Friday 31 December 2021

 

Let what you say be simply ‘Yes’ or ‘No’; anything more than this comes from the Evil One” (Matthew 5:37). These words came to mind when I read Pope Francis’s recent handwritten letter to Fr. James Martin, S.J. The occasion for the letter was “Outreach 2021:  LGBTQ Catholic Ministry Webinar,” a virtual conference sponsored by Fordham University. The pope praised his brother Jesuit’s “pastoral zeal” and his “style” of “closeness, compassion, and tenderness.” And he prayed that Fr. Martin’s “flock,” presumably within the LGBTQ community, might “grow in the love of Our Lord Jesus Christ.” 

The letter itself is unobjectionable in several ways. It can be read as one pastor encouraging another in a challenging, much-needed ministry. The pope has frequently spoken of these themes to all kinds of audiences; for instance, his Angelus address delivered on February 14 used the same “closeness, compassion, tenderness” exhortation. 

The problem isn’t so much what the pope said, though, as what he didn’t say. The central occasion for his letter was an LGBTQ ministry conference, some of whose speakers have publicly dissented from Church teaching. One of the speakers was Sr. Jeannine Gramick. In 1999, the Congregation for the Doctrine of the Faith prohibited her from engaging in pastoral work with homosexual persons on account of her rejection of key aspects of Catholic sexual teaching. The pope's letter itself is careful to emphasize the “pastoral,” and doesn't touch on the doctrinal, but that doctrinal silence is the problem—both with the letter and with Fr. Martin’s ministry. 

One might respond that neither the pope nor Fr. Martin has denied any Church teaching. Progressive Catholics, in fact, regularly criticize the pope for what they consider to be his retrograde comments on gender complementarity and his denunciations of “gender ideology.” However, although Fr. Martin’s writings and talks continually and rightly emphasize the Catechism’s teaching that those with same-sex attractions “must be accepted with respect, compassion, and sensitivity” (No. 2358), he rarely if ever mentions its teaching on the immorality of homosexual acts (No. 2357) or on ministries that help LGBT believers to live chastely according to Church teaching (No. 2359). His ministry conveys the implicit but unmistakable sense that acceptance of LGBT believers involves acceptance of their sexual activity and relationships.

For the pope to speak solely of openness and compassion in such contexts almost inevitably will be perceived—rightly or wrongly—as a tacit approval of those seeking to change Church doctrine. And, when coupled with the September 2019 private audience that he granted to Fr. Martin, such approval might well seem to be more than tacit. This is a problem, to put it mildly.

What is the pope’s “job,” so to speak? Vatican II, following Vatican I, teaches that he is the “permanent and visible source and foundation of unity of faith and communion” (Lumen gentium, No. 18). It is Peter’s profession of Jesus as the “Christ, the son of the living God” that spurs the Lord to make him the rock of the Church. The pope is charged above all with keeping the Church united in faith.  

The papal ministry, moreover, is literally conservative. Vatican I, often regarded as ultramontanist by many of its supporters and detractors alike, sharply circumscribes papal teaching authority: “For the Holy Spirit was promised to the successors of Peter not so that they might, by his revelation, make known some new doctrine, but that, by his assistance, they might religiously guard and faithfully expound the revelation or deposit of faith transmitted by the apostles.” The pope, accordingly, is not an absolute monarch who can do as he pleases or a Mormon president who can receive new revelation that may even reverse previous teaching; he is strictly bound by obedience to the apostolic faith that he has received.

But isn’t such a conception of the papacy stifling and negative, dooming the Church to stasis? Didn’t Pope St. John XXIII memorably say, in his opening address at Vatican II, that “at the present time, the spouse of Christ prefers to use the medicine of mercy rather than the weapons of severity”? And didn’t Vatican II adopt a rhetorical style—there’s that word again—of consensus, invitation, and encouragement? Didn’t it eschew, quite unlike preceding ecumenical councils, anathemas and condemnations?

