“CENTER THE CLAY.” I had one task for class and three hours to complete it.

Take two pounds of raw potential. Place it on the potter’s wheel. Use the strength of your hands and forearms to force the clay into balance.

For the full three hours, I failed. Unable to find the calm point of pressure to rest my human musculature between the universe’s centrifugal and centripetal forces. The clay fought back. It bucked and shimmied, slid and skidded. I pushed and pulled.

The teacher said, finally, “This clay does not yet want to be a bowl. You have not shown it how.” A gentle correction that expertly undermined my fixation with “the primacy of the real,” as French philosopher Gaston Bachelard calls it. Really, shouldn’t I be able to subdue this clay?

Both films are sympathetic to creators, but neither film lets their creations off the hook. Oppenheimer worries aloud how the nuclear power he unleashed will shape the atomic age. Barbie faces a lunch table of schoolgirls who tell her exactly how the Barbie beauty standards made them feel un-feminine. But both films ultimately move beyond the myth of the single creator and focus on the forces that shape that creation’s ongoing impact on the larger world.

Shortly after former president Barack Obama released his annual summer playlist, this missive showed up at the Sojourners office emblazoned on stone tablets. We're publishing it here in full.

The authors tackle a variety of common questions around sex, faith, and the church: What does the Bible actually say about sex? What are Christian teachings on sexual pleasure? Is spiritual trauma from purity culture a real thing? And the million-dollar question: If I no longer believe in purity culture, how do I create a new sexual ethic that’s still rooted in my faith and values?

Lisa Montgomery, the first woman killed by the U.S. federal government since 1953, was executed under former President Trump.

Red roses blooming all at once
when she finds between herself and any door
a male, be him grandson or lawyer, any flinch of any him brings a springtime
terror of thorn and attar, shivering with adrenaline, a clawing
of petal-flesh, the past beneath it, the blood
un-forgetting,

ON A BRIGHTLY lit stage in Berlin, a performing artist drapes her dead son’s pajamas over her lap and begins to cry. She cries “loud and unabashed” until her ponytail starts to unravel, and her face becomes swollen and red. Soon, the audience begins to cry too.

The artist is Magos, mother to Santiago, the boy who dies in the opening pages of Gerardo Sámano Córdova’s novel Monstrilio. When Santiago dies, his parents — Magos and Joseph — begin to drown in their grief. But where Joseph isolates himself, weeping endlessly, Magos does something strange. She cuts out a piece of her dead son’s lung, leaves Joseph, and retreats to her mother’s house in Mexico City.

Part family drama, part queer coming-of-age story, Sámano Córdova’s debut gracefully wields its horror elements while navigating the complexities of grief. Structurally, the novel unfolds in four unique perspectives: Magos, Lena, Joseph, and M. After Magos learns about a folktale in which a dead girl’s heart grows into a young man, she sequesters herself in her mother’s house and feeds the lung pork and beef. She doesn’t clean or air out the room. Instead, she uses her odor as a shield, to keep her loved ones away from the lung, to protect its growth. This moment captures the overwhelming nature of Magos’ grief, but it also foreshadows the extent to which she will go to protect what she has left of Santiago.

THE WORD “SELFISH” is used many times throughout writer-director Laurel Parmet’s coming-of-age film The Starling Girl. Seventeen-year-old Jem Starling (Eliza Scanlen) hears it most often from her parents. Her father (Jimmi Simpson) uses the word to describe the period of his life before he got saved and gave up drinking. Her mother (Wrenn Schmidt) chides Jem for selfishness when she isn’t performing her duties at home. And at church, congregants direct the insult at Jem whenever her performance in the worship dance troupe pulls attention toward herself and away from God.

This understanding of “selfishness” dismisses the community members’ unmet needs. Jem, like most teenagers, is starting to consider what kind of person she’ll become. However, the only guidance she’s getting is from her fundamentalist church, which advises her to give up her dreams, fear her changing body, and let her church decide who she’ll marry. It’s no wonder that Jem’s thoughts turn increasingly to the only person who gives her positive, albeit problematic, attention: the youth leader, Owen Taylor (Lewis Pullman), the married son of her church’s pastor.

The Starling Girl is an empathetic portrait of the vulnerability and power of young women. It shows what can happen when the structures around them — family, church, patriarchy — limit that power and stifle their desires and dreams. This leads Jem to a sexual relationship with the similarly frustrated Owen, who’s drawn to Jem’s seemingly boundless potential.

IN THE SUMMER OF 2019, I fulfilled one of my childhood dreams: I cheered from the stands as the U.S. Women’s National Team won the FIFA Women’s World Cup in France.

This summer, I’ll be traveling to New Zealand and Australia to watch the team compete to win a third straight World Cup, a feat never before accomplished. I loved every moment of the 2019 tournament — the clutch penalty kicks and the cheeky goal celebrations — but two of my favorite moments came right after the final whistle blew.

The crowd of 57,900, which had been loud the whole game, got even louder.

The first chant was an easy and obvious way to cheer on the new champs: “USA! USA! USA!” I said it a couple times, but not with much gusto. It felt weird. If I said those letters, I wondered, what exactly was I cheering on? Just the team? Or also the U.S. president (at the time, Donald Trump) and his administration’s policies?

Fortunately, the chant shifted to one I could get behind wholeheartedly. As FIFA president Gianni Infantino, head of the international soccer governing body, walked to center field to begin the trophy ceremony, people around me started chanting: “EQUAL PAY! EQUAL PAY! EQUAL PAY!” Drummers behind the goal line punctuated the sound. Within seconds, the whole stadium had joined in.

At the time, a top-performing player on the U.S. Women’s National Team (USWNT) earned only 38 percent of what was earned by a top-performing player on the U.S. Men’s National Team. But as of 2022, the USWNT signed a collective bargaining agreement with the U.S. Soccer Federation that ensures that the national women’s team will be paid at the same rate for game appearances and tournament victories as the men. With this agreement, the U.S. team is setting a powerful global example.

The Secrets of Hillsong, a docuseries streaming on Hulu, traverses some wide-ranging — and alarming — ground, detailing the international megachurch’s history of sexual assault allegations, affairs, child molestation, and cover-ups. In the midst of all this, it might be easy to gloss over something a little less flashy: what one might call, to put it mildly, an unhealthy volunteer culture.