Relics of Padre Pio, including his glove and robe, a lock of his hair, a sweat-soaked handkerchief from his deathbed, some blood-stained cotton gauze, and scabs from his stigmata will be visiting several churches in North America for veneration by the faithful.
In 2016, the beloved saint’s heart came to Immaculate Conception Church in Lowell, MA, and my husband Damien, who is a newspaper reporter, went to see and venerate it. I asked him a few questions about his experience (originally published in 2016).
What made you want to go and see Padre Pio’s heart?
I really didn’t know that much about Padre Pio, other than the stigmata and “Pray, Hope, and Don’t Worry.” I found out about his heart coming to the area just a couple of days before. The relic’s first stop was in Lowell, Massachusetts, which is a 10-minute drive from the paper’s offices. I figured I could get something pretty interesting out of a saint’s heart, and I would get a chance to go see a relic as part of my job. Maybe not entirely noble, but I’m busy.
I like relics, and I like that Catholics have this weird and intense spirituality that includes things like hearts, and fingers, and bits of the True Cross, and incorruptible saints. It’s hard to describe to outsiders, and it is as strange as anything, but it somehow feels right.
What was the scene like in the church? What was the mood like among the people there?
The line to get in went outside the church. I was later told more than 3,000 people went to this church to see Padre Pio’s heart. There were a lot of people from different religious orders, and a few oddballs, but I was kind of taken aback by how many normal looking people were there. Lots of senior citizens and moms with kids, lots of guys in suits, stopping by on their lunch break. It was a big mix of people. The folks in line with me were really excited to be there.
Inside the church, the priests were leading a rosary in French, and Spanish, and English. Lowell is a big, old New England mill town, with a ton of French Canadian immigrants from decades ago, and a new influx of Latino immigrants. It’s a very Catholic city. But it wasn’t just Lowell people there. There were people from all over New England making the pilgrimage.
What did the actual relic look like? How were people venerating it?
A stern-looking Capuchin held the reliquary that contained the heart, and people would get a chance to touch it. One by one, they would genuflect and either touch the reliquary, or kiss it. Some people brought prayer cards to touch to the reliquary.
It’s hard to describe, because it was hard to look at. It was red, and in two connected parts. There seemed to be some white bone underneath it. I say it is hard to look at, because I was overcome with a sense of too-muchness. It was too much to see. Not in a gross way, but in a personal way; here was Padre Pio, showing something deeply personal about himself to me.
It wasn’t until I got outside that I realized I was overcome with emotion. I was happy to nearly the point of tears. I felt like something heavy and difficult had been taken away, but I don’t even know what.
Do you feel any differently about Padre Pio now than you did before?
I’ve been reading about him since yesterday, and I am trying to take the experience I had by touching the reliquary that held his heart, and bring it to what I can learn about him.
You converted to Catholicism in 2005. What led up to that?
James Janknegt: When I was a teenager back in the 70s, there was a nationwide charismatic movement. I was Presbyterian at the time. There was a transdenominational coffee house at University of Texas, with the typical youth band playing Jesus songs. There was a frat house we had taken over. We had 20 people sleeping on the floor; it was crazy. A super intense time.
What kind of art education did you have?
I went to public high school, and they didn’t teach much about art history. I would look at books at book stores, and that was my exposure to art. We had a rinky-dink art museum at University of Texas, not much to speak of. After I had this deepening of my faith as a teenager, and really wanted to follow Jesus 100 percent, I was really questioning whether it was legit to become an artist. I didn’t know any artist who were Christians, or Christians who were artists.
Thumbing through the bookstore, I found Salvador Dali. The book was cracked open at “Christ of St. John of the Cross.”
That still, small voice that’s not audible, but you know it’s authentically God speaking to you — it felt affirmed. Yes, go forward to be an artist and be a Christian. Those are not incompatible.
Your pieces move from dark and lonely to radiant after your remarriage and conversion to Catholicism — that shift that you define as going from “diagnostic to celebratory.” But even in the “celebratory” stage, there is drama, even agony, along with ecstasy in your pieces.
When I was involved in that youth group, they were very super-spiritual, filled with the Holy Spirit, thinking, “Now we can do everything!”
But we never looked internally to see if there are psychological problems alongside your spiritual life. My dad was bipolar and manic depressive, in and out of mental institutions and jail. I met a woman at that Jesus freak outfit, and we got married. I carried a lot of baggage into my first marriage, that I hadn’t dealt with at all. I went to grad school and my marriage fell apart.
