From the fall of 1918 to summer 1919, six YWCA women are attached to the North Russia Expeditionary Forces, an international military mission posted in the city of Arkhangelsk, North Russia. With this change, Clara Taylor’s second year working for the YWCA in Russia turns out to be vastly different from her previous year in Moscow. No longer teaching home economics or surveying factory conditions, Clara now finds herself dancing with soldiers at parties, then learning of their deaths in action the next day; reading to ill soldiers in the hospital; and serving hot coffee to ragtag men on the front lines of the Vologda railroad front in the bitter Russian winter. Throughout, she remains strong, courageous, and dedicated to her ideals of service. Even her own hospitalization for appendicitis does not stop her from supporting others in an untenable situation. Able to let loose about her own political views in these letters, Clara writes scathing commentary about the ineptitude of the military command. She also writes of the frozen landscape, the astounding beauty of the northern lights, homesickness, the strength of the Russian people, and, finally, the overwhelming joy of returning home to her family.
Reading 1 Peter through the lens of feminist and diaspora studies keeps front and center the bodily, psychological, and social suffering experienced by those without stable support of family or homeland, whether they were economic migrants or descendants of those enslaved by Roman armies. In the new “household” of God, believers are encouraged to exhibit a moral superiority to the society that engulfs them. But adoption of “elite” values cannot erase the undertones of randomized verbal abuse, general scorn, and physical violence that women, immigrants, slaves, and freedmen faced as the “facts of life.” First Peter offers the “honor” of identifying with the Crucified, “by his bruises you are healed” (2:24). A Christian liberation ethic would challenge 1 Peter’s approach. Pliny the Younger, governor of Bithynia-Pontus in north-western Asia Minor, is a contemporary of 2 Peter’s writer. The polemical, accusatory genre of 2 Peter, like Jude, originates in Roman judicial rhetoric. The pastor, in the persona of a prosecuting attorney, condemns immoral defendants, including influential women. Their “crimes” encode community tensions over women’s leadership, Gentile-members’ sexual ethics, their syncretistic deviations from Jewish doctrine on creation, and the certainty of divine judgment and punishment. Citations to Elizabeth Cady Stanton’s A Woman’s Bible enliven the commentary. The doctrinal disorder prompts the male pastor to sustain loyalists in their commitment to “Our Lord and Savior Jesus Christ.” Second Peter dramatizes an ecclesial crisis whose “solution” was the eventual imposition of a magisterium to silence dissent. Brief, combative, and assuming a familiarity with a literary culture that most twenty-first-century readers do not have, the Letter of Jude would be an obvious candidate for being the most neglected book of the New Testament. As a model for a pastoral strategy, it can be recommended only with great reservations: almost everyone will find in it something problematic, if not offensive. Yet, in addition to giving a window on a Greek-speaking Jewish-Christian milieu, Jude’s energetic prose testifies to the author’s visceral concern for those attempting to live by the gospel in difficult circumstances. Furthermore, to the extent that over familiarity with parts of the New Testament can blunt their challenge, this letter provides a salutary reminder that the entire canon originated in a world that is radically unfamiliar to us.
Here is the official scriptbook of the critically acclaimed new movie written and directed by Noah Baumbach. In this drama/comedy, Margot (Nicole Kidman), a savagely bright, razor-tongued short-story writer who creates chaos wherever she goes, sets off on a surprise journey to the wedding of her estranged and free-spirited sister Pauline (Jennifer Jason Leigh). Margot, with her all-too-rapidly maturing son Claude (Zane Pais) in tow, arrives with the gale force of a hurricane. From the minute she meets Pauline's fiancÉ—the unemployed artist Malcolm (Jack Black)—Margot starts to plant seeds of doubt about the union. As the wedding approaches, one complication crashes into the next: vengeful neighbors, a beloved tree in the backyard, and Margot's own marital turmoil.The two sisters find themselves at the precipice of an unexpected transformation ultimately revealing that even when your family is about to implode, the one thing you can cling to for solace and comfort is your imploding family.
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