Friday, July 31, 2020

Zipoli's Ignatius.

For today's Feast of St. Ignatius of Loyola, here are three selections dedicated to the founder of the Society of Jesus by Jesuit composer Domenico Zipoli (1688-1726). Born in Tuscany, Zipoli showed early promise as a composer and studied under Alessandro Scarlatti in Naples and Bernardo Pasquini in Rome before being named organist of the Church of the Gesù at the age of 26. Zipoli subsequently entered the Jesuits with the hope of serving as a missionary in the Paraguayan reductions; sent to Argentina as a novice, Zipoli spent the rest of his life as choirmaster at the Jesuit mission of Santa Catalina near Córdoba. Though Zipoli was only 37 when he died, his liturgical compositions for the use of indigenous choirs circulated widely in the Jesuit reductions in South America. Falling into obscurity after the suppression of the Jesuits, Zipoli's work was rediscovered by musicologists in the twentieth century and later championed by performers like Argentinian conductor Gabriel Garrido and his Ensemble Elyma, to whom we owe this recording of Zipoli's Misa de San Ignacio.

Also performed by Garrido and Ensemble Elyma, this presentation of vespers as they would be sung for the Feast of St. Ignatius makes use of a setting of the common of confessors believed to have been composed by Domenico Zipoli. The participation of the Coro de Niños Cantores de Córdoba helps the modern listener to imagine how Domenico Zipoli's compositions may have sounded when performed by Guaraní choirs in the reductions of Paraguay.

Finally, the opera San Ignacio represents a hybrid work assembled by the Swiss Jesuit Martin Schmid (1694-1772), a missionary in Chiquitos in Bolivia, who wove together a series of shorter pieces by Zipoli and other composers along with material of his own composition to produce a short opera about Ignatius of Loyola destined to be performed in the Jesuit reductions. Once again, this is a performance by Ensemble Elyma under the direction of Gabriel Garrido. These fragments of the music of Domenico Zipoli serve to recall the memory of a composer who remains something of an enigma; on this Feast of St. Ignatius, may they also serve to honor the memory of the founder of the Society of Jesus.

Thursday, July 23, 2020

Belated thoughts on "The New Pope."

For a while, I have been meaning to write something about The New Pope, a nine-episode series created and directed by Paolo Sorrentino that aired earlier this year on Sky Atlantic, Canal+, and HBO. The New Pope is a sequel to Sorrentino's 2016 series The Young Pope, which I wrote about here. The story of brash, conservative American cardinal Lenny Belardo (Jude Law), elected to the papacy as Pius XIII, The Young Pope was interpreted by reviewers of various stripes as a commentary on contemporary ecclesial politics. This interpretation has its limits; as I argued in my essay on the series, The Young Pope is best read not through political or theological lenses but instead as an extended rumination on the same themes of loneliness, solitude, and human connection that recur throughout Sorrentino's oeuvre. The New Pope proposes further variations on those themes while also offering answers to viewers of the first series who wondered 'what happens next' after the open-ended final episode of The Young Pope.

In linear terms, The New Pope picks up where The Young Pope left off. In the final scene of the earlier series, Pope Pius XIII had dramatically collapsed and lost consciousness while giving a stirring public address in Venice. The new series begins nine months later, with the pope still comatose and his secretary of state Cardinal Angelo Voiello (Silvio Orlando) pondering the way forward. Since all efforts to revive Pius XIII have failed, the cardinals declare the papacy vacant and elect the apparently meek and malleable Cardinal Tommaso Viglietti (Marcello Romolo) as pope. Taking the name of Pope Francis II, Viglietti proves to be anything but meek: as iron-willed as he is committed to evangelical poverty, Viglietti takes personal control of all of the Vatican's bank accounts, threatens to defrock Voiello and other curial cardinals, and invites hordes of refugees to take up residence in the Vatican. Then, both unexpectedly and suddenly, Pope Francis II dies of an apparent heart attack, creating yet another papal vacancy as Pius XIII continues to sleep in a hospital bed under the watchful eye of a nursing sister and an attending physician.

