"Autobiographies of great nations are written in three manuscripts – a book of deeds, a book of words, and a book of art. Of the three, I would choose the latter as truest testimony." - Sir Kenneth Smith, Great Civilisations

"I must write each day without fail, not so much for the success of the work, as in order not to get out of my routine." - Leo Tolstoy

I have never believed that one should wait until one is inspired because I think the pleasures of not writing are so great that if you ever start indulging them you will never write again. - John Updike

"The life of every man is a diary in which he means to write one story, and writes another; and his humblest hour is when he compares the volume as it is with what he vowed to make it." - J.M. Barrie, Peter Pan

Poetry is the shadow cast by our streetlight imaginations." - Lawrence Ferlinghetti


[Note - If any article requires updating or correction please notate this in the comment section. Thank you. - res]


Saturday, May 17, 2025

Re-Imagining Thornton Wilder Processually & Poetically



Re-Imagining ThorntonWilder
Processually & Poetically

by R.E. Slater and ChatGPT



The Bridge of San Luis Rey
Remastered (2022) - Official Trailer

The Bridge Of San Luis Rey (1958) | Full Movie

I would like to re-imagine Thornton Wilder's Bridge using process theological language.... I have asked ChatGPT to help me with this task. For further inquiry I have provided a list of related references at the end of this article and after the short poems written in homage to Wilder and Whitehead. - R.E. Slater 
RES - "Let's explore 12 quotable quotes made by Wilder through processual eyes."
ChatGPT - "Absolutely—let's explore twelve poignant quotes from Thornton Wilder's The Bridge of San Luis Rey, each reimagined through the lens of Whiteheadian process thought. This perspective emphasizes relational becoming, divine persuasion, and the emergence of meaning through interconnected experiences."

The Lure of Divine Harmonics

1. Original:

“There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning.”
— The Abbess

Whiteheadian Reimagining:

Love is the connective tissue of the cosmos, weaving together past and present in a tapestry of relational becoming. It is the enduring process that bridges temporal divides, embodying the divine lure toward unity and coherence.


2. Original:

“Either we live by accident and die by accident, or we live by plan and die by plan.”
— Brother Juniper

Whiteheadian Reimagining:

Life unfolds not by rigid plan or mere accident but through a dynamic interplay of freedom and divine persuasion. Each moment is an occasion for creative advance, shaped by both past influences and the ever-present lure of possibility.


3. Original:

“The knowledge that she would never be loved in return acted upon her ideas as a tide acts upon cliffs.”
— Narrator on Doña María

Whiteheadian Reimagining:

Unrequited love carves deep channels in the soul, reshaping the contours of experience. Such emotional tides are integral to the processual nature of selfhood, where each feeling contributes to the evolving tapestry of personal identity.


4. Original:

“We ourselves shall be loved for a while and forgotten. But the love will have been enough.”
— Narrator

Whiteheadian Reimagining:

In the processual cosmos, love's value isn't measured by permanence but by its contribution to the ongoing creative advance. Each act of love enriches the relational fabric of existence, persisting in the divine memory even as individual memories fade.


5. Original:

“Now he discovered that secret from which one never quite recovers, that even in the most perfect love one person loves less profoundly than the other.”
— Narrator on Esteban

Whiteheadian Reimagining:

Love, in its asymmetry, reflects the diverse intensities of relational experiences. Each person's capacity to love contributes uniquely to the evolving process of becoming, highlighting the richness of emotional diversity in the tapestry of existence.


6. Original:

“Some say that we shall never know, and that to the gods we are like the flies that the boys kill on a summer's day.”
— Narrator

Whiteheadian Reimagining:

Contrary to notions of divine indifference, process thought posits a God deeply invested in the world, experiencing each event and emotion. Every creature's experience contributes to the divine life, affirming the significance of all existence.


7. Original:

“He regarded love as a sort of cruel malady through which the elect are required to pass.”
— Narrator on Uncle Pio

Whiteheadian Reimagining:

Love, with its trials and transformations, serves as a catalyst for growth within the processual journey. Through love's challenges, individuals are lured toward greater depth and complexity in their becoming.


8. Original:

“Throughout the hours of the night, though there had been few to hear it, the whole sky had been loud with the singing of these constellations.”
— Narrator

Whiteheadian Reimagining:

The cosmos resonates with a symphony of becoming, each star a note in the divine melody. Even when unnoticed, the universe sings of interconnectedness, inviting all into its harmonious process.


9. Original:

“The public for which masterpieces are intended is not on this earth.”
— Narrator

Whiteheadian Reimagining:

Masterpieces transcend temporal audiences, contributing to the eternal realm of values. In process thought, such creations are preserved in the divine experience, influencing the ongoing creative advance of the world.


