The Arctic coastal plains are flat, stretching from the mountains to the sea. The lines shimmer with beauty. The social view of beauty thinks something is missing in this flatness. In between is nothing. But in between is the space where imaginations live and souls dance. There’s so much more to see than flat. The flat distance offers the middle view. The middle view that’s missing is something that takes effort to see.
The specifics of what transpires under the surface of the soil are largely unknown. When uprooted at the end of the growing season, my seven-foot-tall okra plants showed strong but at the most only twelve-inch roots. Perennials and other plants may truly look dead, yet the root lives and continues to prepare for the next season of fruitful beauty.
It is the same with our souls. We cannot see all that is being worked out below the surface. The strength of what lies beneath is able to sustain, support, and give life to great things.
I dream of the world as sacred space — as a living cathedral. Man-made cathedrals merely echo the natural world with its soaring sequoias, canyons, oceans, mountain peaks. This world was made by a Maker who loves and enters the creation to know it from the inside. This Maker is not aggressive or possessive as we humans understand Him, but is rather hidden, loving, generous to a fault.
“Through beauty,” Fellows surmises, “we are led to a joy which belongs to another world.” Walking out of the theater after viewing Moonrise Kingdom, I carried with me the joy of a determined color story. Anderson’s choice of warm, desaturated colors intensified a feeling of nostalgia for childhood. Every shot is elaborately self-conscious recreating a childhood longing for fantasy worlds. The real genius of Wes Anderson, in my opinion, is his story of color.