Saturday, March 26, 2016

Saturday Good Reads

Another terrorist attack, this time in Brussels, where police and security authorities were still investigating the attacks in Paris. At some point, the American government is going to have to acknowledge there is a serious problem with radical Islam and figure out how to begin to deal with it.

Interesting photos this week – an archive of the history of Israel, what the inside of a World War I German U-boat looked like, a cyclist’s view of Queensland, Australia, near Brisbane, and a plant known as “Mother-in-law’s tongue” that could pass for artwork.

Good British stuff, too – the plans for rebuilding London after the great fire of 1666, all of which, including Christopher Wren’s, were ignored; a feature on the man who saved Hadrian’s Wall; and how a production of Hamlet by the Globe Theatre in London is completing a worldwide tour.

And good stuff on writing, poetry, faith, and what an obituary writer in Alaska learned about life.


Enough Notes for a Stanza – Luke Kennard at Waterlines/The Poetry Society.

John Ditsky – D.S. Martin at Kingdom Poets.

At the Greek-Macedonian Border – Maureen Doallas at Writing Without Paper.

Life and Culture

The Christians, the Soviets, and the Bible – Phil Christman at Christianity Today.


Not Afraid of the Dark – Gay Fearon at Southern Writers Magazine.

Art and Photography

Mother-in-Law’s Tongue – Tim Good at Pics, Poems, and Ponderings.

Israel’s History in Photographs – Lenny Ben David.

British Stuff

The London that could have been – Jonathan Glancey at BBC.

Shakespeare’s Globe is Winding Up a World Tour of “Hamlet” – Christopher Shea at The New York Times.


Three reflections on political correctness and cultural conversation – Steven Harris at the Ethics & Religious Liberty Commission.

Last Man Standing – Megan Willome.

Wrestling with the Troubling Transactions of Holy Week - Greg Ayers at Faith, Work, & Economics.

Christ is Risen – Praise & Harmony Singers

Painting: Man seated reading at a table in a lofty room, oil on canvas by a follower of Rembrandt, ca. 1630; National Gallery, London.

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