10. Original:

“He was quite incapable of establishing any harmony between the claims of his art, of his appetites, or his dreams.”
— Narrator on Uncle Pio

Whiteheadian Reimagining:

The struggle to harmonize various aspects of life reflects the complexity of becoming. Process thought acknowledges this tension as part of the creative process, where individuals integrate diverse experiences into a coherent self.


11. Original:

“All of us have failed. One wishes to be punished. One is willing to assume all kinds of penance.”
— Narrator

Whiteheadian Reimagining:

Failure is an integral part of the processual journey, offering opportunities for reflection and growth. Divine persuasion invites individuals to transform failures into creative advances, contributing to the richness of the cosmic tapestry.


12. Original:

“Even memory is not necessary for love.”
— Narrator

Whiteheadian Reimagining:

Love's impact transcends memory, embedding itself in the very fabric of reality. In process thought, each act of love contributes to the divine experience, influencing the ongoing evolution of the cosmos.


These reinterpretations aim to illuminate how Wilder's profound insights resonate with Whiteheadian themes of relationality, process, and divine immanence. If you'd like, we can explore these further or create visual representations to deepen our understanding.




Below are three short poetic passages in homage to literary author and playwright Thornton Wilder and to process philosopher Alfred North Whitehead capturing their contrasting views of meaningful coincidence ( aka, "synchronicity").  The last set of short poems will be dedicated to coincidence: 


Fate or Fortune?

Thornton Wilder: Synchronicity as Unknowable Mystery

1. The Bridge

They fell through air not knowing why,
A frayed rope gave way beneath the sky.
But love, he wrote, connects the seam,
Though God remains a distant dream.

2. The Friar’s Question

Did plan or chance the souls unthread?
As Friar sought it's cause among the dead.
Yet silence held the only echoing sound -
By a God too high to touch the ground.

3. The Pattern UnSeen

In death is glimpsed a sacred line,
Too fine for human eyes to opine.
O'er fatal tragedy's lasting question,
Is love enough, amid suggestions.


R.E. Slater & ChatGPT
May 16, 2025

@copyright R.E. Slater Publications
all rights reserved


Whitehead: Synchronicity as Relational Becoming

1. The Gentle Lure

No plan decreed, no ominous command spoke,
But loving God with broken heart pronounced,
Within transpiring events loomed in open weave,
That love, not fate, despoil all tragic sacraments.

2. A World That Feels

All occasions prehend, all moments intwine,
New life birthed from coinciding experiences.
Synchronic lines stream forward in gentle flow,
Merging past with present concrescing futures.

3. Harmony in Freedom

Not mystery beyond the veil,
But flowing patterns on turning sail,
Abaft the winds of novelty and grace,
Steered the Navigator upon our side.


R.E. Slater & ChatGPT
May 16, 2025

@copyright R.E. Slater Publications
all rights reserved


Coincidence or Divine Coherence?

1. Chance Alone

Two strangers met and shared a name,
A dog runs by, fair weathers came -
Nothing is stirred, no soul is moved,
Just meaningless chance come to play.

2. The Skeptic's View

A blip, a blunder, a trick of time,
A shuffled card, a slipped rhyme -
No deeper law, no cosmic thread,
Just atoms drifting, meeting, fled.

3. The Seeker’s Wonder

A feather falls the hour decried,
A stranger speaks a haunted sky,
All pause not daring dreaded fate,
Awaiting fortune's untoward weight
.

4. Two Views

In the skeptic’s heart coincidence is
the static noise in everyday's operation.

In the seeker’s heart sits the quiet
assurance of meaningful meaning.

Some rest in the quiet becoming
of everyday miraculous indwelling.


R.E. Slater & ChatGPT
May 16, 2025

@copyright R.E. Slater Publications
all rights reserved




Travellers on their way to San Luis Rey, Peru

REFERENCES

Thursday, May 15, 2025

Local Book Club Reads, 2025-2026



Local Book Club Reads
2025-2026

1. Any holiday book. For our December discussion, read a holiday book of your choice!

2. Any Kristin Hannah book. Read any Kristin Hannah book this month.

3. All My Rage ( Tahir, Sabaa ). In Juniper, California, best friends Sal and Noor navigate the fallout of a fight and their challenging home lives. Sal struggles to save his family's motel as his mother's health declines and his father descends into alcoholism. Noor secretly applies to college, yearning to escape her oppressive uncle. Their bond and futures are tested by grief, betrayal, and the weight of their pasts. Realistic fiction, immigrant experience, lyrical, character - driven.