Getting divorced ripped the lid off. All this stuff I had repressed was all bubbling up and coming to the fore. Questioning not my faith, but my ability to be faithful. Can I hear Him and be obedient to Him and do His will? It was a very dark time.
When we look at your paintings chronologically, it very obviously mirrors different stages in your life. Is it strange to have your whole life on display?
You take that on when you become an artist. It’s very self-revelatory. It’s part of the deal, if you’re gonna be an artist, to be as honest as you can. I think that’s the downfall of a lot of bad religious art: It’s not technically bad, but it’s just not honest. We live in a fallen world. Bad things happen.
That’s part of life, and that has to be in your painting. You can’t paint sanitized, Sunday school art.
But you do seem to create art that has very specific meanings in mind. Do you worry about limiting what the viewer can get out of a piece?
There’s a painting I did of Easter morning zinnias. They look like firecrackers; Jonah’s on the vase; in the corner, there’s an airplane.
I just needed something in the corner to make your eye move into that corner! People were trying to figure out what it meant, but sometimes an airplane is just an airplane.
To me, the role of art is to make something beautiful. Very simple, that’s the prime directive: Make something beautiful.
It doesn’t have to be figurative or narrative or decorative. But my feeling is: The history of our salvation, starting with Genesis to Revelation, is indeed the greatest story ever told. What’s better? As an artist, why wouldn’t I want to tell that?
How does the secular world respond to your works? They are full of parables and Bible stories, but also unfamiliar imagery.
A painting is different from a sentence or a paragraph. Paintings deal with visual symbols. I’m trying to take something that was conceptualized 2,000 years ago in a different culture, keeping the content, in a different context.
It’s almost like translating a language, but with visual symbols.
I have a definite idea of what I’m trying to get across. But you [the viewer] bring with yourself a completely different set of assumptions and experiences, and I have no control over that. I don’t want to.
When I look at a painting, it’s a conversation. I’m talking into the painting, and the painting is talking to you.
Part of the problem today is that we do not have the same visual symbolic language. In the Renaissance or the Middle Ages, the culture was homogeneous, and symbols were used for hundreds and hundreds of years. If I put a pelican pecking its breast, no one [today] knows what that means. We’ve lost the language. So it’s challenging.
Are you inventing your own modern symbolic language? I see birds, dogs…
You kind of have to. It’s a balancing act. In art school, they say, “Just express yourself! You’re painting for yourself; it doesn’t matter what everyone else gets out of it.” I’m not doing that. I’m trying to communicate with people.
Tell me about the state of religious art right now.
People complain about how there’s no good religious art. But there’s a lot of good art out there; you just have to search for it. I feel like I’m hidden away, in this weird place between two cultures, but they are out there.
In our time, people who collect art aren’t religious, and people who are religious don’t collect art. And for an artist, in the Venn diagram, you’re in the place where it says “no money.”
If you could just find an artist you really like and ask them if you could buy a piece for your home shrine.
If every Catholic could buy a piece of art from a living artist, think how that would impact your life, and the life of the artist. You could give them a living.
Your farm is called “Brilliant Corners Art Farm.” Is that name a reference to Thelonious Monk?
It is! But it also has a hidden spiritual meaning. Honesty is the light. If you’ve got brilliant corners, then the whole room is lit up.
You can find more of James Janknegt’s art and purchase his Lenten Meditations book of 40 paintings based on the parables of Jesus Lenten Meditations at bcartfarm.com.
I’ve been interviewing pastors around the state for Parable, the magazine of the Diocese of Manchester, for a series called “Have You Ever Thought of Being a Priest?” This article was originally published in Parable. It is reprinted here in extended form.
Fr. Alan Tremblay grew up in the small, heavily French Canadian town of Biddeford, ME, the third of four children. His family was Catholic, but no one ever talked to him about becoming a priest, and so he never even considered it until he was 19 or 20 years old. Now at 41, six years after his ordination, he’s the pastor of the Parish of the Holy Spirit and Mary, Queen of Peace, which includes churches in Keene, Troy, Winchester, and Hinsdale.
In his rare free time, Fr. Alan likes to take in a baseball game, or, true to his rural upbringing, he will occasionally go hiking, kayaking or skiing. He recently travelled to Northern Quebec to go fly fishing for brook trout with his father and nephew, and he loves to have dinner or a cookout with family or friends. I asked him:
What would be your ideal meal?
