The Unclean Children of God

 

There is not an animal that lives on the Earth, nor a being that flies on its wings, but forms part of communities like you. Nothing have We omitted from the book, and they all shall be gathered to their Lord in the end. ~~ Al-Qur'an 6:38

A conservative Iranian cleric has denounced the "moral depravity" of owning a dog, and called for the arrest of all dogs and their owners.

Dogs are considered unclean in Islamic law and the spread of dog ownership in Westernised secular circles in Iran is frowned upon by the religious establishment.

"I demand the judiciary arrest all dogs with long, medium or short legs - together with their long-legged owners," Hojatolislam Hassani is quoted as saying in the reformist Etemad newspaper.

"In our country there is freedom of speech, but not freedom for corruption," he said.

Religious traditions hold that if a dog - or woman - passes in front of you as you prepare to pray, it pollutes your purity and negates your prayer. Dogs are permissible as watchdogs or for other utilitarian purposes but not simply for companionship.

Tehran journalist Mafiseh Kouhnavand told the BBC that the subject of dog ownership had been brought up many times before.

Hardline judiciary agents and police occasionally clamp down on the practice, fining owners and confiscating their pets from streets and parks. In June, police banned the sale of dogs and penalised anyone walking a dog in public. The practice is seen by conservatives as a corrupting influence of decadent Western culture. But despite the clampdowns, dog ownership has been on the rise, especially among rich Iranians in the north of Tehran.

Hojatolislam Hassani appears to be widening the scope of his anti-canine campaign.

Last year, he publicly thanked police for their policy of exclusively confiscating short-legged dogs in Urumiyeh.

Source: BBC

Image: The fifth century BC seal shows a Persian noblewoman playing a harp for her Maltese dog. The Phoenicians brought this dog from the island of Malta to Asia Minor where it became very popular with wealthy Persians.

Dogs in Islam

Art for the Masses

Ken Danby, recognized as one of the world's foremost realist artists and best-known in Canada for his iconic hockey painting, At The Crease, has died at the age of 67 while canoeing in Algonquin Park.

Born in Sault Ste. Marie, Ont., Danby's vast portfolio includes everything from portraits of famous Canadians to athletes in mid-play and landscape paintings so crystalline that at first glance they resemble photographs.

As an artist, Ken Danby's work was loved more by the people than it was revered by the critics. Although his works were bought by museums, he found his best, most rewarding and lasting appeal among private collectors and purveyors of popular culture. A superb draftsman and a prodigious and prolific artist of his own time, he was a realistic painter who reflected quotidian events, natural landscapes and athletic prowess to mass audiences, rather than an abstract expressionist who created troubling, edgy canvasses for an intellectual elite.

The prolific artist was known as the school artist from the time he was very young. At 18, he enrolled in the Ontario College of Art and Design in Toronto, where one of his teachers was Group of Seven member J. E. H. Macdonald. Other students called him Vincent because of his goatee and the fact that he was a loner who seemed to be obsessive about drawing and painting.

"I was intense and almost fanatical about drawing and did hundreds of studies, mostly in pen, during my first year."

OCAD's preference in abstract expressionism was at odds with his interest in precise figurative drawing, and he left to pursue a number of design jobs before finally launching a free-lance career with Gallery Moos.

Danby's first one-man show in 1964 sold out, an occurrence that would become commonplace as his work proved popular with private, corporate and museum collectors.

His 1972 painting of a masked ice-hockey goalie hunched in the crease is considered by many to be a Canadian national symbol. The anonymous player represents every goalie who has ever waited for a shot to test his or her mettle, but it also captures the tension of that moment when the arena goes silent and fans stop breathing as all become one with the solitary figure down on the ice. As an indication of the painting's significance in popular culture, Mr. Danby put the image on a hockey mask as a fundraiser for spinal cord research and it raised $15,100 (U.S.) at a charity auction on NHL.com in November, 2006.

While many Canadians connect Danby with hockey images, he points out they make up only a dozen images in a long painting career. "I still love the game," he said in a 2002 interview. "I respond to it, so there's that appeal. That there has been such a focus on them in Canada shows that I've tapped into something that has to do with Canada's soul and spirit."

He also has done portraits of Canadian icons such as singer Gordon Lightfoot and former prime minister Pierre Trudeau. And he is renowned for his landscapes, including the 1997 painting Niagara. A retrospective at the Joseph Carrier Gallery in 2004 featured 60 paintings, many capturing Canadian scenes such as Lake Louise. He received many honours, including the Order of Ontario and the Order of Canada.