4. Art thief ( Finkel, Michael ). Michael Finkel tells the unbelievable true story of Stéphane Breitwieser, who stole hundreds of millions of dollars’ worth of art from European museums and galleries over nearly a decade. Driven by an insatiable love for art, not profit, Breitwieser's audacious heists and the eventual dramatic fallout are chronicled in this captivating tale of obsession. Nonfiction, suspenseful, richly detailed, well - researched.

5. Birnam Wood ( Catton, Eleanor ). In New Zealand, the idealistic guerilla gardening collective Birnam Wood clashes with a mysterious American billionaire who buys the land they covet. As they become entangled with his seemingly philanthropic project, their motivations and loyalties are tested, leading to betrayals and dangerous consequences in this tense thriller. Psychological suspense, literary fiction, character - driven, fun read.

6. Everyone in my family has killed someone ( Stevens, Benjamin ). Narrator Ernie Cunningham finds his family gathering for a reunion at a ski resort as his brother is released from prison for murder. When another body turns up, Ernie, a crime fiction enthusiast, navigates his family's dark history, where everyone, including him, has caused a death, to uncover the truth behind the new killing. Mystery, large cast of char acters, clever.

7. Everything is Tuberculosis ( Green, John ). "Everything Is Tuberculosis" explores the history and persistent global impact of tuberculosis, despite it being curable. Through the story of Henry, a young patient in Sierra Leone, Green illuminates the social and economic inequities that allow this disease to remain a leading cause of death. He argues that our choices, not just the bacteria, perpetuate this crisis. Issue - oriented, inspiring, richly detailed, well - researched.

8. First Lie Wins ( Elston, Ashley ). Evie Porter is a con artist living under a false identity, hired by the mysterious Mr. Smith to infiltrate businessman Ryan Sumner's life. As she gets closer to Ryan, her carefully constructed lies become entangled with real feelings and a dangerous past. When her true identity is threatened, Evie must navigate a web of deceit to survive and uncover the truth behind her mission. Thriller/suspense, intricately plotted, likeable characters, fast - paced.

9. Good Dirt ( Wilkerson, Charmaine ). "Good Dirt" follows three interconnected storylines across generations. From a Black couple striving for land ownership in 1950s North Carolina to their descendants grappling with inheritance and identity in the present, the novel explores themes of family secrets, the enduring legacy of the land, and the complexities of love and belonging. Historical
fiction, family saga, multiple perspectives, emotionally intense.

10. Heartwood ( Gaige, Amity ). Experienced hiker Valerie Gillis disappears on the Appalachian Trail in Maine. Game Warden Beverly leads the desperate search while Valerie's fractured letters to her mother reveal her struggle for survival. Simultaneously, Lena, a birdwatcher, becomes an unlikely armchair detective. As their narratives intertwine, a gripping mystery unfolds, questioning how and why we get lost and how we are found. Thriller/suspense, literary fiction, multiple perspectives, unputdownable.

11. Intermezzo ( Sally Rooney ). "Intermezzo" by Sally Rooney follows two brothers in Dublin grappling with their father's recent death. Peter, a lawyer, navigates complex relationships with two women, while Ivan, a young chess prodigy, begins a surprising relationship with an older woman. The novel explores their individual grief, evolving sibling bond, and the search for connection in the aftermath of loss. Literary fiction, multiple perspectives, complex characters, lyrical.

12. James ( Everett, Percival ). "James" reimagines Adventures of Huckleberry Finn from Jim's perspective. It vividly portrays Jim's internal thoughts, feelings, and intelligence as he endures the journey down the Mississippi River. The novel offers a powerful and nuanced exploration of race, freedom, and humanity through Jim's eyes, subverting the traditional narrative. Intricately plotted, moving, suspenseful, witty.

13. The Mighty Red ( Erdrich, Louise ). A North Dakota community grapples with the 2008 financial crisis and environmental changes tied to sugar beet farming. Amidst economic hardship, a fraught wedding between Gary and Kismet intertwines with family secrets and the challenges of love and survival in a changing landscape. Literary fiction, strong sense of place, multiple characters, slow simmer.

14. No two persons ( Bauermeister, Erica ). "No Two Persons" intricately weaves together the lives of ten seemingly disparate individuals connected by a single house over decades. Each chapter reveals a unique perspective and hidden link, exploring themes of memory, connection, and how the spaces we inhabit shape our stories and relationships across time. Short stories, books about books, thoughtful, character - driven.