I love lamb and lobster. Lamb is definitely a favorite when it’s done well. I cook. I do Blue Apron. I just finished cooking and eating chicken tandoori with cucumber yogurt, with potatoes with poblano peppers.
Who was your hero, when you were growing up?
John Paul II and Mother Teresa were huge in my life when they were alive. I had comic books of both of them. I miss them. I look back with fondness and wish they were still around.
What attracted you to them?
It was their visibility. You could see them, hear them, watch them, get a sense of their holiness. That’s why I fell in love with them. It’s not more deep than that.
When did you first hear the call to become a priest? How did you get from there to here?
I was 19 or 20, and had never thought about it before then. I moved out of my parents’ house when I was 18. I struggled through high school, not academically but motivationally. I didn’t want to be there. I was kind of shy, and wanted to get out. College was not something hot on my list right after high school.
I moved in with my best friend, and that lifestyle was leaving me not just unsatisfied, but kind of unhappy. I never questioned the Church, but I was not as faithful as I wanted to be. This contributed to depression and unhappiness and unease with my place in life.
I was watching Mother Angelica one night, and she was talking about how I was feeling. She said, “It sound like you have to go to confession!” So I made an appointment with the parish priest. He was talking about the Life In the Spirit seminar. I had never heard of it. It was charismatic, which took some getting used to. But I was open to it. I went through the seminar, and by the end I kept hearing this question in my mind and heart: “Do you think you’re supposed to be a priest?”
It wasn’t earth-shattering; it was just a question, like Elijah and the whisper. I put it away for a while. I went to college, was in a relationship for a while. I started working, and found myself working at Catholic Medical Center [in Manchester, NH]. By then it was seven years later, and the question was still there.
I was loving my faith and practicing, wanting to serve God. The question was stronger than ever, and I couldn’t ignore it anymore. I applied in April, went to seminary in August. Doors flew open once I turned and looked at it seriously.
How did people respond when you told them you were entering the seminary?
It’s a funny story: I hid it from my coworkers. I was relatively new there, and it would have meant leaving. I went through months without knowing if was accepted [to the seminary] yet. Everyone thought I was looking for a new job or had an illness, because I kept missing work to do interviews.
Then there was a computer glitch to print out my bio for the diocese, and I came back to work, and it had printed while I was away. My coworkers read it and found out. They were floored. It was foreign to them, but they were supportive.
How about your family?
My mother’s old school French Canadian. She would never have asked that of God. She couldn’t imagine something like that happening. It was overwhelming in a good way.
Did anyone respond negatively?
Only a couple of people, both Catholic, both dissenters. One was a woman I worked with who had a crush on me. She said, “What a waste.” That made me angry. The other one was an older woman who had a chip on her shoulder. She said, “Why would you want to do that?” This was post-2005.
What was the most challenging thing you faced as a priest?
Probably something that isn’t unique to the priesthood: Self doubt and insecurity. Am I up to the task? What will people think? These are temptations you have to face. There’s strength and grace that comes through walking through that. Each time, it’s like the cross, and then there’s a resurrection, life after death. It gives me strength to pray through those interior places, when I have to look to God for help.
What is the most rewarding? What’s your favorite part of being a priest?
When someone who has been hungry or longed for something for a long time breaks open and you’re there to offer that to them, or walk with them through it. People melting, and finally receiving. It’s always happening in one form or another. You walk through it with lots of people, counsel them, direct them. I’m always walking with someone, always looking for it.
When’s the last time something about the priesthood really surprised you?
Every day. People are predictable and surprising at the same time. About my priesthood: I’m noting, especially within the last couple of years, losing myself in it more and more, and finding myself. It’s so who I am, but there’s still so much to discover. It’s a mystery. The closer we get to Christ, the greater the awareness of that mystery.
What advice do you have for those contemplating the priesthood today?
Talk to people about it. Find someone you trust, and talk about it. Because it seems so strange and foreign, we don’t necessarily see ourselves that way. There’s the obvious answers, like prayer, but I think I went through it alone a lot; and no on in my life, no priest, no family member, no one ever approached me and told me they thought I should do this. It wasn’t until I came forward.
What advice do you have for their family and friends?
It’s about being supportive without expectations. Let the person figure it out on their own, but let them know you’re there with them.
This article was originally published in Parable, the magazine of the Diocese of Manchester. It is reprinted here in extended form.
