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< Previous ne winter afternoon after picking up my sister from school, I popped into a bookstore without much of a plan. Seeking some type of a Lenten prayer companion, and after scanning the stacks a short while, my eyes focused on a copy of Spiritual Direction: Wisdom for the Long Walk of Faith, a collection of academic and spiritual writings by Henri Nouwen. One of the many beloved treasures of the Catholic community at Yale, Nouwen had a way of writing as if he was present in vulnerable conversation with you. After leaving Yale Divinity School and the STM communities, I took a Theology faculty position at Xaverian Brothers High School in Westwood, MA, where I once was a student. The first year has been a whirlwind: daily lesson planning, often times from scratch, fill the weekends and pre-dawn morning hours during the week. Then the teaching, grading, tutoring and after school programs. And I have so many questions and a lot of ambition: Is all this too familiar to me? Is it enough? Am I doing enough to meet and exceed high standards of teaching excellence? Do my students like me? Am I working out enough and treating myself well physically? Nouwen, interlocked in a vulnerable Lenten discussion with me, writes, “When the physical, emotional, intellectual or moral life commands all the attention, we are in danger of forgetting the primacy of the heart.” My difficulty since leaving the weekly embrace of the STM community has been too often forgetting to remind myself that, no matter what other questions swirl, I am a beloved son of God, as Nouwen would often say. The “primacy of the heart” must be the reigning reality. Living in this truth alone is enough. FAITH IN THE REAL WORLD O In this feature, a STM alum reflects on joys and changes in their faith life after graduation. If you are interested in being one of our feature writers for “Faith in the Real World,” we would like to hear from you. Contact robin.mcshane@yale.edu. The Primacy of the Heart Cory Hodson '17 M.A.R. “I am a beloved son of God.” 6. Photograph provided by Cory Hodson '17 M.A.R.A Year with ESTEEM: A Deepened Understanding of the Church Paul Kyumin Lee '18 s a graduating senior whose heart has been restless with questions all throughout my faith journey at Yale, I felt so blessed to be able to participate in the “Engaging Students to Enliven the Ecclesial Mission” (ESTEEM) program this year. Through ESTEEM, I’ve become acutely aware of the fact that we live in a time when the Church needs young people, and young people need the Church — though both sides may be reluctant to admit this reciprocity. It was inspiring to deepen our understanding of church and learn about various ways to get involved after we graduate over our Sunday discussions with church leaders. I was most encouraged, however, by my peers in the ESTEEM program, ranging from sophomores in Yale College to graduate students studying nursing and chemistry. Though our group was very diverse in our academic interests, personalities and backgrounds, we all shared a passion for wanting to know Christ better and to reflect this passion in our lives at Yale. I will always remember the conversations we had on our trip to Chicago for the ESTEEM Capstone Conference, because we were not afraid to ask each other challenging questions. As I graduate from Yale and seek a new church, I hope to bring the energy, curiosity and love that I have always found with the STM community. “...we live in a time when the Church needs young people, and young people need the Church...” A 7. Pictured at right: Paul Kyumin Lee '18FROM THE ARCHIVES 8. The Chapel’s Stations of the Cross: Christ’s Mercy Rendered in Copper & Lead Jan Fournier '06 M.A.R. One of the oldest and most beloved of Christian devotions is the Way of the Cross, commemorating the journey of Jesus through the streets of Jerusalem to Golgotha and his crucifixion and death. After the acceptance of Christianity by Constantine in 312 C.E., pilgrims freely traveled to the Holy Land to walk in the footsteps of Jesus, stopping to pray and reverence the sites associated with his passion. The journal of Egeria, a fourth-century woman from Galicia, recounts the rituals of Holy Week including the veneration of relics, the offering of prayers, the reading of scripture and the singing of psalms at each stop along the Via Dolorosa. Originally the route began at the end of the journey: starting at the Church of the Holy Sepulcher and travelling back to the house of Pilate. When Palestine was conquered by the Turks in the seventh century and travel to Jerusalem became dangerous, there were attempts to recreate the pilgrim experience in Europe. But it was not until the fourteenth century, when the Franciscans were granted custody of the Christian sites in Jerusalem, that the Stations were represented throughout Europe by various artistic means and became popular with the faithful, especially as a Lenten observance. This devotional practice complemented medieval Christian spirituality with its