15. Pachinko ( Lee, Min Jin ). C hronicles four generations of a Korean family living in Japan, facing discrimination and hardship. Starting with Sunja's unexpected pregnancy in 1930s Korea, the saga follows their resilience, ambition, and the complexities of identity and belonging as they navigate a society that often rejects them. Own voices, moving, reflective, character - driven.
16. Project Hail Mary ( Weir, Andy ). Waking up with amnesia on a spaceship, Ryland Grace discovers he's humanity's last hope against a sun - dimming crisis. With the help of a surprising alien friend, Rocky, he must piece together his memories and science to find a solution before Earth becomes uninhabitable.​ It's a race against time filled with humor and scientific ingenuity. Science fiction thriller, intricately plotted, well - crafted dialogue, unputdownable.

17. Summer of Songbirds ( Harvey, Kristy Woodson ). "Summer of Songbirds" reunites lifelong friends Mary Hollis, Eliza, and Vivi in their North Carolina hometown. Facing personal challenges and a potential threat to their beloved summer camp, they lean on their enduring bond. The novel explores themes of friendship, change, and finding strength in connection amidst life's transitions. First person narrative, multiple perspectives, feel - good, atmospheric.

18. The God of the Woods ( Moore, Liz ). A shocking crime in a seemingly idyllic small town in Pennsylvania unravels generations of secrets. When a young boy disappears, the tight - knit community is forced to confront hidden truths about their past and the darkness that can lie beneath a veneer of normalcy, revealing the complex relationships and long - held resentments within. Literary fiction, stylistically complex, thought - provoking, suspenseful.

19. The great believers ( Rebecca Makkai ). "The Great Believers" intertwines the 1980s AIDS crisis in Chicago with a contemporary search for a lost inheritance in Paris. As Yale grapples with loss and his friends fall ill, years later, Fiona seeks answers about her estranged daughter's connection to his past. The novel explores themes of love, grief, ar t, and the enduring impact of a devastating epidemic. Literary fiction, parallel narratives, complex characters, moving.

20. The Midnight Feast ( Lucy Foley ). A storm traps guests at a remote, luxurious hotel on a tidal island. As tensions rise and secrets surface, a murder occurs during a lavish feast. Told from multiple perspectives, the novel weaves a suspenseful tale of isolation, hidden connections, and the deadly consequences of long - held resentments among the stranded group. Well - developed characters, menacing, fast - paced, atmospheric.

21. The Thursday murder club ( Osman, Richard ). Four elderly friends in a retirement village meet weekly to discuss unsolved crimes. When a local developer is murdered, the amateur sleuths find themselves in the midst of a real investigation, using their wit and life experience to uncover secrets and catch a killer. Multiple perspectives, well - developed characters, sardonic, moving.

22. The Waters ( Bonnie Jo Campbell ). Follows the strong - willed and unconventional Linda in rural Michigan as she navigates a life shaped by the wild landscape and her family's unique history. When a stranger arrives and disrupts their isolated existence, Linda must confront hidden truths and fight to protect her way of life and the delicate balance of her world. Well - developed characters, leisurely paced, atmospheric, feel - good.

23. We were the lucky ones ( Hunter, Georgia ). Chronicles the true story of the Kurc family, Polish Jews separated at the start of WWII. Through their individual journeys across continents, enduring unimaginable hardships and near - misses, the novel highlights their unwavering determination to survive and reunite against the backdrop of the Holocaust. Biographical fiction, moving, cinematic, well - researched.​

 

Sunday, May 11, 2025

Examining Thornton Wilder's Question of "Determinism"




The Bridge

A roped bridge spanning a deep chasm gave way,
Five lives were lost - "Was this the will of God?"
Or, "Cost of ravaged time on fraying hemp-thread?"
Asked the friar as his parish shook their saged heads.

The burdened friar searched the pasts of each
Fallen victim for proof or plan that might show
God's justice within each life of fey unfortunate;
How their days were traced, their cares laid bare,
Though no divine pattern could hold them there.

Yet in the failing of the aged, neglected span,
A silence deeper than death's deadly chasm rang,
Hurtling downwards upon a friar's pained heart,
Whether fate, or wrath, or heavenly design,
To echo within sudden tragedy's gaping maw....

And as he looked and prayed he startled found,
Love had shaped each victim's meager course,
As breath gave way there loved remained,
Not nakedly nailed to heaven’s door, but in
Determined assent woven within the core.

Plainly, The Bridge was not God’s answer sent -
But became the space where love had leant,
Subtle instruction forsaken reasoned query,
Slipping all answers 'cept Loving Care,
as aftermath to a sorrow's befallen tragedy.


