Julie and Scott are having no luck fishing. If only they could hear that guy on the shore who is yelling something that seems important...
Episode 333: St. Peter: Flawed, Forgiven, and Faithful: Walking with Peter from Galilee to Rome
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Julie tries to high-five a flippered Delfein. Scott reads St. Zenobius' instructions to the atheist doctor on the spaceship.
Episode 271: "The Star" by Arthur C. Clarke and "Joyful and Triumphant: St. Zenobius and the Aliens" by Jo Walton.
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John Paul II shakes his staff and shouts, "A Good Story is Hard to Find!" Scott and Julie cheer. Everyone else looks confused.
Episode 265: John Paul the Great: Remembering a Spiritual Father by Peggy Noonan.
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We've added a couple of pages to this blog that we'll add to over time!
Our Favorite Books.
Our Favorite Movies.
If you'd like, leave a comment with your suggestions!
Over Christmas 2013, a veteran Latin American cardinal who has known Bergoglio for decades made an appointment to see his old friend in the Santa Marta, the hotel on Vatican grounds where the pope has chosen to reside. (He lives in Room 201, a slightly larger room than the one he stayed in during the conclave that elected him, giving the pontiff enough space to receive guests comfortably).
The cardinal, who didn’t wish to be named, said he looked at Francis and, referring to the exuberance and spontaneity that are now hallmarks of his public image, said to him point-blank: "You are not the same man I knew in Buenos Aires. What’s happened to you?"
According to the cardinal, this was Francis’ answer: “On the night of my election, I had an experience of the closeness of God that gave me a great sense of interior freedom and peace," the cardinal quoted the pope as saying, "and that sense has never left me.”
In the door there was an oval glass plate, with COFFEE-ROOM painted on it, addressed towards the street. If I ever find myself in a very different kind of coffee-room now, but where there is such an inscription on glass, and read it backward on the wrong side MOOR-EEFFOC (as I often used to do then, in a dismal reverie,) a shock goes through my blood.G.K. Chesterton in his book Charles Dickens:
Herein is the whole secret of that eerie realism with which Dickens could always vitalize some dark or dull corner of London. There are details in the Dickens descriptions - a window, or a railing, or the keyhole of a door - which he endows with demoniac life. The things seem more actual than things really are. Indeed, that degree of realism does not exist in reality: it is the unbearable realism of a dream. And this kind of realism can only be gained by walking dreamily in a place; it cannot be gained by walking observantly. Dickens himself has given a perfect instance of how these nightmare minutiae grew upon him in his trance of abstraction. He mentions among the coffee-shops into which he crept in those wretched days one in St. Martin's Lane, "of which I only recollect that it stood near the church, and that in the door there was an oval glass plate with 'COFFEE ROOM' painted on it, addressed towards the street. If I ever find myself in a very different kind of coffee-room now, but where there is such an inscription on glass, and read it backwards on the wrong side, MOOR EEFFOC (as I often used to do then in a dismal reverie), a shock goes through my blood." That wild word, "Moor Eeffoc," is the motto of all effective realism; it is the masterpiece of the good realistic principle - the principle that the most fantastic thing of all is often the precise fact. And that elvish kind of realism Dickens adopted everywhere. His world was alive with inanimate objects.And, finally, not C.S. Lewis but J.R.R. Tolkien in On Fairy Stories:
The word Mooreeffoc may cause you to realise that England is an utterly alien land, lost either in some remote past age glimpsed by history, or in some strange dim future reached only by a time-machine; to see the amazing oddity and interest of its inhabitants and their customs and feeding-habits.