focus on the suffering Christ. Over the centuries the number of Stations varied, although fourteen came to be the standard number, only eight of which are based on the Gospel narrative. The definitive term “Stations” was first used by William Wey, an English pilgrim who made visits to the Holy Land in the fifteenth century. The first Stations were established out of doors as little shrines and later were installed in monastery chapels. Eventually they became a part of every parish church, as familiar as statues and stained glass windows. ia Crucis:We at STM are privileged to have adorning the side walls of our Chapel a beautiful depiction of the Fourteen Stations rendered in copper and lead by the liturgical artist Robert Amendola '33 B.F.A. He was born on April 24, 1909 in Boston, studied at the Massachusetts College of Art, received his B.F.A. from Yale School of Art in 1933 and subsequently pursued graduate studies at the American Academy in Rome. In 1935, he received the coveted Prix de Rome in Visual Arts. A sculptor and teacher, he served on the faculties of the School of Fine Arts in Worcester, MA; Emmanuel College in Boston; Boston College and the University of Notre Dame. Amendola’s work is found in parish churches and convent chapels throughout Massachusetts and Connecticut, and on college and university campuses. Among his notable creations are the statue of Our Lady of Good Counsel in the Bapst Library of Boston College, the art works in the Catholic Chapel at the University of Connecticut and the Stations of the Cross at STM. A secular sculpture of the young George Washington Carver is located at the George Washington Carver National Monument in Diamond, MO. Amendola’s Stations were installed at the time of the dedication of the Chapel in 1938 and were given by William and Elizabeth Pool in memory of their sons, Crowell Hadden III and Briton Hadden. They complement the original, and now restored, chandeliers both in materials and in the Art Deco style of the period. Although the designation “Art Deco” came into use decades later, the term originated from the Exposition Internationale des Arts Decoratifs et Industriels in Paris in 1925. Influenced by earlier artistic styles—Greco-Roman (ideals of proportion and balance), Egyptian (two- dimensional silhouette) and Asian (shiny, glossy finish)—Art Deco was the predominant global style of the 1920s and 30s. Amendola’s work gives evidence of the abstraction of form and simplification of line consonant with the Art Deco style. Gerald York '81, sculptor and STM community member, speculates that, in creating his 9. A distinctive feature of Amendola’s work is his use of disembodied hands in most of the Stations, representing the faithful who are complicit in the passion and death of Christ. (continued on page 10) The Eighth Station: Jesus meets the women of Jerusalem.Works Referenced: www.catholicnewsagency.com/...stations¬_of_the_cross from the Catholic Times. Accessed March 19, 2018. “The Biography of Robert Amendola.” ArtPrice.com. Accessed March 19, 2018. Saxon, Wolfgang. “Obituary of Robert Amendola.” New York Times, January 12, 1996. With gratitude to Peter Alegi '56 '59 LL.B.; Genevieve Coyle; Attilio Granata '74 M.D. '77; Frank Greaney '68 M.P.H.; George Knight '95 M. Arch.; John Wilkinson '60 '63 M.A.T.; Sarah Woodford '10 M.Div.; and special thanks to Gerald York '81 (www.geraldpyork.com). Stations, the artist hammered the copper and lead over wooden forms. In his use of planes and geometric forms, the artist was able to show the material as it really is. As viewers, we experience the copper and lead as smooth, shiny and sinuous. Each Station is positioned on a highly polished copper base or shelf. Some years ago, during a refurbishing of the Chapel, the Stations were re-polished by the artist and raised to a higher position on the walls. A distinctive feature of Amendola’s work is his use of disembodied hands in most of the Stations, representing the faithful who are complicit in the passion and death of Christ. This “visual theology” speaks of the participation of humankind throughout the ages in the crucifixion. Located on the right wall between the etched glass windows of St. Benedict to the left and St. Ives to the right, is the Eleventh Station: Jesus is Nailed to the Cross. The figure of Christ on his knees is not bowed down in agony or humiliation; his upper torso is straight and firm. It is a strong, resolute and determined posture. His gaze is heavenward, fully committed to accomplishing the will of God. His right hand is outstretched on the right arm of the Cross, which forms a diagonal plane dividing the scene into quadrants. His left hand is held by one disembodied hand just at the moment before the nail pierces human flesh. Another hand grasps the wood of the cross. According to the theology of atonement prevalent at the time of Amendola’s creation of the Stations, Christ’s sacrificial death atoned for the sinfulness of humanity. A more contemporary interpretation of the death of Christ, seen through the lens of feminist