R.E. Slater and ChatGPT
May 11, 2025

@copyright R.E. Slater Publications
all rights reserved



Illustration by ChatGPT

References to be read ahead of this article:

* * * * * * *

Thornton Wilder's Question of  "Determinism"
by R.E. Slater


When reading Thornton Wilder's "Bridge of San Luis Rey" the author and its several mitigants throughout his brief tract asked whether God is involved in everyman's circumstances, including death? And if so, to what extent and for what purpose? Or, if death is but sole cause alone, has become in itself, the cold, cruel process which it is oft times portrayed as heartless claimant to everyman's right to live and die?
In the law, a mitigant - or a mitigating circumstance - is a factor which reduces the severity of a crime or penalty. It becomes not an excuse, nor a justification, for the ill circumstance befallen the injured but serves to explain why a fate might have resulted, or a penalty incurred, especially in light of no known criminal record or blackard sin resulting from the afore sufferers experience of mitigating factors resulting in oppression, injury or death.
In the bible a similar circumstance had befallen 18 unfortunates to which Jesus asked whether they were sinners come to be judged by God? At first, Jesus' inquirers tell of Pilate's factious murder of visiting Galileans to the Temple whom Pilate deemed as "malicious rioters"; Jesus' inquirers posed this question to draw Jesus out politically, whether for-or-against Rome's puppet, Pilate. In answer, Jesus asks his audience whether God judges sin or not by using this illustration:

The Tower of Siloam (Lk 13.1-11)

13.1 There were present at that season some that told Jesus of the Galilaeans, whose blood Pilate had mingled with their sacrifices.

2 And Jesus answering said unto them, "Suppose ye that these Galilaeans were sinners above all the Galilaeans, because they had suffered such things?"

3 I tell you, "Nay: but, except ye repent, ye shall all likewise perish."

4 Of those eighteen, upon whom the tower in Siloam fell, and had died, think ye that they were sinners above all men that dwelt in Jerusalem?

5 I tell you, Nay: but, except ye repent, ye shall all likewise perish.

6 He spake also this parable; A certain man had a fig tree planted in his vineyard; and he came and sought fruit thereon, and found none.

7 Then said he unto the dresser of his vineyard, Behold, these three years I come seeking fruit on this fig tree, and find none: cut it down; why cumbereth it the ground?

8 And he answering said unto him, Lord, let it alone this year also, till I shall dig about it, and dung it:

9 And if it bear fruit, well: and if not, then after that thou shalt cut it down.

10 And Jesus was teaching in one of the synagogues on the sabbath.

The common Christian question put forth in all three instances of this parable is whether one's heart has been changed - not whether God is judging sin but whether one's own self has regarded the times and the seasons of life and is ready at all times for ill fortune or death's demise?

From Jesus' observation he dismisses the four assumptions most people make of an assumed befallen tragedy:
1) Suffering is proportional to sinfulness.
2) Tragedy is a sure sign of God’s judgment.
3) Bad things happen only to bad people.
4) We have the right to make such judgments.
To each assumption Jesus says, "No."
1) Suffering is NOT proportional to sinfulness;
2) Tragedy is NOT a sure sign of God's judgment;
3) Bad things DO NOT happen only to bad people; and,
4) We DO NOT have the right to cast such judgments upon others.
Therefore, in answer, to Thornton Wilder's assessment spoken through Friar Juniper and all succeeding voices within his tract, The Bridge to San Luis Rey, we may answer similarly. That the fate befallen the five victims of the broken rope bridge were not being judged by God nor were sinners whose time had come.

Which leaves but the single most pertinent question which Wilder was attempting to answer but couldn't - or, as most critics would say, Wilder was presenting the problem in the form of a question without any interest in answering the question... as it was an exercise in futility.

The question?
Does God determine the course of every life force on earth? Does God command all futures and calamities, all blessings and fortunes, including our deaths?

Framing Wilder's Question

Wilder sets up the collapse of the bridge as a test case for divine determinism. Brother Juniper’s question is blunt: "Why did these five people die and not others?" He tries to prove that God had a reason, perhaps rooted in virtue, vice, or a cosmic plan. His “scientific theology” attempts to rationalize providence's actions or lack of actions.

Ultimately the friar's inquiry fails. His book is burned. The Catholic Church condemns him. And the narrator (Wilder’s voice) concludes not with answers but with the all too casual statement, “The bridge is love.”

So while the novel begins as a deterministic inquiry, it ends with a kind of existential surrender to relational meaning - but not as an explanatory logistical treatment of the expose.


Classical Theology’s Answer

In traditional Christian theology (especially Calvinist: cf, John Calvin), God indeed, determines all things, including:
  • Life and death,
  • Fortune and fate,
  • Who is saved and who is not.
This is known as theological determinism—but it comes with problems:
  • It risks making God arbitrary or cruel.
  • It undermines human freedom and responsibility.
  • It offers little comfort in suffering except “God willed it.”
Thornton Wilder who was raised religiously shows that he is unsettled in this view and does not wish to affirm it. As such he asks the question of God's rightness and justness in willing everyman's life force to its fate or fortune.


