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When people my age were young–in our late teens and early twenties–and very conscious of being part of a youth culture that was very different from our parents', we sometimes joked about how funny it would be if our children grew up to be middle-class conservatives, perhaps even churchgoers. We envisioned middle-aged hippies pleading with their children
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Sometimes I forget that the group of people who read this blog and the group who see what I put on Facebook overlap but are not identical. I posted this on Facebook one day last week, so some of you have seen it. Here it is for those who have not. I was sitting in
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Update: and by the way this is an interesting note too.
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This one really should have been a hit.
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Seems I should get tired of these–but they're just so very well done, especially the acting. As we were discussing in the comments on some other post recently, most of the characters are truly believable as real people, and this is partly because they aren't Hollywood-beautiful. Frequently the women in American productions who are playing supposedly
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It's hard to figure out how to start this post because I am writing about a movie that is bad in so many ways. Most of the characters are very stiff. The leading man is an Englishman playing the part of Japanese and the leading woman is an American playing the part of a Russian
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At First Things. "The doors of our churches remain open."
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If it wasn't for supernatural hope, I wouldn't have no hope at all.
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Louder than last week's:
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From James Piereson's review of The Fractured Republic by Yuval Levin, in the June issue The New Criterion: Mr. Levin views the post-war era—roughly the period running from 1945 to the year 2000—as following a coherent trajectory that has left us in a situation in which it is impossible to put into place the grand designs of
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Light On Dark Water 