Sometimes a room is so dark that
to flood it with a beacon would blind all inside it
The room needs the light but
You don’t want to hurt those sitting silent within
Sometimes a room is so dark that
to flood it with a beacon would blind all inside it
The room needs the light but
You don’t want to hurt those sitting silent within
I’ve been thinking a lot about glory recently. I can’t really pin down what exactly started it. Politicians seeking it, athletes chasing it, people wanting it, and at the same time it feels like nobody it getting any and everyone is getting some. Whether or not these people deserve it is another argument altogether, and one I know I am wholly unequipped and unqualified to do to.
The idea has been bouncing around in my head for a little while. And when I was gifted C.S. Lewis’ The Great Divorce for Christmas, I didn’t really expect to touch much on the topic. I mean, how much can the topic of glory find its way into a tale that is telling the great separation of Heaven and Hell?
It turns out, it’s surprisingly prevalent.
Like any boy growing up, when the post-grunge rock era of music became a possibility to listen to, I dove right in. Something about the high levels of distortion on the guitar and the raging drum solos made me feel like I was capable of rebellion, all while certain of the fact I never would.
One of the bands that arguably defined my taste in music for that period (you know, that period of fake rebellion) was Switchfoot.
You have a nice bottom, too.