Pope John was right to say that the Church “meets today's needs by explaining the validity of her doctrine more fully rather than by condemning.” More questionable is his claim that “new-born errors often vanish as quickly as a mist dispelled by the sun....Not that there are no false doctrines, opinions, or dangers to be avoided and dispersed; but all these things so openly conflict with the right norms of honesty and have borne such lethal fruits that today people by themselves seem to begin to condemn them.” 

The history of recent centuries shows, though, that errors often don’t simply “vanish.” They can be persistent and destructive. They must sometimes be unearthed, resisted, and countered. The LGBT movement is triumphant among Western cultural, economic, educational, media, and political elites. We are losing our sense of what it means to be human, to be created as male and female. It is likewise dangerous to envision God as, in Fr. Donald Haggerty’s words, “an avuncular figure instead of a true father, winking a blind eye at the misfortune of grave transgressions.” 

Part of teaching and leading thus involves saying “no.” Wisdom is needed to know when to say that “no,” but it must be said at some point. Perhaps the pope is trying to thread with pastoral sensitivity the needle of doctrinal orthodoxy. He seems willing to “make a mess” in the meantime (see his comments at the 2013 World Youth Day), confident in the outcome. The recent history of the Anglican Communion and other mainline Protestant bodies suggests otherwise. There is no via media between those who hold that same-sex sexual activity can be sacramental and those who regard it as sinful.

It is more likely that the pope’s silence and ambiguity—here as elsewhere—will exacerbate those same tensions within Catholicism, create false expectations of change, and contribute to an erosion of ecclesial communion. 

Perhaps it is significant that this latest controversy occurs so near the feasts of St. Irenaeus and of Sts. Peter and Paul. In the Missal of Paul VI, the “Prayer over the Offerings” for the memorial of Irenaeus asks, “instill in us a love of the truth, so that we may keep the Church’s faith inviolate and her unity secure.” Truth grounds unity. The Collect for Sts. Peter and Paul asks, “grant, we pray, that your Church may in all things follow the teaching of those through whom she received the beginnings of right religion.” The Church is bound—and liberated—by her apostolic faith. 

That faith must continue to be “religiously guarded and faithfully expounded,” if the flock is—as the pope writes to Fr. Martin—to “grow in the love of Our Lord Jesus Christ.” What else is the papacy for?

Christopher Ruddy is a professor of systematic theology at The Catholic University of America in Washington, D.C.

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GENE

Thursday 30 December 2021

 

AT THE GOING DOWN OF THE SUN AND IN THE MORNING WE SHALL REMEMBER THEM...

Myrtle Thornbury R.I.P.  victim of The Clique

 

EXCELLENT DEBATE BETWEEN RICHARD DAWKINS AND CARDINAL PELL...


Debate entre el biólogo Richard Dawkins y el cardenal George Pell - YouTube

 

There are holy days of sobering solemnity when one is meant to reflect on the sadness of life, the weakness of human nature, the vast distance between who you are and who you ought to be: Ash Wednesday, Good Friday, and Yom Kippur are such spiritually demanding occasions. But Christmas is supposed to be different. It is the consummate feast of joy, when grim thoughts are to be banished. On Easter the Passion of Christ is still close, while on Christmas one tends not to look too far past the glorious birth. Some Renaissance masters who painted the infant Jesus with his mother did foreshadow the inevitable torment and death, including a troubled look on the baby’s face or a menacing black cloud in the background. But those times are long past. We now observe this holiday according to Dickensian decree—golden family happiness, especially the adults’ delight in the children’s delight, occupies the center of the celebration.

Kindness, generosity, warm-heartedness, gusto in eating and drinking, gratitude for the pleasures of this earthly life: These are the indispensable Christmas virtues that Charles Dickens has helped make central to the season and that one needn’t be a Christian to practice. These are the virtues that Ebenezer Scrooge, through his dark Christmas night of the soul, learns to exercise every day of his remaining life. The terrifying ordeal that he endures in A Christmas Carol (1842) ends with the nasty old skinflint’s moral transfiguration—his entry into the festive and blessed company of those who know “how to keep Christmas well.” A Christmas Carol has influenced how we view and celebrate Christmas in modern times. But does Dickens know how to keep Christmas well?