It is tempting to imagine ironies both cruel and poetic in the death of Mr. Danby, the realist, while canoeing in the same wilderness (although at a different lake) where expressionist landscape painter Tom Thomson drowned 90 years ago. The coincidences and the metaphors may not bear serious scrutiny - they interpreted and represented nature in different ways - but both men loved the wilderness and were exploring its richness when they died suddenly and before their time, causing great shock and grief to their families, friends and admirers.

Ken Danby obituary

Ken Danby official site

The Poetry of Silence

Marcel Marceau, whose lithe gestures and pliant facial expressions revived the art of mime and brought poetry to silence, died in Paris last Saturday. He was 84.

Wearing white face paint, soft shoes and a battered hat topped with a red flower, Marceau, notably through his famed personnage Bip, played the entire range of human emotions onstage for more than 50 years, never uttering a word. Offstage, however, he was famously chatty. "Never get a mime talking. He won't stop," he once said.

A French Jew, Marceau escaped deportation during World War II – unlike his father, who died at Auschwitz – and worked with the French Resistance to protect Jewish children.

He performed tirelessly around the world until late in life, never losing his agility, never going out of style. In one of his most poignant and philosophical acts, "Youth, Maturity, Old Age, Death," he wordlessly showed the passing of an entire life in just minutes.

"Do not the most moving moments of our lives find us without words?" he once said.

Marceau was born Marcel Mangel on March 22, 1923, in Strasbourg, France. His father introduced his son to the world of music and theatre at an early age. The boy adored the silent film stars of the era: Chaplin, Buster Keaton and the Marx brothers.

When the Germans marched into eastern France, he and his family were given just hours to pack their bags. He fled to southwest France and changed his last name to Marceau to hide his Jewish origins. With his brother Alain, Marceau became active in the French Resistance.

In 1944, Marceau's father was sent to Auschwitz, where he died. Later, he reflected on his father's death: "Yes, I cried for him." But he also thought of all the others killed: "Among those kids was maybe an Einstein, a Mozart, somebody who (would have) found a cancer drug," he told reporters in 2000. "That is why we have a great responsibility. Let us love one another.''

When Paris was liberated, Marcel's life as a performer began. He enrolled in Charles Dullin's School of Dramatic Art, studying with the renowned mime Etienne Decroux.

On a tiny stage at the Theatre de Poche, a smoke-filled Left Bank cabaret, he sought to perfect the style of mime that would become his trademark. Bip – Marceau's on-stage persona – was born.

Marceau once said that Bip was his creator's alter ego, a sad-faced double whose eyes lit up with child-like wonder as he discovered the world. Bip was a direct descendant of the 19th century harlequin, but his clownish gestures, Marceau said, were inspired by Chaplin and Keaton.

Marceau likened his character to a modern-day Don Quixote, "alone in a fragile world filled with injustice and beauty."

Dressed in a white sailor suit, a top hat – a red rose perched on top – Bip chased butterflies and flirted at cocktail parties. He went to war and ran a matrimonial service. Single-handedly, Marceau revived the art of mime.

In the past decades, he has taken Bip to from Mexico to China to Australia. He's also made film appearances. The most famous was Mel Brooks' Silent Movie. He had the only speaking line, "Non!''

As he aged, Marceau kept on performing at the same level, never losing the agility that made him famous. On top of his Legion of Honor and his countless honorary degrees, he was invited to be a United Nations goodwill ambassador for a 2002 conference on aging.

"If you stop at all when you are 70 or 80, you cannot go on," he told The AP in an interview in 2003. "You have to keep working.''

October is Fundraise for Farley Month

It's every pet owner's worst nightmare. A beloved pet needs veterinary care, but the owner can't afford treatment. For many seniors and people with disabilities, this scenario is a sad reality.

That's where the Farley Foundation steps in.

The Farley Foundation helps sick and injured pets that belong to low-income seniors and people with disabilities.

The Foundation offers financial assistance to veterinary clinics in Ontario to help cover the cost of providing necessary veterinary care for pets belonging to seniors receiving the Federal Guaranteed Income Supplement or people with disabilities who receive the Ontario Disability Support Payment, and who cannot otherwise afford treatment for their pets.

The Farley Foundation pays tribute to one of Canada's most famous pets. Farley is the Old English sheepdog who appeared in the For Better or For Worse® comic strip. For Better or For Worse® is the charming and poignant chronicle of a Canadian family. Cartoonist Lynn Johnston first introduced the fictional Patterson clan to audiences 21 years ago.

Farley was the first dog I ever owned. As a puppy he was a boundless ball of black and white energy. As an adult, he was a personality, unique unto himself and truly, part of the family.