Faced with the continued incapacity of Pius XIII and the sudden death of Francis II, Cardinal Voiello seeks a new pope who can restore a sense of stability and help the Church to regain its bearings. His choice falls upon an unusual candidate, Cardinal John Brannox (John Malkovich), a British aristocrat who gained widespread notoriety as the author of a popular spiritual treatise (The Middle Way) and reached high office in the Church before retiring, while still relatively young, to live in seclusion on his family's rural estate. With the help of a key aide, Vatican press secretary Sofia Dubois (Cécile de France), Voiello convinces a reluctant Brannox to come to Rome for the next conclave and to accept election as Pope John Paul III.

Far from providing a return to stability, the pontificate of Pope John Paul III is rocked by unforeseen turmoil. Wounded by a lack of parental love and paralyzed by what he describes as the "unbearable grief" of the loss of his twin brother Adam, who died forty years earlier, the new pope is indecisive and easily manipulated by Voiello's archenemy Cardinal Spalletta (Massimo Ghini). Spalletta persuades Brannox to force Voiello's resignation as secretary of state and to place control of the Vatican's finances in the hands of banker Tomas Altbruck (Tomas Arana), Sofia Dubois's husband and member of a corrupt circle that includes Spalletta as well as the sinister Italian finance minister Guicciardini (Claudio Bigagli). Following a series of threatening broadcasts by 'the Caliph,' the leader of what appears to be Daesh, the Church is shaken by terrorist attacks at Lourdes and within St. Peter's Basilica itself. Finally, in the midst of chaos, Pius XIII awakens from his coma...

I won't recount the rest of the plot, in part because it becomes increasingly convoluted. Some elements, including much-hyped cameos by Marilyn Manson and Sharon Stone, add nothing to the narrative. There are subplots of various degrees of importance, including a protracted 'strike' by cloistered nuns in the Vatican, the rise of a fanatical sect devoted to Pius XIII led by the scowling Woman in Red (Kika Georgiou), and the degrading downward spiral of Esther Aubry (Ludivine Sagnier), a young mother whose friendship with Pius XIII played an important role in The Young Pope and who is reduced in the new series to near-homelessness and sexual exploitation. Sorrentino naturally indulges his penchant for arresting visuals and impressive set-pieces, offering (for example) ravishing scenes of Pope Pius XIII making his return to the Sistine Chapel mounted on the sedia gestatoria before an audience of astonished cardinals and later crowd-surfing on the outstretched hands of the adoring faithful in St. Peter's Square. Scenes in which several masked terrorists take a group of schoolchildren and a young priest hostage on the Tyrrhenian island of Ventotene are impressive as much for their gritty realism (unexpected from Sorrentino) as for the beauty of the unique setting. John Brannox's devotion to the memory of his deceased brother Adam is vividly conveyed by a series of poignant and understated flashbacks that show the twins as young adults – together on horseback, skiing down a snow-covered mountain, and racing to button their cassocks as seminarians (Adam teases John for going too slow, leading the resentful John to slap his too-perfect brother across the jaw).

What, if anything, does The New Pope add to the story recounted in The Young Pope? Some characters reprised from the first series gain greater depth and humanity as, in different ways, their old certainties are taken from them and they must struggle to find a new place in the world (a dynamic that represents an important theme for Paolo Sorrentino, who once told an interviewer that "my protagonists tend to be people who need to learn how to be in the world"). Silvio Orlando’s Cardinal Voiello is a perfect example: the ruthless, calculating Vatican secretary of state already showed surprising reserves of empathy and tenderness in the first series through his friendship with Girolamo, a handicapped boy he babysat each evening. In the second series, Voiello's world is shaken by his forced resignation as secretary of state ("I love giving orders," he rues, "it's my whole life"). Afterward, Voiello finds a new sense of purpose and deeper happiness as he moves (with Girolamo) to a rustic villa inhabited by a now-elderly priest mentor and there devotes himself to gardening and nurturing his relationships with friends like Sofia who come to visit him.

Papal press secretary Sofia Dubois was already present in the first series but remained on the periphery, overshadowed as a strong female character by Sister Mary (Diane Keaton), the steely nun who raised Lenny Belardo and follows him to the Vatican. Sister Mary is absent from The New Pope, but Sofia comes into her own as a more complex, fully-realized character. She is instantly charmed by the sensitive, dandyish John Brannox – after their first meeting, she comments, "the man seems to be made of velvet" – and becomes a close confidante of the new Pope John Paul III. Though she initially turns a blind eye to the manipulation of Brannox, Sofia ultimately finds the courage to team up with Voiello to bring down the members of Spalletta's cabal, including her own husband. Ultimately, it is Lenny Belardo, more than anyone else, who must find a new place in the world: awakening from a coma, he must grapple with his apparent position as pope emeritus (which he initially likens to the role of "an honorary president" who "[doesn't] count") as others demand that he continue to provide spiritual leadership.

