These are snapshots, not longitudinal documentaries, but in the way of good snapshots, they tell more than one might notice at first glance, and they allow for cautious universalizing. Senior quotes the sociologist Viviana A. Raising children is terribly hard work, often thankless and mind-numbing, and yet the most rapturous experience available to adults.
Senior begins with the supposition that parents are both happier and more miserable than nonparents, that child rearing dictates a wider emotional range than people have generally known before it. She tackles the problem of ambivalence, demonstrating that most parenting stresses its participants to their limits, no matter how much they love their children.
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Salted with insights and epigrams, the book is argued with bracing honesty and flashes of authentic wisdom. That reflects and occasions the evolution of childhood. Children alter the adult relationships into which they obtrude. Fathers, on the other hand, spend three times as many hours with their children now as they did then, but do better at keeping some downtime reserved for themselves; they do not judge themselves the way mothers do, and experience few of the pressures that make women feel so guilty about being away from home during the workday.
This loss can throw parents back on their own inner lives, and self-examination can be painful. Its episodes seem self-contained, not always in full discourse with one another, and some cry out to be expanded.
Not only that, but action is much easier to film than to write. I interviewed Taylor for the January edition of The Big Thrill , the International Thriller Writers monthly e-zine, and specifically asked her about this unusual character-driven action thriller. Jack is the calm, reasoned twin—perfectly capable of action but wanting a plan first. I think of him as any smart special-ops guy: gather intel, make a plan, execute the plan.
Her deep anger at her family coupled with a deep sense of survival and loyalty was brilliantly portrayed. Taylor seamlessly transitions and only uses flashbacks to highlight a skill or situation that defined one of our characters and is critical to the plot. Jack—ever prepared—had an escape plan even with the unpredictability of the attack. Jill reflects on this—and the past.
She could feel each step, dulled by insulation, and knew it was gut instinct and imagination filling in for lack of sight. Panic and claustrophobia might have risen had the scenario not already been so familiar. The end of this chapter smoothly segues into the next brief chapter, when Jack and Jill were five years old and living in another country, ordered to stay in a coffin for hours by their mother.
This was part of their training and shows so much character in two pages about all three of them, through the eyes of a young girl.
Each flashback scene is brief and subtle even as it hits us hard how these kids were raised. At times in our own struggles, we may move between these worlds, sometimes seeking equanimity and sometimes crying out. The Book of Job itself gives no comment about its authorship or date.
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Linguistic clues and allusions suggest that it was written after the Babylonian Exile , during the Persian Period 6th-4th centuries BCE. However, given the highly stylized, literary Hebrew of Job, considered to be the most complex of any book of the Bible, it is very difficult for scholars to date definitively. Furthermore, we do not know whether one author wrote both the prose and poetic versions of Job, or whether they are the product of different hands later woven into a single text.
Comprised of the Mishnah and the Gemara, it contains the opinions of thousands of rabbis from different periods in Jewish history. The book of Job challenges the simple equation of suffering with punishment, by telling the story of one righteous man's confrontation with overwhelming misfortune.
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Job, the Protester vs. Job, the Stoic In the prose text, the reader is left with no questions: God is entirely righteous, and suffering is to be born in reverent silence.
Jesus invites us to abandon the polarities of either and or in order to embrace the difficult, wondrous dissonance of and. The incarnation—the paradox of God made human—teaches us to look for God in the and of body and spirit, heaven and earth. In the kingdom, God often hides in plain sight and announces his triumph on the back of a donkey. In the paradox of grace, we receive life eternal by actively participating in death.
And lament, with its clear-eyed appraisal of suffering alongside its commitment to finding audience with God, is a paradoxical practice of faith.