Owning a dog introduced us to the world of veterinarians, groomers and obedience school - all of which helped us to learn how to care for and understand what owning a pet entails (pun intended). Farley was a wonderful, unforgettable companion, who died but lived on for years in FBorFW.

In 1995, Johnston decided to develop a storyline about the death of Farley, the Patterson's 14-year-old sheepdog. The powerful and moving story received international media coverage. Johnston received more than 2,500 letters from fans. Many were devastated that the beloved dog was written out of the comic strip. Others shared their heartbreaking stories of losing a family pet. After seven years, Farley's loss is still a sentimental subject!

Long after Farley left us, I had the opportunity to work with my husband's sister, a veterinarian in Manitoba. It was Beth who made me so aware of her role in the community. As an "animal doctor", she tended to family pets as well as large farm animals. Every patient was handled with professionalism and sincere consideration for both the animals and their owners. After all, when a member of the family is sick, it affects everyone!

Seeing a worried family greet their healthy pet after a night in the "hospital" was a rewarding sight. Calming someone who had lost a pet was as heartwrenching as any final passage.

Beth did her work for the love of it. When people couldn't pay, they brought us chickens or fresh pies. Never did a patient go untreated - even in the middle of the night, sick animals were treated and cared for. Calves were born, piglets too and abandoned kittens were nursed by hand until they were big enough for adoption.

It was a hard job, and I was part of it for a season, carrying supplies, cutting sutures, holding flashlight and holding hands.

To be asked to help veterinarians to care for pets who, for lack of finances, might be left to suffer is an honour. By lending Farley's name and image to the Farley Foundation, I feel part of this venerable group, and once again, my very first dog, is remembered in a very special way.

More about the Farley Foundation and how to help out here

For Better or For Worse® official website here

More about For Better or For Worse® here

The Kindness of a Stranger

A puppy that seemed destined for the pound and possible death was reunited with his owner late Tuesday.

On August 26, Josh Gomez, a 22-year old music teacher, brought his puppy, Pilot, to the PetFIRST Veterinary Clinic in Duluth, Georgia. Pilot was suffering from parvo, a deadly virus that can kill young animals very quickly. Treatment, which involves providing fluids to prevent dehydration, and managing related symptoms, can be costly.

Three days later, Gomez went to pick up his dog. He paid the vet $1,152, the amount he said the clinic had quoted him. However, Dr. Garry Innocent, the veterinarian, Innocent, however, said he never quoted that figure to Gomez and that the real amount Gomez owed was $1,640. That amount eventually increased to over $2,200, because of boarding costs.

Gomez felt that his dog had been held "hostage", as the clinic refused to release Pilot until all additional costs were paid.

Georgia law allows veterinarians to "dispose of" a pet 10 days after demanding, in writing, that its owner pay the animal's medical bill in full.

In a letter dated Sept. 8, Innocent informed Gomez that if he didn't pay the bill, he would "report this matter to all authorities including Gwinnett County Animal Control for pet abandonment and disposal" and suggested that the puppy might be euthanized. He called Mr. Gomez a "jerk", commenting that "all the twit has to do is pay his bill". PetFIRST does not offer options like payment plan negotiations or Care Credit, a third-party loan for veterinary expenses.

In response to angry e-mails and phone calls that "were disrupting his business", the vet relented and advised that instead of handing the dog over to Animal Control, he would offer Pilot for adoption to one of his "star" clients.

Tuesday, September 18 was the deadline Innocent set for Gomez to make good on his debt.

That afternoon, Carol Diamantis of Brookhaven paid $972 in cash to free Pilot.

Diamantis, Gomez and his attorney, Ed McCrimmon, paid a surprise visit to PetFIRST Animal Hospital late Tuesday. The cash Diamantis ponied up Tuesday afternoon settles the bill once and for all, according to the vet.
Diamantis said she stepped forward after reading news accounts of the pet's possible demise. "If I was in the position, I would hope somebody would help me out," said Diamantis, who brought her two sons with her.

The surprise visit prompted further theatrics, and the vet demanded that Pilot's bill be paid in cash before the dog would be handed over. McCrimmon, Gomez's lawyer, even called the Duluth police — to make sure the exchange took place, he said. Finally, a vet tech handed Pilot to his owner.

The dog jumped into Gomez's arms, his tail wagging. Gomez beamed. So did everybody else.

"I feel better than ever," said Josh Gomez, as he petted and hugged his puppy, Pilot, in the parking lot outside PetFIRST Animal Hospital in Duluth, Georgia. "I'm just glad it's done."

