Sublime

Coraline had time to observe that the house itself was continuing to change, becoming less distinct, and flattening out, even as she raced down the stairs. It reminded her of a photograph of a house now, not the thing itself.

Nineteen twenty-three was one of Broadway’s brightest years. John Barrymore played Hamlet just a few blocks away from where his sister Ethel was appearing in Romeo and Juliet. Elmer Rice’s The Adding Machine and Pirandello’s Six Characters in Search of an Author also opened. Most critics cited Galsworthy’s Loyalties as the best play of the season.

Some plays, however, were firm favourites, commanding solid audiences for years; these were often rested for a while and successfully revived for further long runs. Chief among these at the Rose Theatre were Christopher Marlowe’s The Jew of Malta and Doctor Faustus and Thomas Kyd’s The Spanish Tragedy. The Rose Theatre was, when plague and governme

‘Hang your reforms!’ said Mr Chichely. ‘There’s no greater humbug in the world. You never hear of a reform, but it means some trick to put in new men.

The stock market had crashed earlier that fall, and Alice thought the ladders her mother valued so highly were made of rotten wood.

Stabilization has nothing to do with divinely imposed practices or holy things. Whatever it is that stabilizes the congregation inside late modernity, it’s not the divine economy of the Eucharist or the ability of the consecrated building to protect from the demonic. Stabilization has almost nothing to do with transcendence.