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...white." When I ask Hybels how important racial reconciliation is to Christianity, he says, "It's absolutely core to the Gospel. It speaks to whether all humans are made in the image of God and have the capability of being redeemed and used by God to perform his work. I'm going to persevere on this for the rest of my life." In December, Willow announced that 80% of its Hispanic attendees were undocumented and had a speaker give a talk explaining "God's heart on immigrants," a positive biblical analysis. Harvey Carey, pastor to a vibrant mixed-race congregation...
...photos in your Year in Pictures issue made me cry [Dec. 21]. I was particularly moved by James Nachtwey's photo of the Afghan amputee and his comments on "veteran" amputees doing physical therapy with those who recently lost a limb. The work of these physical therapists may be repetitive and unspectacular, but it's exactly these acts of mercy that keep the world from falling apart...
...gallery of hustlers, con men and losers; his twisty, shaggy-dog plots; his cynical take on the American dream--Mamet's style and themes have seeped into nearly every pore of American theater. (Non-American theater too: Martin McDonagh, whose Irish black comedies are clear descendants of Mamet's work, has called American Buffalo his favorite play...
...Mamet's reputation as a major playwright rests on a surprisingly slim body of work, rapidly receding into the distance. Only two or three of his plays--American Buffalo (1975), Glengarry Glen Ross (1983) and perhaps his scalding one-act Edmond (1982)--can fairly be called masterpieces. What's more, Mamet, 62, has been on a steady downhill slide for nearly two decades, bottoming out with his labored period piece Boston Marriage, in 1999, and his brutally unfunny political farce November, which landed on Broadway two years...
...turning point for Mamet's theater work, it now appears, was Oleanna, his 1992 play in which a college professor's patronizing efforts to help a female student lead to an unjust charge of sexual harassment. Though the staccato dialogue was Mametspeak at its purest, a political agenda drove the characters in a way it never had any of Mamet's previous slimy, but at least self-directed, small-time crooks or real estate sharpies...