The description
of America as a “city on a hill” has been around for a long time, or has it?
Justin Taylor at The Gospel Coalition has the history of the phrase.
Aaron Earls at
The Wardrobe Door argues that Christians must embrace the role of villain in
the years to come, while Tim Challies describes a “model of determination.”
Some previously
unreleased recordings of Robert Frost reciting his poems, an essay on the
paintings of Rembrandt by Russ Ramsey at The Rabbit Room, wonderful
photography, a fact check on Macbeth, and more.
By the way, the video
of Robert Frost reading “Stopping by Woods on a Snowy Evening” is not part of the previously unreleased
recordings – it’s actually a coincidence that I scheduled it for the same week
that the Penn story on Frost came out.
Life and Culture
An FAQ on America as a “City on a Hill” – Justin Taylor at The Gospel Coalition.
Getting Ready to Cycle the Glasshouse
Mountains – Neil Ennis.
Why
Readers See The Times as Liberal –
Liz Spayd, New York Times.
Poetry
Tradition – James E. Allman Jr. at Curator
Magazine.
A Word the Romans Used – Ned Balbo at First Things Magazine.
Give Me Poetry or Give Me Death – Jerry Barrett at Gerald the Writer.
Previously Unreleased Recordings of
Robert Frost Reading His Poetry
– University of Pennsylvania (the recordings themselves are here).
Faith
A Model of Determination – Tim Challies at Informing the
Reforming.
Christians Must Embrace the Role of
Villains – Aaron Earls
at The Wardrobe Door.
10 Things You Should Know about Thomas
Aquinas – Sam Storms at
Enjoying Faith.
Art and Photography
Democratic Spaces – Kate Medley at Oxford American.
Summer Wildflowers – Tim Good at Pics, Poems, and
Ponderings.
Echo Water – Jack Baumgartner at The School of the
Transfer of Energy.
Art Stories: Connecting Mastery and Joy – Russ Ramsey at The Rabbit Room.
British Stuff
The Scottish Play and the Real Macbeth – Julian Harrison at the British
Library.
Robert Frost reads “Stopping by Woods on
a Snowy Evening”
Painting: The Artist’s Sister at a Window (1869), oil on canvas by Berthe Morisot;
National Gallery of Art, Washington, D.C.
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