The Crucifixion; Matthias Grunewald. (detail)
(via ancient-serpent)
The Crucifixion; Matthias Grunewald. (detail)
(via ancient-serpent)
Xi Sinsong - Pilgrimage (2012)
(via amonitrate)
How did Saint Sebastian die?
Arrows pierced his throat and thigh
which only knew, before that time
the dolors of a concubine.
Near above him, hardly over,
hovered his gold martyr’s crown.
Even Mary from Her tower
of heaven leaned a little down
and as She leaned, She raised a corner
of a cloud through which to spy.
Sweetly troubled Mary murmured
as She watched the arrows fly.
And as the cup that was profaned
gave up its sweet, intemperate wine,
all the golden bells of heaven
praised an emperor’s concubine.
Mary, leaning from her tower
of heaven, dropped a tiny flower
but, privately, she must have wondered
if it were indeed quite wise to [sic]
let this boy in Paradise?
(via the-concealed-ambry)
2am
Out of my mouth is coming, at some
distance from me, a thin gnawing sound
which you could confuse with prayer except that
praying is not constrained.Or is it, Lord?
Maybe it’s more like being strangled
than I once thought. Maybe it’s
a gasp for air, prayer.
Did those men at Pentecost
want flames to shoot out of their heads?
Did they ask to be tossed
on the ground, gabbling like holy poultry,
eyeballs bulging?As mine are, as mine are.
There is only one prayer; it is not
the knees in the clean nightgown
on the hooked rug
I want this, I want that.
Oh far beyond.
Call it Please. Call it Mercy.
Call it Not yet, not yet,
as Heaven threatens to explode
inwards in fire and shredded flesh, and the angels caw.
Pentecost by Onesimus
Giovanni Francesco Barbieri (Il Guercino), Study of Christ, 17th century
(via caravaggista)

Icon by Nita Leland
(Source: nitaleland.com)

Artist: Unknown Italian Artist (Unknown - Unknown)
Title: St. Catherine of Sienna
Medium: Tempera on panel
Dates: late 15th Century
Staten Island Museum
Lately, I’ve become accustomed to the way
The ground opens up and envelops me
Each time I go out to walk the dog.
Or the broad-edged silly music the wind
Makes when I run for a bus…Things have come to that.
And now, each night I count the stars,
And each night I get the same number.
And when they will not come to be counted,
I count the holes they leave.Nobody sings anymore.
And then last night, I tiptoed up
To my daughter’s room and heard her
Talking to someone, and when I opened
The door, there was no one there…
Only she on her knees, peeking intoHer own clasped hands.
There are days I want to track down God,
point to my life, and yell
“None of this was part of my Goddamn plan!”
But I know he’d just shrug and say, “I’m sorry.
I never meant to give the impression that this
would be easy. I know none of this
is easy.
But that’s why I invented time. It’s a slow,
steady promise. If you just hold on,
just white knuckle grip keep breathing,
time will take you far enough away
from anything. It’s a blessing.
It will heal you if you let it.
(via lokisgift)
Artemisia Gentileschi (July 8, 1593 – c.1656)
And Caravaggio, middle left.
(via caravaggista)
Whenever I’m asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. To be able to recognize a freak, you have to have some conception of the whole man, and in the South the general conception of man is still, in the main, theological.
That is a large statement, and it is dangerous to make it, for almost anything you say about Southern belief can be denied in the next breath with equal propriety. But approaching the subject from the standpoint of the writer, I think it is safe to say that while the South is hardly Christ-centered, it is most certainly Christ-haunted. The Southerner, who isn’t convinced of it, is very much afraid that he may have been formed in the image and likeness of God. Ghosts can be very fierce and instructive. They cast strange shadows, particularly in our literature.
In any case, it is when the freak can be sensed as a figure for our essential displacement that he attains some depth in literature.
Flannery O’Connor, ”Some Aspects of the Grotesque in Southern Fiction”
(via magstheaxe)
(Source: tarot-sybarite, via fragmentsshoredagainstmyruin)
There has to be a way of saying “I’m agnostic but I was raised Presbyterian” that captures the idea that even though I am not (and never really was) a practicing Christian in the sense that I had faith, I still grew up going to church and going through the motions and living in the culture of white middle class Protestant Calvinism—without actually having to say all of that. What I’m trying to express is a sense of Christian culture without the assumption that I am in any way a practicing Christian. A way of saying that no, I don’t believe, but Judeo-Christian iconography and spiritual poetry still resonate with me, because that is how I was brought up.
I’m thinking about using ‘lapsed Presbyterian’ the way my college roomies described themselves as lapsed Catholics. Because it was a significant portion of my upbringing even though I was never a willing participant. Flannery O’Connor’s phrase “Christ-haunted” rather than Christ-centered seems particularly accurate right now; I think we could expand that to describe American culture as a whole, not just the southeast (although some regions moreso than others).
When [David] finished speaking with Saul, Jonathan’s soul became bound up with the soul of David; Jonathan loved David as himself…Jonathan and David made a pact, because [Jonathan] loved him as himself. Jonathan took off the cloak and tunic he was wearing and gave them to David, together, with his sword, bow, and belt.