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Next order of business: I had a wonderful (well, that’s how I remember it) conversation about NFP, Humanae Vitae, chastity, and Jell-o with Joe Heschmeyer of The Catholic Podcast (unfortunately Chloe Langr, the regular co-host, couldn’t be there). You can hear the podcast here, and check out tons of other resources we mentioned in the conversation.
Imagine you’re a college campus minister, and you’re also the mom of two young kids, both with special needs, who each have “specialists up the wazoo.”
Imagine you live out in the country in New Hampshire, with only your chickens and your vegetable gardens for company as you boil sap for maple syrup and research the ins and outs of farming hops. Your husband is in the military, and you’re waiting to hear if you’ve been accepted to a Ph.D program at the University of Aberdeen. And you have your eye on some goats, and maybe beehives.
These are thoughtfully composed knitting kits designed as gifts “for anyone who needs something to keep their hands full while their heart is on the mend.”
Cheshire received a similar gift herself several years ago, after enduring the traumatic birth of her first child in Juneau, Alaska. The newborn was airlifted to another hospital, and Cheshire was too weak to join her for several days. Then followed a time in the NICU that she describes as “brutal, brutal.”
A friend gave her some knitting materials and instructions, with the note: “You need something to keep your hands full until you can hold your baby.”
That idea of full hands remained with her, and now she’s offering it to other people, hoping to share some healing while helping to build connections between people.
People don’t know what to say, so they say nothing
Since Cheshire works with college students, I asked if she thought it was mainly modern people who struggle to come up with appropriate words. She does believe modern people have trouble sharing “deep, authentic communication,” and that pervasive social media can make human interaction superficial; but she’s defensive of millennials. In the past, she said, there was no internet, but people were not necessarily warmer or more connected.
“I know some 65-year-olds who don’t know how to relate,” Cheshire said. “Very often, people don’t know what to say, so they don’t say anything. The tragedy is, that happens when their friend really needs them to say something.”
A beautiful experience
Each element of the Busy Hands Boxes is chosen with care.
“Anyone can go to Michael’s and get cheap yarn,” Cheshire said. “I wanted it to be something that had heart at every level. Something sourced from a company that cares, something aesthetically pleasing, and beautiful to open. I wanted it to be a whole experience, to make you feel good even if you’re not knitting yet.”
The hand-painted knitting needles are made from New England maple and Russian birch.
Like the needles, the wool yarn Cheshire chose is locally sourced from Peace Fleece, a New England fiber company that “works to support pastoral communities that have been historically in conflict with the U.S.”
They are currently blending domestic wool and mohair with Navajo Rambouillet, which has been purchased at fair market prices from families living on the reservation.
Then there’s the slightly cheeky “empathy cards” from Emily McDowell , which bear messages like “I promise never to refer to your illness as a ‘journey’ unless someone takes you on a cruise” and “Please let me be the first to punch the next person who tells you everything happens for a reason.” One Full Hands box includes a foil card featuring a medal that simply reads, “KEPT GOING.”
Value in particularity
For Cheshire, a natural introvert who spends much of her day in pastoral work, knitting is often how she keeps going. “I need alone time, or I go crazy,” she said.
After a series of stressful meetings at work, she’ll often find a quiet corner and knit for five or ten minutes. “Knitting gives me something to do in that space, to clear my head.”
She also knitted her way through a batch of nervous energy while she waited for a response to her dissertation research proposal. The topic? Identity Formation in Pauline Communities.
Cheshire says she wants to use the baptismal formula used in Galatians, Colossians, and Corinthians “as a case study to see how those communities might have understood identity, on a community and on a corporate level.”
She says, “When we read there is ‘no slave, no male, no female,’ we mostly use it as a kind of whitewashing. It doesn’t matter, we’re all one in Jesus! Everyone’s one!”
But this kind of thinking, she said, can make it easy to ignore how identity categories are actually hurting people in the congregation.
“It just perpetuates power cycles,” she says. “People in charge continue to be in charge, and they don’t have to look at other people’s experiences. But everyone has value in their own particularity.”
What do you want to do with your time?
I asked Cheshire if focusing on that particularity isn’t something of a burden for her, an already extremely busy introvert whose mission it is to foster personal, intimate connections in her work on campus.
She thought for a while, then listed all the many responsibilities she juggles. She noted that when people ask her how she does it all, she tells them she’s not doing as good a job as they think she is.
But also, she said, “God has made this situation into something good. He’s forced me and my husband to figure out something about ourselves. What’s non-negotiable? What do you really want to be doing with your time? Because you don’t have that much of it.”