Among the 'new' characters, a few stand out. John Malkovich's John Brannox is nothing if not original, a mascara-wearing aesthete and former punk who hates making decisions. As John Paul III, Brannox transcends his reclusive nature with a number of dramatic gestures and a concern for the visibility of the papal office ("every Marilyn should know who the pope is," Brannox declares, in sharp contrast with Lenny Belardo's insistence that "I have no image" and steadfast refusal to be photographed or seen in public). In broad outline if not in detail, the figure of Brannox recalls a certain popular image of Pope Paul VI as an erudite and cultivated man who could also be painfully indecisive. (At the same time, and perhaps more provocatively, one could ask whether the charismatic Lenny Belardo has a bit of Pope John Paul II about him.)

Turning to other new faces of the second series, Cardinal Voiello's priest secretary Don Cavallo (Antonio Petrocelli) is at once suave and devious, a perfect complement to his Machiavellian boss. The unlikely duo of Bauer (Mark Ivanir) and Leopold Essence (J. David Hinze) are, it seems, American intelligence operatives, though (to echo an observation made by my friend Rick Yoder in his writeup on The New Pope) it might be better to think of them as avenging angels who occasionally sweep in to reestablish the status quo ante and to correct particularly egregious wrongs. The eyepatch-wearing Essence (clearly inspired by The Cowboy in David Lynch’s Mulholland Drive) delivers one of the most important lines in the series, appearing in the Vatican canteen to urge Sofia to "follow the love" because "that's where you will find failure."

If The New Pope has a particular place in Sorrentino's oeuvre, it may be seen as an extended meditation on 'the failure of love.' John Brannox has never felt the love of his parents nor, he believes, the love of God. On becoming pope, Brannox declares, "We only have one problem... the problem is love." All the problems in the world, Brannox thinks, are distortions of love – distortions that cannot necessarily be corrected but can at least be redirected to limit their ill effects. The unfortunate Esther Aubry, former confidante of Pope Pius XIII, suffers throughout the series on account of 'failures of love': abandoned by her husband, she starts a new relationship with a man who introduces her to a life of prostitution, where she later draws scorn and rejection after falling in love with a client. If anyone in the series is exempt from the failures of love, it is Girolamo, the handicapped young man whom Cardinal Voiello describes as his best friend; when Girolamo dies, Voiello eulogizes his friend by describing him as a saint, a representative of "the world who suffers, the world who loves."

I'm tempted to say that The New Pope itself represents the failure of love, lacking the spark of The Young Pope despite some good moments. The sentiment that the new series is inferior to its predecessor is one of the reasons that it has taken me so long to write about The New Pope, as I was not completely convinced that it was worth writing about. On the other hand, the series is worthwhile for Sorrentino completists (like me) who want to understand how all of the director's films and series fit together as a coherent whole. If The New Pope inspires some to (re-)watch The Young Pope or to dive into Sorrentino's other work, I suppose that it will have done some good.

Tuesday, May 19, 2020

Ode for John Paul II.

Yesterday was the centenary of the birth of St. John Paul II, a milestone that marks the putative 'relaunch' of this blog after several months of inactivity. For many people, the Covid-19 pandemic and the experience of more-or-less strict confinement have privileged new and perhaps unaccustomed forms of reflection; the novel situation in which many of us find ourselves has inspired me to start writing here a little more regularly (or at least to attempt to do so).

The last couple of months have seen both the fifteenth anniversary of the death of Pope John Paul II and the one-hundredth anniversary of his birth. These two anniversaries invite reflection on the legacy of John Paul II and his gifts to the Church: a recent letter by his successor Benedict XVI offers a contribution to that important project. For my part, as I approach middle age I become ever more conscious of my Polishness and, in consequence, more sentimentally attached to the saint who was pope for the first quarter-century of my life. As I contemplate the centenary of the birth of Karol Wojtyła, I think of an excellent lecture by the late Father Raymond Gawronski on 'Pope John Paul II and the Polish Hermeneutic,' a lecture that I have shared here before. At the end of that lecture, Father Gawronski cites a poem that Czesław Miłosz wrote in 2000 for the eightieth birthday of Pope John Paul II. The Polish text of the poem, published in the Gazeta Wyborcza, may be found here. The English translation is reproduced below:
We come to you, men of weak faith,
So that you might fortify us with the example of your life
And liberate us from anxiety
About tomorrow and next year. Your twentieth century
Was made famous by the names of powerful tyrants
And by the annihilation of their rapacious states.
You knew it must happen. You taught hope:
For only Christ is the lord and master of history.

