears a hood, though (Choices of One),so I would be a brunette Mara with a hood. But if you have blonde hair, and can pull off natural-looking red-gold hair......

Thursday, March 19, 2015

Of Heroes and Singing Crocodiles



Isaiah wanders around the backyard, purposefully, carrying this watergun and singing his rendition of Mumford and Son's "The Cave". He's being "Jim". All from here.


 Its amazing how stories, especially stories of heroes, shape a kid.   Any man in a mech suit, or anything that could resemble a mech suit (generic astronauts) are "Jim." It makes his "Reach for the Stars" shirt with a astronaut that much cooler, its his "Jim shirt."
He also loves Captain America, and Saint George, sometimes conflating the two, with Captain America killing a dragon.

We had a day that was cold enough for me to subject them to their hats. Keziah would have none of it, but Jenny obliged.

Grandpa was teaching Isaiah how to hit the T-ball. Jenny kept being disturbed whenever Isaiah knocked the ball off the stand. "No, duh ball be ON"


Keziah was oblivious to the dilemma. Now that she was free of the tyranny of the hat, all was well.


On a sunnier day, I decided to photograph some of the circlets I was working on for my etsy shop (yet to be opened). Her is my Arwen Evenstar, modeling them for me.





After I was done photographing Arwen, I turned and saw Keziah, looking at me for moral reflection, as she pondered going after a fallen orange....You know she is figuring out forbidden and not-forbidden at this point, give the little guilty look she shoots you before she goes into the cat water dish or picks up a fallen orange...


Keziah also bounced up and down whenever we pray (we sing Praise God for dinnertime, and various other tunes for lunch, etc). She even stops fussing for food, and silently bounces, often with a big grin on. It is her contribution.


The other day, Jenny heard the whine of a machine.
Jenny: Mommy, what is going on? Is dat a crocodile singing?
Me: No, I think its a lawnmower
Jenny: (very confidently) No, its a crocodile singing.


Isaiah continues to make up stories and retell stories, often reapplying them to various situations in his life. The other day, I was in the other room, and I heard Jenny getting very upset.
Jenny: "Mommy! Idaiah took the peawls fwom Gamma Beawr!!"
He usually doesn't go after her stuffed animals, much less their jewelry. I voiced some commands and threats, no response.
I went into the other room, and saw him holding the pearls and a pair of toy pliers, oblivious to the indignant Jenny, saying to himself "...an a pair of scissors cut duh pearls, and two flour covered hands caught duh pearls..." (From Richard Scarry's The Great Steamboat Mystery)

Stories, they make such a huge part of his world....


Wednesday, January 15, 2014

Some Unfinished Paintings & the Woodcutter's Wife and the Wolf King

Here are a couple paintings I did months ago.
I want to write a children's book "The Woodcutter's Wife and the Wolf-King". I got depressed about finding the right illustrator, as pictures really make or break a children's book. And I haven't got any money or credibility etc. So I decided I'll just have to learn how to paint.
So the first scene, I could see in my head, of the woodcutter after a long day's work, coming into a clearing where he finds the girl and the wolves.

Something about it didn't look right. I had tried to have her on a rock, and it didn't really work. I tried again, with a plain old clearing.

 I think this worked better. Right now, I'm really at the color-scheme, composition stage. The actual trees and wolves and people leave much to be desired.

My weakest point is the faces. First I need to learn how to make them look human. And then to actually show emotions and expressions on them.
I don't know where to start.
Sigh.

Here are are a couple things I've been working on naptimes and snatched in 10 minute segments of the kids happily playing...

Add caption
 I was trying to go for a kinda tree-root-looking thing with the blood. Like the fruit of the new Tree...or something.

 Then this is what I worked on in the last few days.

 I think Mary looks a little too cartoonish. I liked how the angel turned out, at least.