Credits: Ben Smith at Atlanta Journal - Constitution; Jason Getz, photography

L'enfer c'est les Autres

When French playwright Jean-Paul Sartre's contemporary existential masterpiece for stage, Huis Clos (No Exit) was first produced, theatre audiences and critics alike were disturbed by its unsympathetic characters and unrelentingly bleak thesis—succinctly stated by Garcin, the journalist-coward trapped in a room with two other craven individuals, all fated to act as each other's torturers for eternity—"Hell is other people."

The three damned souls - Garcin the army deserter and philanderer, Inez the lesbian who turned a wife against her husband, and Estelle the gold-digger and cheat - are ushered into a Second Empire style drawing room. They realize that they are in hell, and they fully expect to meet with the wrath of Satan and his minions.

Instead, they are politely shepherded into the single room together, one by one, after which the door is locked behind them. Quickly, they realize the hideous truth of their collective situation - each individual is to act as the torturer of the other two.
Resisting this fate, they decide they must fully understand and forgive each others' sins in order to find salvation. As each character's personal web of deceit unravels, they are all forced to face their own true nature.

---

ESTELLE: Ah yes, in your mind. But everything that goes on in one's head is so vague, isn't it? It makes one want to sleep. I've six big mirrors in my bedroom. There they are. I can see them. But they don't see me. They're reflecting the carpet, the settee, the window-- but how empty it is, a glass in which I'm absent! When I talked to people I always made sure there was one near by in which I could see myself. I watched myself talking. And somehow it kept me alert, seeing myself as the others saw me...Oh dear! My lipstick! I'm sure I've put it on all crooked. No, I can't do without a looking-glass for ever and ever. I simply can't.

INEZ:Suppose I try to be your glass? Come and pay me a visit, dear. Here's a place for you on my sofa.

---

The barriers come down, the denials fade, all attempts to self-justify are shot down, and the ugly truth of each sinner is revealed.

---

GARCIN: Will night never come?

INEZ: Never.

GARCIN: You will always see me?

INEZ: Always.

GARCIN: This bronze. Yes, now's the moment; I'm looking at this thing on the mantelpiece, and I understand that I'm in hell. I tell you, everything's been thought out beforehand. They knew I'd stand at the fireplace stroking this thing of bronze, with all those eyes intent on me. Devouring me. What? Only two of you? I thought there were more; many more. So this is hell. I'd never have believed it. You remember all we were told about the torture-chambers, the fire and brimstone, the "burning marl." Old wives' tales!There's no need for red-hot pokers. HELL IS--OTHER PEOPLE!

ESTELLE: My darling! Please-

GARCIN: No, let me be. She is between us. I cannot love you when she's watching.

ESTELLE: Right! In that case, I'll stop her watching. (She picks up the PAPER knife and stabs Inez several times.)

INEZ: But, you crazy creature, what do you think you're doing? You know quite well I'm dead.

ESTELLE: Dead?

INEZ: Dead! Dead! Dead! Knives, poison, ropes--useless. It has happened already, do you understand? Once and for all. SO here we are, forever.

ESTELLE: Forever. My God, how funny! Forever.

GARCIN: For ever, and ever, and ever.

(A long silence.)

GARCIN: Well, well, let's get on with it...

---

First produced in Paris, 1944, Jean Paul Sartre's famous one-act play Huis Clos is his clearest dramatic metaphor for his philosophy: We all hold the power of choice, and with that power comes the responsibility of consequence. It is in the judgement of our peers that the truth lies about who we really are.

Updating animal legislation from 1892

In recent months, a number of high-profile animal abuse cases across the country has made many Canadians aware of how woefully inadequate and outdated Canada’s laws against animal cruelty are.

These well-publicized incidents have prompted thousands of Canadians to sign petitions and write letters to Members of Parliament demanding reform of our animal cruelty laws, which have changed very little since 1892.

There are currently two private members’ bills before Parliament to reform the Criminal Code sections on animal cruelty.

Bill C-373, introduced by Mark Holland, M.P. for Ajax-Pickering, is a comprehensive bill that not only increases penalties, but also closes off the many loopholes that allow animal abusers to walk away scot-free. Currently only one quarter of 1 % of animal cruelty complaints actually result in conviction.

Bill C-373 has the support of such major animal welfare organizations as the Canadian Federation of Humane Societies (CFHS), the International Fund for Animal Welfare (IFAW) and the Canadian Veterinary Medical Association (CVMA).

However, hunting and animal industry groups are supporting rival Bill S-213, which substantially keeps in place laws from 1892. This bill, introduced by Senator John Bryden, is opposed by the major animal welfare organizations.

What can you do?

To learn about the differences between Bill C-373 and Bill S-213, read Mark Holland's article which was published in the September 2007 issue of Canadian Pets & Animals Magazine.