Foreigners could not guess from whence came the hidden strength
Of a cleric from Wadowice. The prayers and prophecies
Of poets, whom money and progress scorned,
Even though they were the equals of kings, waited for you
So that you, not they, could announce, urbi et orbi,
That the centuries are not absurd but a vast order.

Shepherd given us when the gods depart!
In the fog above the cities the Golden Calf shines,
The defenseless crowds race to offer the sacrifice
Of their own children to the bloody screens of Moloch.
In the air, fear, a lament without words:
Since a desire for faith is not the same as faith.

Then, suddenly, like the clear sound of the bell for matins,
Your sign of dissent, which is like a miracle.
People ask, not comprehending, how it’s possible
That the young of the unbelieving countries
Gather in public squares, shoulder to shoulder,
Waiting for news from two thousand years ago
And throw themselves at the feet of the Vicar
Who embraced with his love the whole human tribe.

You are with us and will be with us henceforth.
When the forces of chaos raise their voice
And the owners of truth lock themselves in churches
And only the doubters remain faithful,
Your portrait in our homes every day reminds us
How much one man can accomplish and how sainthood works.
St. John Paul II, pray to God for us!

Saturday, November 02, 2019

Dies irae, dies illa.

As is my annual custom, for All Souls' Day I am reposting a translation of the Latin sequence for All Souls that I made a few years ago. Typically attributed to the thirteenth-century Franciscan Thomas of Celano and long prescribed as part of the Latin Requiem Mass, the Dies Irae enjoys a special place in Western musical culture thanks to the memorable settings of the Requiem text by composers ranging from Mozart to Verdi to Britten, among many others. For All Souls, I typically avoid any 'classical' setting of the Dies Irae in favor of the traditional Gregorian setting, because sometimes only Gregorian chant will do.

Below you can find the Latin text of the Dies Irae followed by my own English translation. I decided to translate the text myself out of a sense of dissatisfaction with the various translations that I found online, as a spiritual exercise for All Souls' Day - and, finally, to practice my Latin. The translation was made in haste and could certainly be improved - indeed, I have sometimes thought of starting from scratch and doing a new one - and I welcome comments and criticism; my goal was to convey the meaning of the original faithfully without trying to reproduce the poetic meter of the original. So here goes:

Dies irae! Dies illa
Solvet saeclum in favilla:
Teste David cum Sibylla!

Quantus tremor est futurus,
Quando iudex est venturus,
Cuncta stricte discussurus!

Tuba mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.

Mors stupebit, et natura,
Cum resurget creatura,
Iudicanti responsura.

Liber scriptus proferetur,
In quo totum continetur,
Unde mundus iudicetur.

Iudex ergo cum sedebit,
Quidquid latet, apparebit:
Nil inultum remanebit.

Quid sum miser tunc dicturus?
Quem patronum rogaturus,
Cum vix iustus sit securus?

Rex tremendae maiestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.

Recordare, Iesu pie,
Quod sum causa tuae viae:
Ne me perdas illa die.

Quaerens me, sedisti lassus:
Redemisti Crucem passus:
Tantus labor non sit cassus.

Iuste iudex ultionis,
Donum fac remissionis
Ante diem rationis.

Ingemisco, tamquam reus:
Culpa rubet vultus meus:
Supplicanti parce, Deus.

Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.

Preces meae non sunt dignae:
Sed tu bonus fac benigne,
Ne perenni cremer igne.

Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.

Confutatis maledictis,
Flammis acribus addictis:
Voca me cum benedictis.

Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.

Lacrimosa dies illa,
qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus:

Pie Iesu Domine,
dona eis requiem. Amen.


O day of wrath, that day
when the earth will be reduced to ashes,
as David and the Sibyl both testify!