Wednesday, November 6, 2013

The One Thing I know

"The one thing I know is that God is good.
That his heart bleeds every time a human’s heart does.
Our pain is his pain, all of it, all of it.
And that he is gentle, and steadfast, and will not waste one drop of our suffering."

from
http://chubbicsblog.wordpress.com/2013/11/02/the-one-thing-i-know/

Wednesday, May 1, 2013

Rough Draft Review of Marvel's The Amazing Spiderman (data dump/journalling)


-Father figures
  • Peter's dad (playing tag with his son, son can't understand why gave him away, but then parents murdered) (Little boy and dad theme)
  • Peter saves boy on bridge, daddy freaking out (little boy and dad theme) who later saves the day with the crane operation, and all those construction worker's with American flags, being awesome.
  • Uncle Ben (AWESOME step dad. Says/does all the right things, really trying, really loves Peter, sensitive to his feelings, his hurts. Gets mad at him and launches the typical angry dad lecture, but then looks for him, leaves that awesome message on his phone. Dies. But was right. Was so so so right. And Peter knows he was. Also, dies because Peter was being selfish, Justice is about what's in it for me.)
  • Gwen's dad. A real hero. Cranky, gets upset, not impressed with boyfriend etc. But listens when Peter's being crazy. Says all the snarky dad movie lines, but really does listen. Loves Gwen, tries to make her chocolate milk. Listens to Peter again, when he's at gun point. Then, my favorite part, steps in when Gwen trying to do cool things and save the world, "I get it, your boyfriend is a man of many masks, now get in the car" makes her get in the car, but personally takes the serum himself and a gun, and goes up there to rescue Peter. (not a fan of their relationship, but really does love this disturbed boy). Then his AWESOME scene when Peter is alone, going to die, being mocked for his lack of dads? And Gwen's dad shows up with a gun, and says "He's not alone" and then summarily dies for him. And then his epic dying speech. Where he tells Peter "I was wrong, this city needs you" as he dies, chief of police who was so irritated with this whipper-snapper he just died for, but tells him, "Leave Gwen Alone". He loves (dies for!) Peter, yet tells him, leave her alone. You are not good for her. And when Peter honors that promise, she's mad at him, she feels dumped/betrayed, but he's staying strong, trying to keep a promise he doesn't even understand to a man that died for him, because "(he said) I'm not good for her"
And he wasn't. Paralleled with the vast powers he is learning to control, that he doesn't even realize how big they are, is the hormonal rush. The awkward, not even being able to ask a girl out, to being able to climb into her bedroom window and take her away without her family even knowing. Lots of sensual smooching. Like jumping on a train going 70 mph...not realizing how fast its going. That shirtless scene---a sign of how overpowering teenage hormones are? He goes from being a medical patient to Don Juan....because...you are a teenager? And you have no shirt? And its the first time you are hanging out with a girl like this? And her dad has no clue you are there? Too much power. To a kids' head that can't handle it. The romantic scenes were jarring, too much too fast. Too much power. Too much emphasis on the physical--just being discovered ("You're a good kisser" , the whole him trying to convince her to sneak off out the window) I was jarred with the romance scenes. Thinking how Marvel seemed to understand how to make romance (Iron Man 1 &2, Captain America), and know it felt like a teen hormone rush, the sensual played up and highlighted at the expense of the other components (that second kissing scene without his shirt, just hurt. And on the bleachers when his compliments consist of telling her she's a "good kisser"....so little romance...sigh...) It was jarring. And then I realized, it was intentional.

And then there were the themes of the dads being right. Peter feels so betraying that his dad and mom dumped him off. But they were right, they were killed, and he was not. Then there was uncle Ben. With all the stereotypical angry Dad lines ('apologize to your mother!') yet he was right. And Peter knows he's right. And Peter listens to the voicemail at the end. And then there's Gwen's dad. With all the stereotypical dad-of-girlfriend lines. (thinks boy is crazy, not good enough, leave it to the cops, etc) And yet...the way he delivers the stay-away-from-my-daughter speech is so moving....its after he has gotten mortally wounded for Peter, after he's stuck up for Peter, and after he swallows his pride and tells Peter that he is necessary, needs to do what he couldnt' do. Awesome speech. He loves him in the way that is done and not said, he laid down his life for him. And then he says, you are not good for her, leave her alone.
Why?
It makes no sense to hormonally charged this-is-love teenage Peter. And yet, the dads have been right. They've been proved to be right. And this Dad, is right. Peter is not good for her. and this dad says that in the context of really caring about Peter. But he knows, this is not good for her, because, Peter's powers will put her in danger. Peter is not trying to hurt her. He loves her. But it will put her in danger all the same.
And this is also, like a metaphor, for teenage romance.
Peter loves her. But he is putting her in danger (and himself) of this un-bridled wild horse of teenage romance, teenage hormones, and autonomy--new power of choosing when to go and when to come and where to be (growing out of childhood--except more so, because no one even knows. They can swing out the window any time)

And Peter doesn't understand how this makes sense. Peter loves her! Right?
But Gwen's dad knows. The dads know. In uncle Ben's words "Take it from an old guy..."
And so, to honor this father-figure who died for him, he breaks up with the girl, and she hates him for it. And its so hard, and he doesn't understand why, but he's obeying someone who loved her and died for him. He's listening to the dads. And in this movie, the dads are right.

