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...noontime everyone paused to recite the Angelis, a prayer to Mary. At about 1 p.m. they broke for lunch, followed by a 1:30 get-together. Every member says a Rosary daily - usually in the afternoon. Anglada then met privately with one of the fellows of the Center for a chat on spiritual direction. At 6:20 p.m. all the fellows silently assembled in the chapel for more meditation and prayer. One of the fellows recited prayers in Latin, and at 6:30 came the reciting of the Preces, which fellows call "the universal prayer of the work...

Author: /time Magazine | Title: A Day With Opus Dei | 4/21/2006 | See Source »

...some ways The DaVinci Code is a blessing. It's brought attention to us, but people can now see that we are not the strange birds they thought we were. But I'll say that if you want to be a member of Opus Dei and you don't follow the doctrine, you'll have to change...

Author: /time Magazine | Title: A Day With Opus Dei | 4/21/2006 | See Source »

...socially conscious apparel line for men and women, in the spring of 2005 with a mission to bring fair employment and trade to the attention of the fashion industry. They also wanted their clothes to look good. "We want it to be a business model that people will follow. People want fair trade, but they don't want hair shirts," says Hewson, who is involved in Edun Live, a project that aims to provide immediate job growth in African communities through a merchandising program selling organic cotton T shirts for use as promotional items...

Author: /time Magazine | Title: Who's Who: The Eco-Guide | 4/20/2006 | See Source »

...down interview at The Crimson, the new chief executive of the Harvard Management Company (HMC), Mohamed A. El-Erian, squelched speculation that the University would follow the path of peer institutions—including Yale—that hire outside firms to steer their endowments...

Author: By Cyrus M. Mossavar-rahmani, CRIMSON STAFF WRITER | Title: El-Erian Works To Remake HMC | 4/20/2006 | See Source »

...artist with the intention of spending time at a place like Harvard. In fact, as a South African artist in the late 1960s and 1970s, Stopforth consciously chose to engage with the politics and issues of his region, rather than, as some of his contemporaries were doing, trying to follow the art world trends in Europe and New York. He reflects that “there was a real line drawn between those who thought my work was very powerful and relevant, and those who thought I was corrupting art by engaging with specific political and social issues...

Author: By Zoe M. Savitsky, CONTRIBUTING WRITER | Title: Paul Stopforth | 4/20/2006 | See Source »

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