What great fear there will be,
when the judge comes
to judge all things strictly.

A trumpet casts a wondrous sound
into the realm of the tombs,
calling all [to come] before the throne.

Death and nature will both marvel
as the [human] creature rises
to answer its judge.

A book will be brought forth
in which all things are recorded –
all that for which the world will be judged.

When, therefore, the judge appears,
all that is hidden will appear,
and no ills will remain unavenged.

As miserable as I am, what am I to say?
whose protection may I invoke,
when even the just lack security?

O most majestic King,
who freely saves those to be saved,
save me, source of mercy!

Remember, merciful Jesus,
that I am the one for whom you came:
may I not be lost on that day!

Seeking me, you sat down tired:
to redeem me, you suffered the Cross –
may your toil not be in vain!

Just and avenging judge,
may you grant remission [of sins]
before the day of reckoning.

Guilty, now I sigh,
my face red with shame:
save thy petitioner, o God!

Having absolved Mary [Magdalene],
and heard the plea of the thief,
may you give me hope as well.

Though my prayers are not worthy,
be kind to me, o Good One,
that I may be spared the eternal fire!

Place me among the sheep,
and separate me from the goats,
setting me at your right hand.

When the wicked are confounded
and given over to bitter flames:
call me among the blessed.

Meek and humble, I pray,
with a heart contrite as ashes:
Help me reach my final end.

How tearful that day will be,
when from the ashes will arise
the guilty man for judgment.
Therefore spare him, O God!

Merciful Lord Jesus,
grant them rest. Amen.

To some modern ears, some of the above lines may seem a bit harsh; the familiarity of the Latin text and the beauty of its poetic form can easily distract us from the admonitory content of the Dies Irae. As stern as these words may be, though, they also remind us that God is merciful - indeed, the very source of mercy - and they call on us to pray: first for our beloved dead and for our own repentance, but also that we may offer to others the same mercy that we seek for ourselves. May all of us who celebrate this Feast of All Souls take these words in the right way, and take them to heart. AMDG.

Thursday, October 31, 2019

"The Exorcist" on Halloween.

For Halloween, here is a repost of something I wrote years ago about The Exorcist, a great Georgetown and Jesuit Halloween tradition. I regret to say that I've fallen out of the habit of re-watching The Exorcist each year since I moved to Paris, but that doesn't keep me from nostalgically remembering a film with a special place in my personal history.

Georgetown has at least two great Halloween traditions. One of these is the "Healy Howl," a midnight gathering of undergraduate students for the purpose of howling at the moon like wolves. When I was on the Hilltop, the Healy Howl took place at the gates of the Jesuit cemetery on campus, an appropriately spooky setting under the circumstances. As an undergrad, I used to wonder what the Jesuit priests, brothers and scholastics buried in Georgetown's cemetery would make of this yearly ritual. I finally came to suspect that, given their centuries of accumulated experience teaching undergraduates, most of the Jesuits buried at Georgetown probably had good senses of humor and would chuckle amusedly at a superficially transgressive but ultimately harmless ritual like the Healy Howl.

Georgetown's second great Halloween tradition is the screening of The Exorcist in Gaston Hall. Scripted by Georgetown alumnus William Peter Blatty and shot on and around the university campus, The Exorcist is the Georgetown movie; Gaston Hall viewings of The Exorcist can take on a sort of Rocky Horror Picture Show quality, with many students applauding whenever the Georgetown campus appears in the film and some coming in costume and offering shouted responses to the film's dialogue. Hoyas viewing The Exorcist would respond to the film as only Hoyas could: for example, a scene in the film in which dialogue between two characters is drowned out by the sound of plane flying overhead was greeted with uproarious laughter by the Gaston Hall audience for the simple reason that Georgetown students could relate to the experience given that their university sat below the flight path for planes taking off and landing at Washington National Airport.

The Exorcist is also a quintessentially Catholic film that takes a sober look at the reality of evil and offers a challenging representation of sacrificial love. The heart of the film's message comes in a quiet scene between Jesuit priests Damien Karras (Jason Miller) and Lankester Merrin (Max von Sydow), who have been called upon to perform an exorcism on twelve-year-old Regan McNeil (Linda Blair). Having wrestled throughout the film with a deepset crisis of faith, Father Karras ponders a profound question and gets a sage answer from Father Merrin:
KARRAS: Why this girl? It makes no sense.