and liberation theology, would view the crucifixion as the inevitable result of the rejection of Jesus’s prophetic proclamation of the Kingdom of God. And his embodiment of human suffering emphasizes Christ’s compassion for, and identification with, the poor and the marginalized across the globe. A close reading of Amendola’s depiction of this Station might reveal a synthesis of both atonement theology and liberation theology. The nail driven into Christ’s right hand clearly implicates human sinfulness as the cause of his passion and death. Perhaps the disembodied hands proximate to his left hand are providing comfort and consolation to Christ while engaging in an act of solidarity with the marginalized and oppressed—as Christ himself is doing. Eleventh Station: Jesus is Nailed to the Cross. The figure of Christ on his knees is not bowed down in agony or humiliation; His upper torso is straight and firm. It is a strong, resolute and determined posture. 10.DONOR SPOTLIGHT Will Edwards has a long history with STM. First as a student, and now more recently in a leadership role as a member of STM’s Board of Trustees. While an undergraduate, STM became his spiritual home. A place where he worshiped, studied, shared meals and made memories as he grew in his faith. I recently had a chance to sit down with Will to ask him a few questions about his relationship with STM. How it began, how it’s evolved and the role STM alums play in supporting a thriving Catholic environment at Yale. ML: What drew you to the Chapel as an undergraduate? WE: My Catholic faith and identity has always been important to me from my earliest memories. As universities sometimes have a reputation of being a somewhat hostile environment with respect to religion, I was encouraged to see such a vibrant community at STM when I arrived on Yale’s campus. The most prominent factor, though, that drew me to the Chapel was our Chaplain, Father Bob Beloin. His intellect, faith, energy, humor, charm, generosity and humanity brought the Church alive for me in a way I had not experienced before. That is a sentiment that I have heard from many alums. ML: How did your involvement continue after graduation? WE: I have been fortunate to make frequent visits back to campus since moving to New York City, and it has been a great joy to watch STM thrive over the years. When I was a student, the entire program was conducted in the basement of the Chapel, called Chapel Hall. Today, the 30,000 square foot Golden Center is very exciting for Catholic life at Yale—and, for the broader Church at large. It has also been a great honor to serve on the Board of Trustees since 2012 and to be a part of the continued growth and evolution of STM into a global leader of campus ministry. Donor Spotlight: Will Edwards '02 Margret Lukaszyk ML: It’s wonderful to hear that you continue to live in the spirit of STM as a donor and volunteer, but beyond your service on the Board, you are also interested in creating a sense of community among our young graduates. Tell us a bit about your involvement in the STM Alumni Group. What prompted its creation? WE: In discussions with other alums about our experience of church after leaving Yale, there was a recurring theme that the experience at STM was difficult to replicate. Nick Sklar '01 and I continued to explore the idea of extending some of the aspects of STM to other alums. How could we help form a resource network for graduating seniors and keep them connected to the culture of the Chapel and its mission of cultivating informed faith and spirituality beyond Yale’s campus? From that discussion, the STM Alumni Group was born. ML: What’s next for the Alumni Group? WE: We are planning another event in New York City for the fall of 2018 and are also exploring a West Coast gathering. STM's Leadership Team has been incredibly supportive to find ways to continue to build connectivity with STM. Visit http://bit.ly/STMYoungAlumniGroup to connect with STM alum in your area. To connect with Will and other STM alums, contact Margaret Lukaszyk at margaret.lukaszyk@yale.edu. As a donor, you can engage directly with STM: you connect yourself to our Chapel and Center, and you transform the lives of today’s Catholic students at Yale. You are an essential partner, supporting the Assistant Chaplains who engage students in their faith, the guests we welcome in our weekly Soup Kitchen and the student leaders who after graduation will become the future of the Church. By supporting what matters to you, you make it matter to others. Please know how profoundly grateful we are when you choose to make a gift to STM! Pictured above, L to R: Will Edwards '02, Kerry Robinson '97 M.A.R., Father Bob Beloin 11.