Although she and her husband have no background in farming, they’re slowly learning.
“It’s a little difficult to really engage in care for creation when you’re surrounded by concrete.” she said. She’d rather work the land than support industries that exploit workers and contaminate the soil.
Their first harvests have been small, but encouraging, and they’re hoping to add berry bushes and fruit trees in the future. Of their harvests, the Cheshires save some, sell some, and give some to the food pantry. Cheshire was recently overjoyed to hear that, after she donated fresh eggs, one client was able to make brownies for the first time in ages.
“In my career,” Cheshire said, “I’ve gotten very comfortable with the fact that I rarely see the harvest. My entire job is to plant seeds and let God grow them, and maybe a few years down the line I’ll get a text message or an email from a former student saying how much their time at Newman meant to them.”
But establishing a farm gives her “something very solid to hold onto.”
Spiritual health is a real thing
One professional project she’s chosen is to reignite an interest in the spiritual life among apathetic college students. Very few students feel any kind of religious affiliation, she said, and the ones who consider themselves Catholic aren’t much interested in community; so she’s working on reformulating her approach.
“You can’t convince people to enrich their Catholic identity if they don’t see the value of spirituality to begin with,” she said. She had been warned that the campus was an anti-religious place, but is proud of the connections she’s made. She collaborates often with other groups, and sponsors “crafternoons” where students can work off some nervous energy of their own, making and building together.
“We’re trying to encourage the campus community to tend to their spiritual health, to realize that’s a real thing, just like their physical and emotional health.”
Cheshire is currently working her way through the spiritual exercises of St. Ignatius, which, she said, are about “finding the dignity of everything, finding God in everything.”
I asked whether even knitting was part of that.
She said, “I love watching the process of turning a pile of string into something beautiful. It’s something that’s real, and something that’s very elemental. It’s the absolute opposite of digital, and it connects you to all these generations of people who have done this before.”
Cheshire said knitting forces her to notice and intentionally relax the tension she holds in her hands. She was recently contemplating the hidden years of Christ, before He began His public ministry. The takeaway, she said, was Christ saying, “Remember, I was an artisan, too.”
Why the name, “Bethany Farm Knits?” Her shop, and her five-acre farm, are named after Bethlehem Farm in West Virginia. It’s a family of intentional Catholic communities, where Cheshire has led mission trips with the students from the Newman Center. The farms are named after Biblical towns, and the Cheshires chose “Bethany” for theirs.
She said ,”It’s where Jesus experienced friendship and hospitality” with His friends Mary and Martha — and also resurrection, when He raised their brother Lazarus from the dead.
“Those things are very much a theme in our family life,” Cheshire said: “Hospitality and resurrection.”
“I watch my kids cover themselves in duct tape and use whole rolls of wire to wire their siblings together,” says Kyra Matsui, proprietor of Iron Lace Design, “and I can see who I was from the beginning.”
“I was an isolated child, hiding in my room, making stuff. I remember when I was six, there was this plastic dollhouse stool. I figured out if I wove Kleenex around it and wet it, then when it dried, I could slip it off, and I would end up with a little basket. I started painting Kleenex with food coloring and hanging it all over the ceiling. My parents were so patient!”
Kyra, 39, who is separated, has boys ages seven and nine, and five-year-old twin girls. She recently got a diagnosis of autism for her oldest son, who also has diabetes. Kyra uses a combination of homeschooling and public school.
“My own public school experience was pretty bad,” says Kyra. “I didn’t really learn any kind of work ethic, or how to concentrate, but I did learn how to be quiet so I could get away with anything.
“What I wanted to do [with my own kids] was give them a space to socialize with people not just in their own grade level, but who were interested in the same thing. To give them the space to figure out what they were interested in.
“For me, that was making stuff. I remember reading Rosemary Sutcliffe’s Warrior Scarlet when I was nine or so, and teaching myself to weave on a little loom I made out of a cardboard box. I was supposed to be doing schoolwork. Instead, I pulled stuffing out of a pillow and figured out how to make a spindle.”
Here’s the rest of the conversation I had with Kyra about her current work:
How did you get started making jewelry? What is it about chainmail that appeals to you?
It’s because of my Japanese cultural heritage, plus historical interest, plus fantasy. When I was fourteen and hiding in the school library, they had a couple of really good costume history books, and I devoured those.