A Loving Theology's Answer

Typically, a non-Calvinistic, non-deterministic theological response might be summarily listed using an Arminianist Protestant approach (cf, Jacobus Arminius) emphasizing human free will and the compatibility of God's sovereignty alongside human agency. As such, it reframes the posed question entirely:
  • No, God does not determine fate or death.
  • Yes, God is present in every moment—but not as controller.
17th Century Arminianism has come a long way since morphing in its journey to become more properly expressed in the current theology known as "Open and Relational" Free will theology. But rather than keeping its philosophical foundation planted in an Western-European ecclectic, if not Platonic et al thought, another more expansive philosophic theology has been gaining traction since it's proposal in the late 19th century spanning both Western and Eastern thought forms.

It is known as process philosophy with its derivative, process theology, and can be found in the sciences such as the quantum physics or processual evolution along with Jungian psychoanalytic thought and Eastern Buddhism per se. It is a more mature, nuanced version of Western thought begun under Georg Wilhelm Friedrich Hegel and articulated through Alfred North Whitehead who himself was dissatisfied with hardheaded Victorianism (cf. Charles Dickens, Oliver Twist or A Tale of Two Cities).

In process theology Wilder's questions may be restated to say:
  • God offers possibilities, not guarantees.
  • Every event is shaped by past actualities, human decisions, and divine persuasion.
  • Death is real—not part of a secret plan; but must be considered as a living process in which all life-forces participate.
  • God suffers with us, and holds every life in loving memory.
And so, when five unfortunates, possible innocents, and all vital life-forces within the web of life, fall to their deaths from a breaking backwater Peruvian bridge in the 15th century:
  • It is not because God chose it.
  • But God is there in the grief, the echoes, the transformations that ripple outward.
  • And that is why “the bridge is love”—not control.



A Bridge of Love

God does not chose our fate or fortune but God is there in the grief, the echoes, the transformations of all that ripple outwards to-and-from our lives. And throughout the process of life - whether we describe God's acts as from above, from below, or from the sides and peripheries of life; whether they are seen or unseen, whether they are causal or acausal - in all of God's loving acts is God's patient abiding, presence, and fellowship as we allow God's presence to be felt, experienced, and followed.

Such divine comradery is unlike the church's more dreadful teachings on the fear of God's wrath, punishment, and judgments in this life and the next. As Thornton Wilder observed in The Bridge, whenever one questions the church's teachings on God one may do so at one's peril - as illustrated by the burning at the stake of poor Brother Juniper accused of heresy (who apparently was an actual historical personage according to Wilder's notes) having experienced personal execution at the hands of his fellow parish brothers during the extensive cruel time of the Spanish Inquisition. All in the name of God. To preserve God's fear. God's attribution of Name. And God's severe high holiness.

One might also expect the more common act of excommunication by the church which many a Christian congregant has experienced in times of hardship and peril in today's 20th and 21st century churches of conservative fame and claim.

None of these "Christian acts" is because God chose or directed it. As they were not. But God is assuredly there in the grief, the echoes, the transformations that ripple outward. And it is why the existential or spiritual bridge is always one of divine love and not of divine control.


Conclusion

Those three simple lines capture the process-relational alternative to providential determinism—and when unpacking their meaning deepens both the personal, emotional and theological meaning.

Let’s expand upon them meditatively and metaphysically:

1) “It is not because God chose it.” This is a rejection of divine determinism. In process theology (Whitehead, Cobb, Hartshorne), God is not the author of death, disaster, or tragedy. The universe is not scripted. God does not pick winners and losers, nor orchestrate suffering “for a greater plan.”
Instead, God invites, lures, offers the best possible outcomes given all conditions. Why? Because the world is a real space for real living. Living that can be free, relational, and very fragile. Accidents happen. Choices matter. Structures fail. But to say “God chose it” is to rob the world of its agency and God of divine compassion.
2) “God is there in the grief, the echoes, the transformations that ripple outward.” This is Whitehead’s “consequent nature of God”: God experiences all things with the world. Every joy, every loss, every falling body and breaking heart is registered and felt by God.
God is the cosmic rememberer - holding even death tenderly. But God is more: God becomes the source of transformation. In grief, we may love more deeply. In loss, new connections may arise. In sorrow, beauty may emerge - not as compensation, but as creative consequence. God is not the one who prevents the fall, but the one who walks with those left behind, guiding what comes next.
3) And this is why ‘the bridge is love’ - not control.” This is Wilder’s final line, recast through Whitehead’s lens. “The bridge is love” means: Not that the deaths were meant to happen, but that the lives mattered, and the love they shared transcends any fall.
Love, in process thought, is the coherence of becoming: It’s what binds events together across time. It’s what lingers, deepens, and carries forward. It’s the energy of divine relationality, not divine sovereignty. Control says: This happened because I willed it. Love says: This happened, and I will be with you through it all.