#MyCatholicYale Lexi Hopkins '20 participates in the Holy Thursday procession.Alex Parobek GRD '18 POP! CULTURE 13. W ithin all genres of media there exist genre-breaking titles which transcend their conventional themes. Star Wars is one such genre-breaking title with its use of metaphysical and spiritual elements. Set in a distant galaxy, the story of Star Wars revolves around the struggles of a galactic civilization which is caught in a constant stream of political turmoil and revolution. This narrative begins with the 1977 Star Wars film, A New Hope, in which we follow Luke Skywalker, played by Mark Hamill, on his mission to defeat the evil Galactic Empire and his journey to discover the Force, an energy field that connects all living things and can be called upon at will. The very existence of the Force and its mystical nature is seemingly antithetical to the setting of the film in which science and technology dominate its narrative framework, and, of the conventional science fiction story in general. This contradiction is depicted best at the end of the movie as Luke, from the cockpit of his spacecraft, gazes down the trench of the Death Star, the Empire’s giant space station. Just as he finishes preparing his targeting computer to destroy the Death Star, we hear the voice of his late mentor utter the phrase, “Use the Force, Luke.” Hearing this, Luke switches off the distraction of his ship’s targeting system and instead allows the Force to guide his way forward, ultimately leading to his victory. The mysterious nature of the Force—and how it is integrated into the Star Wars narrative—is what gives it a spiritual essence. We as Christians are tasked with seeing the light of Christ in our life and in others. It is a difficult task, and one that can even seem contradicted by the very nature of our world. However, it is in these stressful moments of life when we are tasked with making critical decisions that we must switch off our “targeting computers” and instead move in accordance with God’s plan. Throughout each of the current eight main Star Wars’ films, this theme has been revisited on numerous occasions, and most recently in the 2018 Star Wars film: The Last Jedi. In The Last Jedi, Rey, played by Daisy Ridley, is mentored by a now old and wise Luke Skywalker. During a training session on the remote island where Luke lives, Rey asks Luke the simple question: “What is the Force?” Instead of giving a concrete answer, Luke instructs Rey to sit down in a meditative position on the island’s ground and then asks her to “Reach out with your feelings.” It is only after Rey calms her mind of distractions does she see the island in its entirety and the presence of the Force at play. Rey’s self-discovery of the Force, as well as Luke’s original self-discovery, parallels the journey of faith that we all pursue as Christians: The need to see the greater spiritual context of our world whether that be on Earth or in a galaxy far, far away.14. Faith & Fossils: The Thomas E. Golden, Jr. Fellowship in Faith & Science Ella Henry '20 On Sunday March 4th, Dr. Peter Dodson ' 74, Professor of Veterinary Gross Anatomy at the University of Pennsylvania and Professor of Paleontology, gave a lecture as a part of the Thomas E. Golden, Jr. Fellowship in Faith & Science. Professor Dodson focused on the three pillars in his life—his fossils, his family and his faith, explaining their importance to his life, as well as how they intertwine, despite how different they may seem.15. In 1997, Dodson wrote a piece for the Newsletter of Paleontology where he professed his faith as a Catholic and explained what it meant for a scientist to believe—a first for the newsletter, who normally has a prominent atheist authorship. What pushed him to write about his faith was an encounter he had a few years before with Dr. Will Provine, Professor of Evolutionary Biology at Cornell University, when he attended one of Provine’s seminars on the evolution of human morality. Throughout his talk, Provine reinforced the idea that scientific knowledge is the only valid form of knowledge, an idea supported by the philosophy known as Scientific Naturalism. Following this encounter, Dodson asked himself, “Is this not an impoverished view of reality?” There are many things we know that cannot be shown by science; as an example, Dodson notes that his wife loves him even though he cannot prove it. Our faith adds another dimension to our reality and enriches it: faith can help explain things like love, which science cannot do. As a STEM major and a Catholic, I am constantly thinking about the ways that faith and science interact. Before the talk, I was a little skeptical as to how the two come together, as the Catholic tradition, like many other religious traditions, seems to disagree with scientific findings more often than not. However, Dodson reminded me that faith and science do not work to do the same thing, and so never oppose one another: science is our tool to understand how things work, and our faith helps us understand the “why.” They could never do what the other does, but we need both of them to gain a deeper knowledge of our lives and the world we live in—they work in a complementary manner in order to enrich our perceived reality. “Our faith adds another dimension to our reality and enriches it: faith can help explain things like love, which science cannot do.” Annie Killian GRD '19Next >