I was briefly in the Society for Creative Anachronism doing costuming, and some friends were doing chainmail. The kind I do, Japanese, is the simplest. Usually what you see in movies is European. It runs in one direction, almost like snake scales.
What I like about Japanese chain mail is you can hang it any way, like fabric.
You can attach dangly stuff to it and incorporate it into the construction.
You also have some jewelry made of watch parts on your page. Tell me how you got your hands on that.
It all belongs to my father, whose parents emigrated from Japan in the 20’s. He was eight or nine when the Japanese Canadians were interned. His family ended up in Toronto after they were relocated. He trained as a watchmaker and repairman and jeweler, and he had a workshop in the house I’m sitting in now, the house I inherited.
When digital watches came, he became a tool and die maker, but did watch repair privately. He had a workshop that was floor-to-ceiling tiny drawers full of watch movements, gears, springs, some of them almost microscopic. You need tweezers to pick them up.
After he died, I was clearing out all his stuff, and thinking, ‘This is beautiful stuff. ” I’m not going to learn to do watch repair. I tried to sell it, but I didn’t get any takers.
What would he think of the jewelry you make with his watch parts?
He would be appalled!
Well, he would be happy it was being used, but perturbed. He wanted me to go into fine arts and into jewelry-specific programs, metalworking, gemology. But I’ve always come at things more from a costuming and textile end.
Chainmail is a lot more like working with fabric then metalwork. I’d like to learn to solder, but that requires a lot of precision. Chainmail is more like knitting.
How long does it take you to make one of those necklaces or rosaries?
A rosary takes about four or five hours of intensive labor. Because I make them out of stainless steel, it’s really hard on my hands, so I split it up over two or three days.
I’ve ended up with carpal tunnel from doing too much! I made a Mexican wedding double rosary over a weekend, and that was a bad idea.
It’s very intricate work.
And I’m extremely myopic. I was told by an ophthalmology student that my close-up vision is excellent. I can see much finer detail than most people, as long as I hold it an inch and a half from my eye. I also have a jeweler’s visor loupe.
You have four kids, you’re completely renovating your house, you exclusively homeschooled up until recently, and you’re a single mom. So in your abundant free time, what do you do?
When I was in my early 20’s, I did about ten years of belly dance classes. Then I had four kids in four years. But I love to dance. I found that goth clubs are the only place you can go and belly dance for the entire night without being hassled. My friend Cynthia and I found this lovely place that has industrial goth night once a month.
It’s the same people from twenty years ago. We’re all older and tireder. We have a few drinks, thrash around on the dance floor, and then go back to our lives as attorneys or whatever. There are some really terrified-looking twenty-year-olds who turn up, too. Half of them embrace it, and half of them sidle quietly out the door away from the scary, old people.
[Below: Kyra in her Halloween costume as Jadis, Queen of Charn:]
If you had unlimited time, energy, and resources, what would you make?
I was looking around Etsy and found this chandelier thing you hang between your nipples. This . . . is not what I’m going to be doing.
If time and money weren’t a factor, I’d love to be working in precious metals and gems. I’m learning how to solder and make my own findings. I’d love to do some sort of elaborate fantasy set, with headpiece, necklace, hand flowers, and neck piece, and make a dress that goes under it. I’m not watching Game of Thrones, but the costuming is fantastic. I’ve been looking up jewelry for the Southern Kingdom. Very East Indian-Ottoman Empire-Persian stuff.
If people want to order from Iron Lace Design for Christmas, when should they order?
If they want a special order shipped before Christmas and they’re in the states, get the order in by early December. Regular mail tends to be a week. Priority mail is faster, but pretty expensive. But if I have to source material, I may have to order it online.
[Two special order stainless steel rosaries, one in lapis, one in garnet:]
In today’s podcast, I interview my father, Phil Prever, about living through the Six Day War fifty years ago.
He and my mother and my two oldest sisters in Jerusalem in 1967. He was half a block from the border with Jordan when the radio suddenly started repeating, “The window is open. The window is open.” Half the people in the office abruptly got up and left. He realized it was code, and the war had begun.
Hear the interview to find out what my parents were doing in Israel in the first place,
what was the one Hebrew word he learned right away,
what made him realize the war had broken out, and what it was like as it happened,
what “The window is open” means,
whether he thinks there were actually angels fighting with the Israeli pilots
and what was the city like after the fighting was over.
Here is a recording of the song he mentions, “Jerusalem of Gold, written in 1967 and played everywhere on the radio after the war was over: