"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]


Tuesday, May 20, 2025

Odes to Youth



An Ode to Youth
by R.E. Slater


I said to my heart, To thy own self be true -
Remain untamed, let thy fountainhead flow true!

When rising on morning's restless ascendency -
May thy youth burn bright across the zenith hours!

Come like mighty Atlas, on God's golden promise -
Come to tame, to lead, but never with head bowed!

Let youth's feats know no lack of endurance -
Be boundless thy exuberance against all thy defeats!

Remember not to misplace thyself on faraway hills -
Stay to your own pathways, mistrusting all temptation!

Greet the dewy morning colours as thy biding friend -
Let the warming sun encourage! Yeah, brighten thy soul!

Like the cooling streams gathering on rising noon -
Do not let the vague hours dissemble nor dissuade!

And when grey shadows creep up pay especial notice -
Forbidding their distraction on evening's coming twilight!

'Een the massing depths o'er long, passing years -
Embrace thee every wisdom as hoary age might impart!

And when youth's journeys have cast far and wide -
Remain ye unbowed, thy laurels, keepsakes, and crowns!

Though time slips away, slips away, towards it's end -
I pray thee, ardent youth, never fail me in shadow's fall!

Let thy spirit's flame blaze undimmed it's golden age -
As my abiding testament to youth's burning flame!

Never dimming, never dying, timeless scion's beauty -
Never, never, never! Let fair youth grow old!


R.E. Slater
May 20, 2025

@copyright R.E. Slater Publications
all rights reserved


* * * * * * * *


poet Kahlil Gibran

Youth and Age
by Kahlil Gibran (1883 - 1931)


In my youth the heart of dawn was in my heart, and the songs of April were in my ears.

But my soul was sad unto death, and I knew not why. Even unto this day I know not why I was sad.

But now, though I am with eventide, my heart is still veiling dawn,

And though I am with autumn, my ears still echo the songs of spring.

But my sadness has turned into awe, and I stand in the presence of life and life’s daily miracles.

The difference between my youth which was my spring, and these forty years, and they are my autumn, is the very difference that exists between flower and fruit.

A flower is forever swayed with the wind and knows not why and wherefore.

But the fruit overladen with the honey of summer, knows that it is one of life’s home-comings, as a poet when his song is sung knows sweet content,

Though life has been bitter upon his lips.

In my youth I longed for the unknown, and for the unknown I am still longing.

But in the days of my youth longing embraced necessity that knows naught of patience.

Today I long not less, but my longing is friendly with patience, and even waiting.

And I know that all this desire that moves within me is one of those laws that turns universes around one another in quiet ecstasy, in swift passion which your eyes deem stillness, and your mind a mystery.

And in my youth I loved beauty and abhorred ugliness, for beauty was to me a world separated from all other worlds.

But now that the gracious years have lifted the veil of picking-and-choosing from over my eyes, I know that all I have deemed ugly in what I see and hear, is but a blinder upon my eyes, and wool in my ears;

And that our senses, like our neighbors, hate what they do not understand. 

And in my youth I loved the fragrance of flowers and their color. 

Now I know that their thorns are their innocent protection, and if it were not for that innocence they would disappear forevermore.

And in my youth, of all seasons I hated winter, for I said in my aloneness, “Winter is a thief who robs the earth of her sun-woven garment, and suffers her to stand naked in the wind.” 

But now I know that in winter there is re-birth and renewal, and that the wind tears the old raiment to cloak her with a new raiment woven by the spring. 

And in my youth I would gaze upon the sun of the day and the stars of the night, saying in my secret, “How small am I, and how small a circle my dream makes.”

But today when I stand before the sun or the stars I cry, “The sun is close to me, and the stars are upon me;” for all the distances of my youth have turned into the nearness of age; 

And the great aloneness which knows not what is far and what is near, nor what is small nor great, has turned into a vision that weighs not nor does it measure. 

In my youth I was but the slave of the high tide and the ebb tide of the sea, and the prisoner of half moons and full moons. 

Today I stand at this shore and I rise not nor do I go down. 

Even my roots once every twenty-eight days would seek the heart of the earth.

And on the twenty-ninth day they would rise toward the throne of the sky. 

And on that very day the rivers in my veins would stop for a moment, and then would run again to the sea. 

Yes, in my youth I was a thing, sad and yielding, and all the seasons played with me and laughed in their hearts.

And life took a fancy to me and kissed my young lips, and slapped my cheeks. 

Today I play with the seasons. And I steal a kiss from life’s lips ere she kisses my lips. 

And I even hold her hands playfully that she may not strike my cheek. 

In my youth I was sad indeed, and all things seemed dark and distant. 

Today, all is radiant and near, and for this I would live my youth and the pain of my youth, again and yet again.

* * * * * * * *


Poet Adam Micklewicz

Ode to Youth
by Adam Mickiewicz (1798 - 1855)
translated by Jarek Zawadzki


No Heart, no Spirit – Lo! cadaverous crowds!
O Youth! Pass me thy wings,
And let me o’er the dead earth soar;
Let me vanish in delusion’s clouds,
Where many the Zeal begets a wonder
And grows a flower of novelty up yonder,
Adorned in Hope’s enamellings.

Who by his elder age shall darkened be
His toilsome forehead to the ground bent low,
Let him no more perceive or know
Than his thus lowered selfish eyes may see.

Youth! Up and over the horizons rise,
And smoothly penetrate
With Thy all-seeing eyes
The nations small and great.

Lo there! The space of dearth,
Where putrid vapors in the chaos wrestle:
’Tis Earth!
Up from the waters where the dead wind blows
A shell-clad Reptile rose.
He is his own rudder, sailor and vessel.
He often dives and rises up with little trouble,
For some smaller brutes he craves,
The waves cleave not to him nor he to the waves;
And suddenly he bumps upon a rock and bursts like a bubble.
Nobody knew his life, and of his death nobody wists.
Egoists!

Oh Youth! The ambrosia of life be Thine
When I with friends do share the time so sweet
When youthful hearts at heav’nly feasting meet
And golden threads around them all entwine.

En masse, Young Friends!
In happiness our ends.
Strong in unison, reasoned in rage:
Move on, Young Friends!
And happy he that perished in the strife
If for the others he’d prepared the stage
Of fame and honored life.
En masse, Young Friends!
Though steep and icy be our path
Though force and frailty guard the door:
When force is used, with force respond and wrath;
While young, upon our frailty wage a war.

Who, as a child, detached foul Hydra’s head,
In Youth, shall strangle Centaurs even;
Snatch victims from the Devil dread,
And for the laurels march to Heaven.

Up and reach the places out of sight,
Break that to which the brain can do no harm!
Youth! Mighty as an eagle’s is Thy flight,
As a thunderbolt – Thine arm!

Hey, arm to arm! by chains
Let’s bind the earth around;
To one focus bring each sound,
To one focus spirits bring and brains!

Move on, Thou Clod! Leave the foundations of the world!
We’ll make Thee roll where Thou hast never rolled,
When finally vanishes from Thee the mold,
Green years shall be once more, Thy sails unfurled.

Since in the land of darkness and of night,
The Elements have fallen out;
By a simple “Let there be”, due to Heaven’s might,
The world of things is made;
Gales are blowing, shelters give no shade,
And soon the stars will brighten Heaven all about;

While in the land of men a night so dumb,
The elements of Will are yet at war;
But Love shall soon burst forth like fire;
Out of the dark, the world of Soul will come,
In Youth’s conceived desire,
By friendship braced forever more.

The ice, so long unmoved, is bursting now,
With superstitions that have dimmed the light.
Hail, Dawn of Liberty! Oh, Long live Thou!
Thou carriest the Redeeming Sun so bright.


* * * * * * * *


poet William Wordsworth

Ode: Intimations of Immortality
from Recollections of Early Childhood
by William Wordsworth (1770 - 1850)

   The child is father of the man;
And I could wish my days to be
   Bound each to each by natural piety.
          (Wordsworth, "My Heart Leaps Up")

There was a time when meadow, grove, and stream,
       The earth, and every common sight,
                          To me did seem
                      Apparelled in celestial light,
            The glory and the freshness of a dream.
It is not now as it hath been of yore;—
                      Turn wheresoe'er I may,
                          By night or day.
The things which I have seen I now can see no more.

                      The Rainbow comes and goes,
                      And lovely is the Rose,
                      The Moon doth with delight
       Look round her when the heavens are bare,
                      Waters on a starry night
                      Are beautiful and fair;
       The sunshine is a glorious birth;
       But yet I know, where'er I go,
That there hath past away a glory from the earth.

Now, while the birds thus sing a joyous song,
       And while the young lambs bound
                      As to the tabor's sound,
To me alone there came a thought of grief:
A timely utterance gave that thought relief,
                      And I again am strong:
The cataracts blow their trumpets from the steep;
No more shall grief of mine the season wrong;
I hear the Echoes through the mountains throng,
       The Winds come to me from the fields of sleep,
                      And all the earth is gay;
                           Land and sea
                Give themselves up to jollity,
                      And with the heart of May
                 Doth every Beast keep holiday;—
                      Thou Child of Joy,
Shout round me, let me hear thy shouts, thou happy Shepherd-boy.

Ye blessèd creatures, I have heard the call
      Ye to each other make; I see
The heavens laugh with you in your jubilee;
      My heart is at your festival,
            My head hath its coronal,
The fulness of your bliss, I feel—I feel it all.
                      Oh evil day! if I were sullen
                      While Earth herself is adorning,
                         This sweet May-morning,
                      And the Children are culling
                         On every side,
In a thousand valleys far and wide,
                      Fresh flowers; while the sun shines warm,
And the Babe leaps up on his Mother's arm:—
                      I hear, I hear, with joy I hear!
                      —But there's a Tree, of many, one,
A single field which I have looked upon,
Both of them speak of something that is gone;
                      The Pansy at my feet
                      Doth the same tale repeat:
Whither is fled the visionary gleam?
Where is it now, the glory and the dream?

Our birth is but a sleep and a forgetting:
The Soul that rises with us, our life's Star,
                      Hath had elsewhere its setting,
                         And cometh from afar:
                      Not in entire forgetfulness,
                      And not in utter nakedness,
But trailing clouds of glory do we come
                      From God, who is our home:
Heaven lies about us in our infancy!
Shades of the prison-house begin to close
                      Upon the growing Boy,
But he beholds the light, and whence it flows,
                      He sees it in his joy;
The Youth, who daily farther from the east
                      Must travel, still is Nature's Priest,
                      And by the vision splendid
                      Is on his way attended;
At length the Man perceives it die away,
And fade into the light of common day.

Earth fills her lap with pleasures of her own;
Yearnings she hath in her own natural kind,
                      And, even with something of a Mother's mind,
                      And no unworthy aim,
The homely Nurse doth all she can
To make her Foster-child, her Inmate Man,
                      Forget the glories he hath known,
And that imperial palace whence he came.

Behold the Child among his new-born blisses,
A six years' Darling of a pigmy size!
See, where 'mid work of his own hand he lies,
Fretted by sallies of his mother's kisses,
With light upon him from his father's eyes!
See, at his feet, some little plan or chart,
Some fragment from his dream of human life,
Shaped by himself with newly-learn{e}d art
                      A wedding or a festival,
                      A mourning or a funeral;
                         And this hath now his heart,
                      And unto this he frames his song:
                         Then will he fit his tongue
To dialogues of business, love, or strife;
                      But it will not be long
                      Ere this be thrown aside,
                      And with new joy and pride
The little Actor cons another part;
Filling from time to time his "humorous stage"
With all the Persons, down to palsied Age,
That Life brings with her in her equipage;
                      As if his whole vocation
                      Were endless imitation.

Thou, whose exterior semblance doth belie
                      Thy Soul's immensity;
Thou best Philosopher, who yet dost keep
Thy heritage, thou Eye among the blind,
That, deaf and silent, read'st the eternal deep,
Haunted for ever by the eternal mind,—
                      Mighty Prophet! Seer blest!
                      On whom those truths do rest,
Which we are toiling all our lives to find,
In darkness lost, the darkness of the grave;
Thou, over whom thy Immortality
Broods like the Day, a Master o'er a Slave,
A Presence which is not to be put by;
Thou little Child, yet glorious in the might
Of heaven-born freedom on thy being's height,
Why with such earnest pains dost thou provoke
The years to bring the inevitable yoke,
Thus blindly with thy blessedness at strife?
Full soon thy Soul shall have her earthly freight,
And custom lie upon thee with a weight,
Heavy as frost, and deep almost as life!

                      O joy! that in our embers
                      Is something that doth live,
                      That Nature yet remembers
What was so fugitive!
The thought of our past years in me doth breed
Perpetual benediction: not indeed
For that which is most worthy to be blest;
Delight and liberty, the simple creed
Of Childhood, whether busy or at rest,
With new-fledged hope still fluttering in his breast:—
                      Not for these I raise
                      The song of thanks and praise
                But for those obstinate questionings
                Of sense and outward things,
                Fallings from us, vanishings;
                Blank misgivings of a Creature
Moving about in worlds not realised,
High instincts before which our mortal Nature
Did tremble like a guilty thing surprised:
                      But for those first affections,
                      Those shadowy recollections,
                Which, be they what they may
Are yet the fountain-light of all our day,
Are yet a master-light of all our seeing;
                Uphold us, cherish, and have power to make
Our noisy years seem moments in the being
Of the eternal Silence: truths that wake,
                To perish never;
Which neither listlessness, nor mad endeavour,
                      Nor Man nor Boy,
Nor all that is at enmity with joy,
Can utterly abolish or destroy!
                Hence in a season of calm weather
                      Though inland far we be,
Our Souls have sight of that immortal sea
                      Which brought us hither,
                Can in a moment travel thither,
And see the Children sport upon the shore,
And hear the mighty waters rolling evermore.

Then sing, ye Birds, sing, sing a joyous song!
                      And let the young Lambs bound
                      As to the tabor's sound!
We in thought will join your throng,
                      Ye that pipe and ye that play,
                      Ye that through your hearts to-day
                      Feel the gladness of the May!
What though the radiance which was once so bright
Be now for ever taken from my sight,
                Though nothing can bring back the hour
Of splendour in the grass, of glory in the flower;
                      We will grieve not, rather find
                      Strength in what remains behind;
                      In the primal sympathy
                      Which having been must ever be;
                      In the soothing thoughts that spring
                      Out of human suffering;
                      In the faith that looks through death,
In years that bring the philosophic mind.
And O, ye Fountains, Meadows, Hills, and Groves,
Forebode not any severing of our loves!
Yet in my heart of hearts I feel your might;
I only have relinquished one delight
To live beneath your more habitual sway.
I love the Brooks which down their channels fret,
Even more than when I tripped lightly as they;
The innocent brightness of a new-born Day
                      Is lovely yet;
The Clouds that gather round the setting sun
Do take a sober colouring from an eye
That hath kept watch o'er man's mortality;
Another race hath been, and other palms are won.
Thanks to the human heart by which we live,
Thanks to its tenderness, its joys, and fears,
To me the meanest flower that blows can give
Thoughts that do often lie too deep for tears.


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