R.E. Slater
May 11, 2025

Saturday, May 10, 2025

Quotes from Thornton Wilder's, "The Bridge of San Luis Rey"



Quotes from Thornton Wilder's
The Bridge of San Luis Rey


“The knowledge that she would never be loved in return acted upon her ideas as a tide acts upon cliffs.”

― Thornton Wilder, The Bridge of San Luis Rey


“There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning.”

― Thornton Wilder, The Bridge of San Luis Rey


“Now he discovered that secret from which one never quite recovers, that even in the most perfect love one person loves less profoundly than the other. There may be two equally good, equally gifted, equally beautiful, but there may never be two that love one another equally well.”

― Thornton Wilder, The Bridge of San Luis Rey


“We ourselves shall be loved for awhile and forgotten. But the love will have been enough; all those impulses of love return to the love that made them. Even memory is not necessary for love. There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning.”

― Thornton Wilder, The Bridge of San Luis Rey

“Some say that we shall never know, and that to the gods we are like the flies that the boys kill on a summer's day, and some say, to the contrary, that the very sparrows do not lose a feather that has not been brushed away by the finger of God.”

― Thornton Wilder, The Bridge of San Luis Rey


“[Dona Maria] saw that the people of this world moved about in an armor of egotism, drunk with self-gazing, athirst for compliments, hearing little of what was said to them, unmoved by the accidents that befell their closest friends, in dread of all appeals that might interrupt their long communion with their own desires.”

― Thornton Wilder, The Bridge of San Luis Rey

“Either we live by accident and die by accident, or we live by plan and die by plan.”

― Thornton Wilder, The Bridge of San Luis Rey


“This assumption that she need look for no more devotion now that her beauty had passed proceeded from the fact that she had never realized any love save love as passion. Such love, though it expends itself in generosity and thoughtfulness, though it give birth to visions and to great poetry, remains among the sharpest expressions of self-interest. Not until it has passed through a long servitude, through its own self-hatred, through mockery, through great doubts, can it take its place among the loyalties. Many who have spent a lifetime in it can tell us less of love than the child that lost a dog yesterday.”

― Thornton Wilder, The Bridge of San Luis Rey

“Esteban fell face downward upon the floor. "I am alone, alone, alone," he cried. The Captain stood above him, his great plain face ridged and gray with pain; it was his own old hours he was reliving. He was the awkwardest speaker in the world apart from the lore of the sea, but there are times when it requires a high courage to speak the banal. He could not be sure the figure on the floor was listening, but he said, "We do what we can. We push on, Esteban, as best we can. It isn't for long, you know. Time keeps going by. You'll be surprised at the way time passes.”

― Thornton Wilder, The Bridge of San Luis Rey


“Throughout the hours of the night, though there had been few to hear it, the whole sky had been loud with the singing of these constellations.”

― Thornton Wilder, The Bridge of San Luis Rey


“the whole purport of literature...is the notation of the heart. Style is but the faintly contemptible vessel in which the bitter liquid is recommended to the world.”

― Thornton Wilder, The Bridge of San Luis Rey


“The public for which masterpieces are intended is not on this earth.”

― Thornton Wilder, The Bridge of San Luis Rey


“He regarded love as a sort of cruel malady through which the elect are required to pass in their late youth and from which they emerge, pale and wrung, but ready for the business of living.”

― Thornton Wilder, The Bridge of San Luis Rey


“The knowledge that she would never be loved in return acted upon her ideas as a tide acts upon cliffs. Her religious beliefs went first, for all she could ask of a god, or of immortality, was the gift of a place where daughters love their mothers; the other attributes of Heaven you could have for a song. Next she lost her belief in the sincerity of those about her. She secretly refused to believe that anyone (herself excepted) loved anyone. All families lived in a wasteful atmosphere of custom and kissed one another with secret indifference. She saw that the people of this world moved about in an armor of egotism, drunk with self-gazing, athirst for compliments, hearing little of what was said to them, unmoved by the accidents that befell their closest friends, in dread of all appeals that might interrupt their long communion with their own desires. These were the sons and daughters of Adam from Cathay to Peru. And when on the balcony her thoughts reached this turn, her mouth would contract with shame for she knew that she too sinned and that though her love for her daughter was vast enough to include all the colors of love, it was not without a shade of tyranny: she loved her daughter not for her daughter's sake, but for her own. She longed to free herself from this ignoble bond; but the passion was too fierce to cope with.”