Inform yourself about animal cruelty issues and why Canadian law needs to change.

Share your views with your MP, and tell him or her that you want to see an effective bill passed.

Write to newspapers and discuss the issue with friends and on online forums.

Write to Justice Minister Rob Nicholson and tell him that you are not satisfied with Bill S-213.

Write to the Senators and urge them not to pass S-213 in its present form when it is reintroduced under a new number in the new session of Parliament.

Visit Mark Holland's website for their contact information.

Mother Teresa's Dark Night of the Soul

On Dec. 11, 1979, Mother Teresa, the "Saint of the Gutters," went to Oslo. Dressed in her signature blue-bordered sari and shod in sandals despite below-zero temperatures, the former Agnes Bojaxhiu received that ultimate worldly accolade, the Nobel Peace Prize. In her acceptance lecture, Teresa, whose Missionaries of Charity had grown from a one-woman folly in Calcutta in 1948 into a global beacon of self-abnegating care, delivered the kind of message the world had come to expect from her. "It is not enough for us to say, 'I love God, but I do not love my neighbor,'" she said, since in dying on the Cross, God had "[made] himself the hungry one — the naked one — the homeless one." Jesus' hunger, she said, is what "you and I must find" and alleviate. Finally, she suggested that the upcoming Christmas holiday should remind the world "that radiating joy is real" because Christ is everywhere — "Christ in our hearts, Christ in the poor we meet, Christ in the smile we give and in the smile that we receive."

Yet less than three months earlier, in a letter to a spiritual confidant, the Rev. Michael van der Peet, that is only now being made public, she wrote with weary familiarity of a different Christ, an absent one. "Jesus has a very special love for you," she assured Van der Peet. "[But] as for me, the silence and the emptiness is so great, that I look and do not see, — Listen and do not hear — the tongue moves [in prayer] but does not speak ... I want you to pray for me — that I let Him have [a] free hand."

The two statements, 11 weeks apart, are extravagantly dissonant. The first is typical of the woman the world thought it knew. The second sounds as though it had wandered in from some 1950s existentialist drama. Together they suggest a startling portrait in self-contradiction — that one of the great human icons of the past 100 years, whose remarkable deeds seemed inextricably connected to her closeness to God and who was routinely observed in silent and seemingly peaceful prayer by her associates as well as the television camera, was living out a very different spiritual reality privately, an arid landscape from which the deity had disappeared.

And in fact, that appears to be the case. A new, innocuously titled book, Mother Teresa: Come Be My Light (Doubleday), consisting primarily of correspondence between Teresa and her confessors and superiors over a period of 66 years, provides the spiritual counterpoint to a life known mostly through its works. The letters, many of them preserved against her wishes (she had requested that they be destroyed but was overruled by her church), reveal that for the last nearly half-century of her life she felt no presence of God whatsoever — or, as the book's compiler and editor, the Rev. Brian Kolodiejchuk, writes, "neither in her heart or in the eucharist."

That absence seems to have started at almost precisely the time she began tending the poor and dying in Calcutta, and — except for a five-week break in 1959 — never abated. Although perpetually cheery in public, the Teresa of the letters lived in a state of deep and abiding spiritual pain. She compares the experience to hell and at one point says it has driven her to doubt the existence of heaven and even of God. She is acutely aware of the discrepancy between her inner state and her public demeanor. "The smile," she writes, is "a mask" or "a cloak that covers everything." Says the Rev. James Martin, an editor at the Jesuit magazine America and the author of My Life with the Saints, a book that dealt with far briefer reports in 2003 of Teresa's doubts: "I've never read a saint's life where the saint has such an intense spiritual darkness. No one knew she was that tormented."

The church anticipates spiritually fallow periods. Indeed, the Spanish mystic St. John of the Cross in the 16th century coined the term the "dark night" of the soul to describe a characteristic stage in the growth of some spiritual masters. Teresa's may be the most extensive such case on record. (The "dark night" of the 18th century mystic St. Paul of the Cross lasted 45 years; he ultimately recovered.) Teresa found ways, starting in the early 1960s, to live with it and abandoned neither her belief nor her work. Her faith-filled perseverance might have been her most spiritually heroic act.

Come Be My Light is that rare thing, a posthumous autobiography that could cause a wholesale reconsideration of a major public figure — one way or another. It raises questions about God and faith, the engine behind great achievement, and the persistence of love, divine and human. That it does so not in any organized, intentional form but as a hodgepodge of desperate notes not intended for daylight should leave readers only more convinced that it is authentic — and that they are, somewhat shockingly, touching the true inner life of a modern saint.

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