It was an argument, a plea. Crafted about Fathers, and the calls they make, that hurt, that Peter doesn't understand, but that turn up to be right. And in the end, it applies to his teenage romance. And (as the watcher's know, is right, since the watchers know he does not marry this girl. That every kiss is one not given to his wife, that they'll live to regret this when they're both with other people) so we know... that Gwen's dad is right. Like he was right about the sting operation. Peter was trying to be good, and showing off being cool, but he was trying to do things his way, use his new powers etc. But he wrecked a months-long sting operation of Gwen's dad. It was a metaphor, a powerful symbol. Our teenage romances mean all the best, but can wreck the Big Picture. The Big Plan for the other's good.

And at the end, in the hall, the girl you love being mad at you, because you have to act like you don't love her because you do love her (and want her best, or at least, obey the man who wants her best), and the bully you didn't like, really trying to be your friend now, having a good side (when you don't really want to see his good side) now having to love the bully and (act like you) hate the girl. Its the reverse of the opening scene. And yet. It felt like it was about love. Real love. Loving and being with the people you don't particularly want to love, but must. Not loving (not being with) the girl you really do love, because, you love her, and want her best.

I was deeply moved.

Then the last scene, where the English teacher tells the class that all archetypes are really all about ME. WHO AM I? And then Peter flippantly says promises you break are the best kind. And Gwen smiles.

PROMISES YOU BREAK? Like, the one on your weight loss regimen? Or the one you made to a girl's dad as he bled to death for you, making you promise to leaver her alone, because he loves her (and you). ????

When a man makes an oath, Meg, he holds his soul in his hands, like water. And if he opens his fingers then....

The whole movie was a constructed argument. With a repeated motif. (Fathers, fathers making choices that hurt, saying things that hurt, but they want your best. And they are right) With metaphors (the sting operation and the car-thief), and reassurances (the dads love you. Even Gwen's dad steps in as Peter's father when he's all alone), and then ends with a dying request. End that teenage relationship, if you love her. End it. Because you will put her into danger.
And it leaves the teenage audience asking, why? All the other times the dads were right, and now, this one, why?

It was a message that our generation of love-makes-it-good and  follow-your-heart and experiment-with-your-new-powers and its-all-about-me/who-am-I kids need to hear. From REAL MEN, REAL DADS who die for you, care about you, and tell you to leave the girl alone.

And notice, Peter doesn't have the strength to listen to the whole voicemail, until AFTER he dumps the girl. Then, lonely, his listens to the voicemail, where uncle bend says 'take it from an old guy' and tells him that he's a man, that he loves and respects him.

It was a superbly crafted argument. That moment when I realized those cringe-inducing romance scenes were intentional. The whole thing coming together. Ending with a request from the dying father, and you ask yourself  'why?" and you THINK.

IT WAS PERFECT

IT WAS GOING ON MY TOP 10 MOVIES LIST, OF WHAT THIS GENERTAION NEEDS TO HEAR

And then they bombed it, with that added-on feeling 5 second last scene.....

WHY WHY WHY?

Either
  1. I imagined the whole argument? It was just a flailing action chick flick with accidental themes? (Highly unlikely. SOMEONE knew what they were doing with the Gwen's dad death scene. It will at the least, make the romance teens squirm with awkward guilt, him dying and all)
  2. Some Moffat-type is playing cat and mouse with me
  3. They will make something awful happen to Gwen in the 2nd movie, and Peter realizes the dad is right. It works. Its a lot less elegant and less beautiful than the ending could have been here. At least its consistent. But its sad. But then, it takes the punch out of the end, the time that the teenagers go home and subconsciously mull about this.... It badly times it, I think.
  4. There was a fight in production, some crafted the whole argument, and someone else tried to lighten the mood and wrecked it at the end. (Like in Luther, Joan of Arc, or arguably, Star Wars)

So there you have it. I kind of hope its 3 (with a heavy heart) because that's the only one that's consistent. But it is sad, really sad. I suspect its 4, given what I've learned about the power-struggles behind movie making. And if its 4, all I have to say is...

