The best use of literature bends not toward the narrow and the absolute, but to the extravagant and possible – Mary Oliver
It’s a rough read, so I am stunned that Shusaku Endo’s novel Silence is now a three hour film directed by Martin Scorsese. Here’s the plot: Father Ferreira, a 17th century Portuguese priest is sent to Japan to care for the young church. Well received at first, he and all priests soon face widespread, systematic and effective persecution. Ferreira ceases communication with his superiors; troubling rumors of apostasy (renunciation of his faith) trickle home.
Father Rodrigues, the protagonist of the story and a former Ferreira student, is sent to find him. Landing in Japan he finds pockets of “secret Christians;” he ministers to them, is soon betrayed and, in captivity, is given an impossible choice: he can apostatize – step on fumie, an icon of Jesus – and deny his faith or listen to the moans of Japanese Christians who have been hung upside down over a pit, bleeding to death by a small cut behind their ears. Keeping his faith means the death of the faithful in his care. Personal fidelity or life for others. Truth or Grace. And through it all, the priest (the author, the reader) is aware of God’s silence. It is the dark ocean in Endo’s story, the quiet, still waters that move without purpose or meaning, forever covering all, pushing forward and retreating, signifying nothing. Continue reading