The best-known Christmas story apart from the Gospel According to Luke opens not with a glorious birth but with the confirmation of a death that took place seven years before: “Marley was dead: to begin with. There is no doubt whatever about that. . . . Old Marley was as dead as a door-nail.” The business partners Scrooge and Marley were two of a kind, and Marley’s death affected Scrooge not in the least. Three paragraphs in, the reader weighs two men’s lives in the balance and finds them not only wanting but downright weightless. Dickens cannot contain his righteous and amusing contempt for these creatures of his, as he lays out the contents of the reprobate’s miserable soul: “Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, clutching, covetous old sinner!”  

So Scrooge’s Christmas will require of him a comprehensive moral inventory, in which he takes stock of how his entire existence has been spent, or misspent. The miser before his revelation sees the holiday season as a time of reckoning for everyone but himself, and he bases his moral calculations strictly on cash value. Christmas cheer violates Scrooge’s code of conduct. 

During his dark Christmas night of the soul, visits from three spirits compel Scrooge to alter his understanding of why he has been placed on earth. The Ghost of Christmas Past confronts Scrooge with having valued money over romantic love—the reason for his consequent unrelieved loneliness. The Ghost of Christmas Present, a hearty roisterer, is formidable and frightening nevertheless, and Scrooge quails before him. Plenty, prosperity, and physical comfort naturally go with this Ghost’s extravagant warmth; but not everyone is so fortunate, and decency obliges you to share your good fortune with the poor, such as Scrooge’s underpaid underling, Bob Cratchit, or the slum children Ignorance and Want, the terrible products of the Gospel of Mammonism that Scrooge had embraced. 

The Ghost of Christmas Yet to Come forces Scrooge to face his worst fear: dying alone, unloved, unmourned, remembered as a paragon of selfishness who was nobody’s friend, and condemned in death to walk the world in the chains he forged for himself while alive. Scrooge learns the hardest lesson there is for a proud man who thinks himself an exemplary success: that he has been mistaken in everything he believes, and that he has been living the wrong life. This is the very lesson Tolstoy’s Ivan Ilyich learns, only to die upon learning it; Dickens lets the reformed Scrooge savor to the full the new life he has been granted. To live every day of the rest of his life radiant with the Christmas spirit is Scrooge’s great good fortune. 

Dickens has written the most seductively merry of Christmas fables. Yet the sort of Christmas that Dickens has decreed is often disheartening to realize. One can love rereading A Christmas Carol yet take unkindly to the seasonal enforcement of unrelenting cheerfulness.  

Dickens does not encourage speculation about his characters’ future lives, but one might wonder what Marley’s continued purgatorial suffering will come to mean for Scrooge, who got off easy for comparable sins. Exultation such as the newly reborn Scrooge’s is impossible to maintain; there is really no permanent place for it in ordinary life. It comes and goes as it chooses. Pain, on the other hand, is always ready to announce itself and to settle in for the long haul. The mother of my oldest and dearest friend used to remain at home by herself on Christmas Eve when the rest of the family went to church. Her father and brother had been killed by the Japanese in the Second World War, and she chose this sacred occasion to mourn them privately while the rest of the world celebrated. There are many who mourn even as they celebrate, or attempt to.

Though we love A Christmas Carol, “keeping Christmas well” entails rather more than Dickensian high spirits and well wishing to all comers. In the premonition of great sorrow on the Christ child’s face in an Old Master’s painting, one sees more deeply into the meaning of this holy day than one can in Scrooge’s overnight transformation.

Algis Valiunas is a fellow of the Ethics and Public Policy Center and a contributing editor of the New Atlantis.