What a shame. All that work. What a shame.

But perhaps echoes of the original argument will persist in teenagers minds, perhaps their subconsciouses will absorb something from this. Let us hope.

AND SOMEONE NEEDS TO MAKE MOVIES AND BOOKS! Saturate the market! Show reality the way it is, the complexity, the pain, the beauty. SHOW IT. (Like this movie almost did), AND FATHERHOOD.
God knows we need more of it, in this country, with our fatherless children and skyrocketing divorce and illegitimacy rates.
And ultimately, because way bigger than romance, there is a Father-shaped hole in each one of us. that not even the best daddy can fill.
Because its there for God.

Tuesday, April 16, 2013

The Morning People--More Hospital Scenes




The old man groaned. Mary lifted him gently, inch by inch, his rigid limbs trembled. Diella realized what she was trying to do, and shifted the pillow back. Mary pulled until the small of his back fit into the bend of the hospital bed. Then pulled the blanket firmly about him
“We’ve got to keep the bend of his back in the bend of the bed”
“Why?”
“Better for his circulation. And he needs to sit up a couple hours a day, so he can see the larks”
She pushed him toward the open window, so he could see out over the junkyard, with the vines growing over the rusting cars, and the swallows darting from their nests. It was a bright clear morning. The birds chattered.
“Thank you, Mr. Johnson. You’ve been a hero” she gripped his hand. “I’m sorry about all this pushing and pulling, I’ll be back in half an hour with your breakfast, and George should be here with the stories very soon.”
Then she bent her head by his, and prayed through the Our Father. Mr Johnson was not speaking any more, his eyes just stared. But Anja imagined she saw his lips trying to move as she prayed. When it was over, Mary smiled at him, (her warm camp-fire like smile, Anja thought)
“I’m be coming back”
And she kissed his old cheek, fussed with the pillows one more time, and then followed Anja down the hall. She always did that for all the dying, Anja noted. Though Anja had yet to see her even hold the hand of her boyfriend. If that's who he was. That man all bulky in coats and gear, but quick and silent as a cat, holding his shoulders like a king.  It started the night when she was on the malaria floor, she had come up to the dying floor for gauze wrap. She saw Mary working, and then this man came,  She ducked down by a patient’s bed and watched. It was all too novel-like and mysterious not to. The two of them talking in their little circle of lamplight in the darkness, like a stage-light, and him giving her mysterious packages. After that, she found reasons to help out on the dying floor at night. But she’d mostly been disappointed, the handful of times he came they just stood by the pillar, whispering, and then he’d disappear in half an hour. And the mysterious package he’d given her, Anja found on further espionage into hall closet, turned out to be beef jerky and granola bars.
 She’d asked Tessa once, who he was, why he was so mysterious, and why he left so soon. Tessa had told her to mind her own business, but on further prying, had cryptically said “perhaps he has reasons to be mysterious.” Which only made it that much more interesting. 

But after that Tessa wouldn’t talk any more, and somehow made sure her nightshifts were always on some other floor. Which was ok. After witnessing a few deaths there, Anja decided it wasn't worth a smidgen of awkward romance. 
But she still hadn’t dared ask Mary about it. Perhaps for the fear it would turn out he was trucker or a rancher or something boring, and mostly because, well, she didn’t want Mary to know she knew. To know she had a boyfriend would be an invasion of privacy, somehow, like reading someone else’s diary.

