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Crazed hatred stalks the chambers of governments; fuels killings in war zones, in classrooms and back alleys, within wombs; shreds trust in all segments of society; demoralizes familes. In desperate straits, we cry out:

Our Father who art in heaven—We seek the center-point of your silence within our shadowy depths.

Hallowed be your name— Arms outstretched, we prostrate ourselves before your inexplicable holiness. We wait.

Thy Kingdom come—We yearn for color-flushes that alone eradicate the global gutting of psyches.

Thy will be done on earth as it is in heaven—We surrender anew to this empowerment; its multifaceted bliss stirs us.

Give us this day our daily bread—We yearn for spiritual sustenance, one day at a time, which alone fortifies our tentative steps across rocky terrains.

And forgive us our trespasses as we forgive those who trespass against us—We own our violence to ourselves and to others and beg forgiveness; such energize us to forgive others and repair rifts in the social fabric. Our part does matter.

And lead us not into temptation—We beg for discipline to listen for true guidance emanating from within and without.

Deliver us from evil—We pray for discernment to avoid the allure of evil in its multiple disguises.

For Thine is the Kingdom, the power, and the glory, both now and forevermore—We rejoice within this freshness and thrive, despite the cloying darkness that still surrounds us. We have the protection.

Amen—And so it is.

 

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Still another version of the life of the nineteenth-century American poet, Emily Dickinson, this time a movie, has been released to theaters around the country. Terrence Davies, screenwriter and director of A Quiet Passion, has been captivated by her enigmatic world since a teenager, one that mirrors his own; its production is the highlight of his long career.

But the question remains—Just who was Emily Dickinson? How account for her extraordinary brilliance, given the late Puritanism in Amherst, Massachusetts, that seeped into the warp and woof of life, against which she stormed?

Among the scholarly studies of this poet, Richard B. Sewall’s The Life of Emily Dickinson (1974) presents a multifaceted perspective and affords readers their own take on this woman. By piecing together her correspondence and poems with those in her immediate world, as well as by substantiating his findings with newspaper articles and public records, he contextualizes her. We hear her voice and wonder at its sagacious humor. Fortunately for us, Emily’s pen was rarely idle and her letters, preserved.

But Sewall’s presentation of Emily’s world is unique: it bears his imprint of having been Professor of English Literature at Yale University for forty-two years. Volume I devotes single chapters to the principal players in Emily’s life: grandparents, parents, siblings Austin and Lavinia, Susan Gilbert, and Mabel Loomis Todd—all in relationship through correspondence. And Volume II contains the life of the poet, even further nuanced.

It has been said that the definitive biography of Emily Dickinson has yet to be written, and it must be done by a woman scholar.

There is hope, as Emily proclaims in poem # 314:

 

Loose soils engorge spidery bulbs beneath wintry graves.

Hesitant greens wiggle and meander among mulched beds.

March rains drench tentative shoots like children forgetting their lines.

 

Weeks pass.

 

Spiked blades pattern gardens like players on chessboards.

Hard nubs stretch like infants flailing rubbery limbs.

Flickers of pink balloon and soften the petals.

Within such freshness glistens Creator God, the Master Colorist.

 

The same Colorist also brings forth spring shows within us, if we wish.

 

We give thanks!

 

Available on Amazon

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