MERRIN: I think the point is to make us despair - to see ourselves as animal and ugly, to reject the possibility that God could love us.
This exchange was cut from the film's 1973 theatricial release by director William Friedkin, who regarded it as "a commercial for the Catholic Church." Restored to the film nearly thirty years later, this brief bit of dialogue gives The Exorcist a crucial context that is missing from most contemporary horror films. The possession of Regan McNeil isn't a random event, but part of a larger battle between good and evil. As Father Merrin observes, the presence of evil in the world tempts us to deny the essential truth about ourselves - that we are human beings with a transcendent destiny, made in the image and likeness of the loving God who desires eternal union with us. The Christian response to despair is to reaffirm our belief in the loving God and to follow the example of self-sacrificing love offered by Jesus Christ. Father Karras does this in a particularly striking (and even shocking) way, giving up his life to save Regan's.

Though I will not watch The Exorcist again this evening, I will reflect again on the struggle between good and evil captured in the film. Though the evils we encounter in the world may tempt us to despair, we must always be mindful of the joy and love offered by the God who is with us even in the darkest hours of night.

Monday, September 30, 2019

The retirement of Archbishop Chaput.

Philadelphia Archbishop Charles Chaput turned 75 last Thursday, reaching the age at which Roman Catholic bishops are required to present their resignation to the pope. Now, in the words of a recent Philadelphia Inquirer headline, "the countdown to Philadelphia's next Catholic archbishop begins", though it's unclear exactly how long the countdown will last; episcopal resignations are not always accepted immediately, and Chaput's two immediate predecessors in Philadelphia remained in office beyond retirement age (Cardinal Justin Rigali left office at age 76, and Cardinal Anthony Bevilacqua did so at age 80).

Regardless of when his successor arrives, the retirement of Archbishop Chaput represents the end of an era. As Archbishop of Denver from 1997 to 2011, Chaput established himself as one of the emblematic figures of the American Church under Popes John Paul II and Benedict XVI. A forthright defender of Catholic doctrine and a frank voice in debates about public policy, Chaput was also a leading American exponent of the New Evangelization called for by John Paul II. Under Chaput's leadership, the Archdiocese of Denver became known as a place where Catholicism was vibrant, where new ecclesial movements were particularly welcome, and where priestly vocations were plentiful. In difficult times for the American Church, challenged from without by an increasingly secular culture and shaken from within by the crisis of clerical sexual abuse, Denver under Chaput appeared as a harbinger of better days to come.

Named Archbishop of Philadelphia in 2011, Chaput found himself in a very different ecclesial environment. Long home to a robust Catholic culture that was institutionally rich and socially influential, Philadelphia was also a diocese where religious practice had been in steady decline for decades and where the sexual abuse crisis had dealt a particularly sharp blow to the local church. Writing here the day after Chaput's installation as Archbishop of Philadelphia, I sounded a hopeful note: the new archbishop was sober and determined in the face of the various challenges facing the Archdiocese, emphasizing the centrality of faith in Christ and fidelity to the Church and exhorting the faithful to be courageous in difficult times. In the months and years that followed, Archbishop Chaput was forced to make hard and often painful decisions, cutting archdiocesan staff and programs in the face of falling revenues and making plans to sell the Archdiocese's iconic seminary in suburban Wynnewood. Despite Archbishop Chaput's enthusiasm for the New Evangelization, he could seemingly do little to reverse an erosion in Mass attendance, baptisms, and Catholic marriages that had begun long before he arrived in Philadelphia.

In another era, Archbishop Chaput might well have become a cardinal; he would have been a worthy choice, given his personal qualities and his status as a leader among the U.S. Catholic bishops. It may be that he simply arrived too late: given changing demographics, Philadelphia, like Detroit or St. Louis, is no longer the cardinatial see that it once was. Some think that Archbishop Chaput was deliberately "passed over," in some sense, intentionally deprived of a red hat, but they miss a more important point: Charles Chaput has always preached Christ in and out of season, choosing fidelity to the deposit of faith over passing trends. Hopefully, it will be for this that he will be most remembered, long after his tenure in Philadelphia comes to an end.

Friday, August 16, 2019

Au petit matin.

J'ouvrirai la bouche pour les paraboles, je publierai ce qui fut caché depuis la fondation du monde (Mt 13, 35).