Mary wiped her brow. She was small, and lifting the patients took a lot out of her.
“At noon we’ll have to put Mr. Johnson in the flat bed again, if you could help me again with that”
“Why don’t we just make the bed flat, I mean, it’s a hospital bed”
“Its broken”
“I thought you said we had a couple dozen working ones?”
“Not anymore”
“You can’t get any new ones from the hospital supply branch?”
Mary smiled wryly.
“It was them who took the working ones away.”
“Why??!”
“To be distributed to hospitals who ‘were more vital to the community’”
“Well, how are we going to serve the community if we haven’t got working equipment? Hey, didn’t they take the oxygen tanks too? And—“
But seeing the pain on Mary’s face stopped. It was still raw. She realized for every oxygen tank and bed taken, Mary had to evict, or shut off the oxygen for a patient. Only to Mary they weren’t ‘patients’, terminal anyways. To her they were ‘Mr. Johannsen’, ‘Mrs. Gallenham’, “Jordan”….And Mary felt the shame of watching them lose the little she had been able to give them. Drat those bureaucrats. But had they been right? Didn’t an otherwise healthy college student or 7 year old child need the oxygen more than say, one of Mary’s terminal old people, or preemie who didn’t stand a decent chance?
“Well, we’re not a real hospital, we are a terminal ward after all. I guess we have to make the best of the leftover tech from the other hospitals, hah, its already like that with the patients”
“We’re all terminal”
She looked at Mary. She was angry. She never had seen Mary angry. Together they changed the bandages on the entire wing, Marys lips pressed together white, in silent fury.
The stepped out into the hallway. Mary held her face, slumping against the wall. She was tired.
“Look, if you need a break, I think I can handle…”
“No, Anja. Forgive me. I was wrong to hate”
 “For taking the oxygen tanks?”
“for taking the beds, the oxygen, the medicines, the surgery tools, the maternity unit, the---everything they’ve done to this hospital. It used to be what you called ‘a real hospital’. After the riots, I thought we could carry on, many people would know we weren’t monsters, I thought. But then the regulators came....and it’s like this now. The only reason they let us care for----how you said it, ‘the leftovers’---is because the‘leftovers’ no longer ‘qualify.’ So they may as well come to us, they think, come to our bombed out shell of a ‘terminal ward.”
It was the most words Anja had ever heard come from Mary’s mouth at once. 
“I must forgive them, Anja, but how? The bitterness, I hold on to it”
Anja shuffled her feet. She was embarrassed. How exactly she had become Mary’s confessor she wasn’t sure.
“Pray for me Anja, there is poison in me.  The patients deserve better than me like this. If they can forgive---and Anja, they have forgiven so much—then I can forgive---”
There was another silence.
“I confess to Almighty God, to Mary ever virgin, to Michael…
Anja really didn’t want to be here for this.
…and to all the saints that I have sinned exceedingly in thought, word, and deed…
Anja was paralyzed by awkwardness
through my fault, through my fault, through my most grievous fault….
Just when she thought it couldn’t get any more awkward, Mary was thumping herself. Anja inwardly groaned and shut her eyes. Mary was not a dramatic person. This felt painful, like watching a junior high school play.
…. and all the saints, to pray for me to the Lord our God. Amen.
Anja didn’t move, paralyzed by awkwardness.
Mary wiped her brow, straightened up, smiling in thanks, like Anja had just ordered her a sandwich from a cafe.
“Thank you for praying for me”
Anja nodded, because she didn’t know what else to do. It wasn’t that she didn’t pray. She just preferred now to think of the God of her childhood as a Higher Power, a force of love, who was there for you, somehow.
But this king on a throne whose peons had to beat their chests and wail about being the scum of the earth? It was all so…medieval.
****
“Why?”
“They’re talking about the Pastor Karol scandal.”
Mary looked sad, and bent back over the bandaging.
“Mary”
“Yes?” her fingers still pulling the gauze strips tight.
“Why do—why do you religious ones, insist on telling everyone your high standards?”
Mary was quiet.
“I mean, isn’t it better just to live them? Whey talk about the sexual commands in the Bible? This pastor scandal was a shame, but I know this happens all the time in the corporate world….we’re humans. It happens. But no one cares, because they don’t go around telling people what to do, that God sayeth thou shalt not...I mean, its good to have convictions, but why announce them? If you tell people that’s how they’re supposed to behave, one, they’re not going to listen to you, and two, it just makes them mad. Why even talk about them at all? Don’t let them know you have this crazy high standard, because then they use it against you when you can’t keep it, and they take it for granted, when you do. Isn’t it better to let your actions speak for themselves? And then, when you do mess up, it’s not as big of a deal, they’ll say, hey, my boss does that all the time, an only a handful of the pastors do it”
Mary finished wrapping the arm, and tied off the gauze strands. She stood up.
“Anja, did you ever wonder why we wear white at the hospital?”
“No, why?”
“So the dirt will show.”
She got up, and began to wash the open bedsores with a fresh bowl of water.
***