If you ever visit Masaka, Uganda, and serendipitously meet a boy named Keith Augustus Burton, what is the first thing that would come to your mind? There actually is an infant in the region who bears that name, but if I could borrow some words from the late Michael Jackson, I need you to know that “the kid is not my son!” Then is this just a coincidence? Absolutely not! Well, if it’s not a fluke occurrence, how can it be explained?
While Georges Polti presents an argument for as many as thirty-six predictable plots in literature,[i] I tend to agree with Foster-Harris’ trinitarian understanding of a single plot that is characterized by one of three “types” of development.[ii] The first two are self-explanatory: “Type A, happy ending” and “Type B, sad ending.” “Type C” is more complex, with the “ending” occurring at the beginning of the narrative, and the explanation provided as the narrative develops.
How do we speak with integrity about sustainable development amongst a culture that embraces a worldview of disintegration? Let me explain. From a Seventh-day Adventist perspective, the failing world is heading towards destruction, and only the power of the Christ can implement real and lasting change. When the future is viewed through our apocalyptic lenses, it is the perpetrators of global warming who score the final goal.
I wonder how many people believed President Clinton when he looked into the camera and with a steeled face and a semblance of righteous indignation declared to the American people, “I did not have sexual relations with that woman.” Just in case people did not know “which” of his accusers he was referencing, he was clear to specify “Miss Lewinsky.” Or maybe he didn’t really intend to be specific—there are thousands of “Miss Lewinskys” out there who never even knew him. I’m surprised he never used this line of logic when being questioned by the grand jury.
This year, the prestigious Morehouse College was among the fortunate few to be afforded the privilege of having a sitting president deliver the graduation address. Thousands sat reverently in the open arena as the stubborn drizzle soaked their newly acquired garments. The gray skies and persistent precipitation were not enough to damp the spirits of the graduates and celebrants who were transfixed on the one whose presence transformed a routine event into an unforgettable moment.
In the spring of 2005, my attention was curiously piqued by two major train wrecks in Asia. The first occurred during rush-hour in Tokyo on Monday, April 25, when an intercity train derailed with such force that it became embedded in the ground floor garage of an apartment complex. Investigators concluded that the crash occurred when the driver attempted to manoeuver a curve at 100km/h at a point on the track when the maximum speed was 70km/h.
George Orwell’s Nineteen Eighty-Four encompasses powerful social commentary that eerily portrays the reality of contemporary American society. The invisible Big Brother makes his presence felt through the totalitarian Party that is committed to the enforcement of mind control and is quick to criminalize independent thinkers for their thoughtcrimes. In the modern American context, Big Brother’s Party enjoys the support of both donkey and elephant and feels equally at home in a red or blue environment.
Bob Marley will probably be remembered as one of the greatest social prophets of the twentieth century. As a result of the enduring popularity of his lyrical and musical compositions, many of his moving creations have been embraced as classics that will withstand the whims of popular ditties whose only purpose is to temporarily excite. Those who have studied the lyrics to his socially conscious songs are fully aware that this son of St. Anne, Jamaica was gifted with a unique ability to expose the negative while elevating the positive.
Carlos Raphael of Louisville, Kentucky graciously granted me permission to use one of his artistic creations for the cover design of my book, The Faith Factor. Titled “Ms. Rosa in Strength,” the painting depicts the painful struggle for Black liberation in the United States of America during the Civil Rights era of the 1950s and 60s. At the center of the otherwise somber collage is the profile of a colorful and jovial Rosa Parks who is encircled by strategically placed sepia portrayals of three contemplative religious icons of the movement: Dr.