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To Delia, Sebastian and Detters

from 

GENE

Wednesday 29 December 2021

 

Sabine Weiss: Legend of street photography dies at 97

Published

Pioneering photographer Sabine Weiss, who was the last surviving member of France's celebrated humanist school, has died aged 97 at her home in Paris.

Although she had stopped taking pictures, Weiss was actively involved in her archive until her death. Born in Switzerland, she learned her art in Geneva, moving to Paris after World War Two. She became renowned particularly for her images on the streets of Paris, and for 70 years remained at the heart of French photography.

Man lighting a cigarette, Paris 1950IMAGE SOURCE,SABINE WEISS
Image caption,
Sabine Weiss opened a Paris studio in 1950. Man lighting a cigarette, Paris 1950, was from that period, four years after she arrived in the French capital.
Children shackled on a barge in Paris, 1953IMAGE SOURCE,SABINE WEISS
Image caption,
She immortalised day-to-day life in Paris and much of her work featured the lives of children. This image from 1953 depicts children chained to a barge.
Self-portrait 1953IMAGE SOURCE,SABINE WEISS
Image caption,
Weiss began taking pictures when she was 18. This self-portrait is from 1953. Weiss said last year she went to morgues and factories for her pictures, photographing the rich and covering the fashion world. Everything else she did for herself spontaneously, she said.
Porte de Vanves, Paris 1952IMAGE SOURCE,SABINE WEISS
Image caption,
In 1952, she met the photographers Robert Doisneau and Edward Steichen and joined their Rapho photo agency. This picture is from Porte de Vanves in Paris.
Man running (Hugh) 1953IMAGE SOURCE,SABINE WEISS
Image caption,
Man running is one of Sabine Weiss's most iconic works and actually features her husband Hugh. Weiss told him to start running "but not too far".
In this picture, Weiss captured artist and sculptor Alberto Giacometti drawing his wife Annette in 1954IMAGE SOURCE,SABINE WEISS
Image caption,
In this picture, Weiss captured artist and sculptor Alberto Giacometti as he drew his wife Annette in 1954
Modern fishing village of Olhao in Portugal in 1954IMAGE SOURCE,SABINE WEISS
Image caption,
She began to travel widely around Europe, the Middle East and the US. On this trip to Portugal she took this image in the modern fishing village of Olhao.
Exit from the Metro 1955IMAGE SOURCE,SABINE WEISS
Image caption,
She would tour Paris by night with her painter husband Hugh Weiss, taking street scenes - and here an exit from the Metro in 1955.
Paris 31 December 1956IMAGE SOURCE,SABINE WEISS
Image caption,
Weiss said once that her aim was to capture "snotty-nosed kids... beggars... and the little piss-takers".
Children in New York in 1955IMAGE SOURCE,SABINE WEISS
Image caption,
During the 1950s and early 1960s she worked widely for international publications. Among her clients were Newsweek, Time, Life, Esquire and Paris Match. She captured this image in New York in 1955.
Brigitte Bardot featured in one of Weiss's portraits, here trying on a Vichy skirt in 1959IMAGE SOURCE,SABINE WEISS
Image caption,
Brigitte Bardot featured in one of Weiss's portraits for the Rapho agency, here trying on a Vichy skirt in 1959. Weiss was also well known for her portraits of Benjamin Britten, Igor Stravinsky and cellist Pablo Casals.
Berlin, 1962 for VogueIMAGE SOURCE,SABINE WEISS
Image caption,
Robert Doisneau brought her on to the books at Vogue magazine where she worked for nine years. This picture was taken in Berlin in 1962.
Swiss-French photographer Sabine Weiss poses in front of her pictures on July 16, 2020 in Vannes as she visits a retrospective exhibition of her workIMAGE SOURCE,LOIC VENANCE/AFP
Image caption,
Pictured here in 2020, Sabine Weiss was awarded the Women In Motion prize in honour of a lifetime of work. She donated her archive in 2017 to the Elysée museum in Lausanne in Switzerland.

Sabine Weiss's pictures are all reproduced by kind permission of her family and long-time assistant Laure Augustins.