Our Brothers, the Jews by Dorothy Day (1933)

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by Dorothy Day
America Magazine
Nov. 9, 2009

A lost manuscript, a continued call for solidarity

Unlike any other Catholic writer at the time, Dorothy Day saw Adolf Hitler’s emerging policy toward the Jews as a moral problem for Catholics. She saw this while Hitler was still only the chancellor in a multiparty cabinet—two years before he combined the office of chancellor and president to become Führer and almost four years before Germany adopted the Nuremburg Laws that stripped German Jews of their citizenship and human rights. Day’s views are expressed in this previously unknown essay, which lay undetected in a correspondence file in the Dorothy Day-Catholic Worker Collection at Marquette University.

[…]

A Jew came into the office of The Catholic Worker the other day and sat around and read for a while. He nosed through Cahill’s Christian State and condemned it for its anti-Semitism. Then he looked at a missal for a while and hummed through some of the Gregorian plain chant.

[…]

via America Magazine – Our Brothers, the Jews

Angels, Demons and the Roman Catholic Church by Steven Jonas, MD, MPH

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by Steven Jonas, MD, MPH
Featured Writer
Dandelion Salad
crossposted on Buzzflash.com May 20, 2009
May 27, 2009

“Angels and Demons” is the second film to be made from one of Dan Brown’s books on various aspects of the history of the Roman Catholic Church and the impact of that history on its present role and structure. The first of course was the wildly successful film “The DaVinci Code,” based on the wildly successful book of the same name. Having been a life-long action-adventure-historical novel reader (I started reading the historical novels of Howard Fast, which had plenty of action in them, when I was nine), I think that Brown is good at his craft. He does keep you on the edge of your seat and has a real knack at keeping you guessing about heroes and villains. He has obviously done a huge amount of research about both art history and the history of the Roman Catholic Church. So he does have a huge treasure-trove of facts about both at his command. He liberally shares that research with his readers, while making it very clear from his fanciful plotting that he is writing a novel, not a history book.

One only need look at his hero, symbologist Robert Langdon. I am a reasonably well-educated person, but frankly before I saw “The DaVinci Code,” I had never heard of symbology. In fact, when I saw the movie I thought Brown had made up that occupation. He didn’t, but he most surely did invent a person who, without a whip and skills at the martial arts, has much in common with Indiana Jones. So much so that in “Angels and Demons” at the Vatican’s call, he is off to Rome within 20 minutes of being invited to deal with an emerging emergency. A Harvard professor who hops out of a swimming pool where he is doing laps and then barely has time to dry off before he flies off (apparently without bothering to pack for such a trip)? Once at The Vatican, he becomes not only a practicing symbologist, but also a kind of super-detective trying to figure who the bad guys are. He has got to be a fictional character.

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