― Thornton Wilder, The Bridge of San Luis Rey


“But such occasions of excellence became less and less frequent. As her technique became sounder, [her] sincerity became less necessary.”

― Thornton Wilder, The Bridge of San Luis Rey


“[Camila] was quite incapable of establishing any harmony between the claims of her art, of her appetites, or her dreams, and of her crowded daily routine. Each of these was a world in itself.”

― Thornton Wilder, The Bridge of San Luis Rey


“It was full of wounding remarks rather brilliantly said, perhaps said for the sheer virtuosity of giving pain neatly. Each of its phrases found its way through the eyes of the Marquesa, then, carefully wrapped in understanding and forgiveness, it sank into her heart.”

― Thornton Wilder, The Bridge of San Luis Rey


“He divided the inhabitants of this world into two groups, into those who had loved and those who had not. It was a horrible aristocracy, apparently, for those who had no capacity for love (or rather for suffering in love) could not be said to be alive and certainly would not live again after their death. They were a kind of straw population, filling the world with their meaningless laughter and tears and chatter and disappearing still lovable and vain into thin air. For this distinction he cultivated his own definition of love that was like no other and that had gathered all its bitterness and pride from his odd life. He regarded love as a sort of cruel malady through which the elect are required to pass in their late youth and from which they emerge, pale and wrung, but ready for the business of living. There was (he believed) a great repertory of errors mercifully impossible to human beings who had recovered from this illness. Unfortunately there remained to them a host of failings, but at least (from among many illustrations) they never mistook a protracted amiability for the whole conduct of life, they never again regarded any human being, from a prince to a servant, as a mechanical object.”

― Thornton Wilder, The Bridge of San Luis Rey


“Like all solitary persons he had invested friendship with a divine glamour: he imagined that the people he passed on the street, laughing together and embracing when they parted, the people who dined together with so many smiles, you will scarcely believe me, but he imagined that they were extracting from all that congeniality great store of satisfaction.”

― Thornton Wilder, The Bridge of San Luis Rey


“Her religious beliefs went first, for all she could ask of a god, or of immortality, was the gift of a place where daughters love their mothers; the other attributes of Heaven you could have for a song.”

― Thornton Wilder, The Bridge of San Luis Rey


“Henceforth letter-writing had to take the place of all the affection that could not be lived.”

― Thornton Wilder, The Bridge of San Luis Rey


“All of us have failed. One wishes to be punished. One is willing to assume all kinds of penance, but do you know, my daughter, that in love -- I scarcely dare say it -- but in love our very mistakes don't seem to be able to last long?”

― Thornton Wilder, The Bridge of San Luis Rey


“The art of biography is more difficult than is generally supposed.”

― Thornton Wilder, The Bridge of San Luis Rey


“If there were any plan in the universe at all, if there were any pattern in human life, surely it could be discovered mysteriously latent in those lives so suddenly cut off. Either we live by accident and die by accident, or we live by plan and die by plan.”

― Thornton Wilder, The Bridge of San Luis Rey


“It required all his delicate Epicurean education to prevent his doing something about it; he had to repeat over to himself his favorite notions: that the injustice and unhappiness in the world is a constant; that the theory of progress is a delusion; that the poor, never having known happiness, are insensible to misfortune. Like all the rich he could not bring himself to believe that the poor (look at their houses, look at their clothes) could really suffer. Like all the cultivated he believed that only the widely read could be said to know that they were unhappy.”

― Thornton Wilder, The Bridge of San Luis Rey


“On Friday noon, July twentieth, 1714, the finest bridge in all Peru broke and precipitated five travellers into the gulf below.”

― Thornton Wilder, The Bridge of San Luis Rey

“But the love will have been enough; all those impulses of love return to the love that made them. Even memory is not necessary for love. There is a land of the living and a land of the dead and the bridge is love, the only survival, the only meaning.”

― Thornton Wilder, The Bridge of San Luis Rey


“The Marquesa would even have been astonished to learn that her letters were very good, for such authors live always in the noble weather of their own minds and those productions which seem remarkable to us are little better than a day's routine to them.”

― Thornton Wilder, The Bridge of San Luis Rey


“He respected the slight nervous shadow that crossed her face when he came too near her. But there arose out of this denial itself the perfume of a tenderness, that ghost of passion which, in the most unexpected relationship, can make even a whole lifetime devoted to irksome duty pass like a gracious dream.”

― Thornton Wilder, The Bridge of San Luis Rey