#St. Cabrini

[nighttimedaydreamer]

All & Everyone, Everyone & All, meet Francesca Saverio Cabrini, my new human hero.

She accomplished so much in her lifetime, and I strive to do as much good in the world as she did.

Recently, Angel Studios made an entire film about her, and I think showing it in theatres during March was very intentional. I cried while watching it, which doesn't happen with a lot of films. It was fabulous, and I highly recommend you see it.

Cabrini was an Italian nun who lived in a time when Italian immigrants were hated by the people already living in America.

As a teen, when she first wanted to become a nun, she was denied several times by different places because she had a weak constitution due to a near-death experience she had as a child, when she almost drowned.

Denied her request to start and lead a mission in China, she was allowed to go to New York, to start an orphanage there.

Once there, in a town called Five Points, she found that even the rats had it better than the children in the streets, most of which were Italian immigrants. She started the orphanage with what little she had, but it became quickly apparent that there wasn't nearly enough room.

Despite great odds, she founded several orphanages, and eventually even fought to establish a hospital, hiring mostly Italians, with the aim to provide the highest services, to both the American socialite and Italian immigrant, and run entirely by women.

She went on to found many hospitals of the same nature, all over the world, even deep in China where she had originally longed to serve.

She had to fight every moment of her life to be allowed to do good, simply because faithless men did not believe what she proposed was even possible, much less worth it.

She was not always alone, though. She made genuine friends along the way, and it's important to know that she embarked on the journey with fellow Sisters by her side. She did not try to do things alone. She relied on their support many times, as any wise, good leader ought.

Remember her name, and her example, and teach all those you know about this incredible person who deserves far more recognition.

To learn more about her, I highly recommend you watch the film, and you can also read her Wikipedia article:

[eastvillagetripster]

Helper of Immigrants

Stained glass image of Mother Cabrini, patron Saint of Immigrants. St Francis Cabrini shrine, 701 Fort Washington Ave, Washington Heights, New York City.

[apesoformythoughts]

'Mother Cabrini is one of those saints whose extraordinary feats can only be attributed to something miraculous, to something beyond any human being's most noble of intentions or earnest efforts. Seriously, how can a small, sickly person��who was told by her doctors that she wouldn't live past her thirties (she died at 67)— found over 67 hospitals across North and South America with no regular source of income? People like her make me wonder how secular humanists chock up such supernatural acts of charity to mere "benevolence" […]

All that being said, I must admit to how painful it was to watch Angel Studios' rendering of her story. The film smacked of all of my worst pet peeves: blatant and simplistic moralizing, kitschy sentimental piety, and a flimsy commitment to artistic integrity. It managed to take the story of an Italian Catholic and pass it through the food processor of the American Protestant imagination...so as to make it easier to digest for American audiences, I suppose [...]

My main purpose of pushing Paglia and Wilde's line of thought is to emphasize that art should not "spoon feed" the right moral conclusions to viewers. Rather, it should provoke us to contemplate the nature of humanity, morality, and God...and to arrive at the answers ourselves—trusting in our intelligence and good will rather than spoon-feeding us like dumb children. Conveying a "good" moral message does not make up for making a crappy piece of art. It especially pisses me off when Christians do this. Good Christian art should not be preachy. A good piece of Christian art should bank on its inherent beauty to provoke viewers to pursue the Good, rather than telling them what is Good.'

— Stephen G. Adubato: "'Cabrini,' 'American Fiction,' & the American aversion to subtlety"

[myremnantarmy]

"𝘉𝘦 𝘣𝘰𝘭𝘥 𝘰𝘳 𝘥𝘪𝘦..."

[catholic-saint-tournament]

About St Gemma Galgani (left)

About St Frances Xavier Cabrini (right)

Modern Bracket Round 1

[thepastisalreadywritten]

SAINT OF THE DAY (November 13)

On November 13, the universal Church honors St. Frances Xavier Cabrini, an Italian missionary who spent much of her life working with Italian immigrants in the United States.

Mother Cabrini, who had a deathly fear of water and drowning, crossed the Atlantic Ocean more than 30 times in service of the Church and the people she was serving.

She was born Maria Francesca Cabrini on 15 July 1850 in Sant'Angelo Lodigiano, in the Lombard Province of Lodi, then part of the Austrian Empire.

She was the youngest of the thirteen children of farmers Agostino Cabrini and Stella Oldini. Only four of the thirteen survived beyond adolescence.

From a young age, she longed to be a missionary in China, but God had other plans for her.

Orphaned in Italy before she was 18, she joined the Sisters of the Sacred Heart and took on the name “Xavier” in honor of St. Francis Xavier, the great missionary to the Orient.

At the advice of Pope Leo XIII, who told her “Not to the East, but to the West,” she focused her missionary efforts on the United States.

Accepting Archbishop Corrigan of New York's invitation, she came to America and spent nearly 30 years traveling back and forth across the Atlantic Ocean, as well as around the United States, setting up orphanages, hospitals, convents, and schools for the often marginalized Italian immigrants.

Eventually, St. Frances became a naturalized U.S. citizen.

She died on 22 December 1917.

She was beatified by Pope Pius XI on 13 November 1938. She was canonized by Pope Pius XII on 7 July 1946, just before a new wave of immigrants began to arrive in the U.S.

St. Frances Cabrini is the patron of immigrants.

[fatherscurti]

ST CABRINI Homily

[xdivinedecay]

Patron saints for US election aftermath

Below are some saints I humbly recommend to pray to as the United States faces this new and challenging era after the results of our recent election. Those that use prayer for intercession may find comfort in learning more about the saints below, and building a communication with them.

Social justice — St. Martín de Porres Poverty — St. Francis of Assisi Women — St. Elizabeth Ann Seton Immigrants — St. Frances Xavier Cabrini Racial justice — St. Katharine Drexel Ecology and environment — St. Kateri Tekakwitha (the first Indigenous American saint) Education/teachers — St. John Baptist de La Salle

If you'd like, I have included some notes and extras below —

Please if you can, take some time to learn about St. Martín de Porres! His soul is beautiful and his work was absolutely selfless as he cared for others in the face of social abuse and adversity. He really is someone to aspire to be like.

I nominate St. Elizabeth Ann Seton in this particular instance as it's difficult to pin down a definitive patron saint of women (all of my cross-references didn't produce a strong label on any one saint; many were for mothers or some other aspect attributed to womanhood, so there are many options). But St. Elizabeth was the first American-born citizen to be canonized as a saint, and in her life she started a Catholic school for girls. She is most known for founding of the Sisters of Charity of Saint Joseph’s, the first religious order in America who contributed significant humanitarian work. In the wake of the US election results, I think she is an apt choice for connecting with for intercession.

I'm a biased St. Joan D'Arc follower, but hear me out. She was the crux of saving her home country from the very literal brink of being lost to Britain in a war that spanned a century. She rallied the last skeleton crew of the remaining French monarchal power that had all but been defeated already, and helped to take their name and land back from the English. I will be continuing to pray to her regularly to help find ways to fight for our freedom and remain courageous. I encourage others to do the same if you pray to her, or would like to start.

While I wish I had a suggestion for a saint to pray to for the LGBTQIA+ community, as they are adopted through history (St. Sebastian) or are not strictly official. But there are some interesting perspectives to find online, I just couldn't find a saint I could comfortably name with my whole chest for this particular group. I was intrigued by some responses on this Quora thread on the matter in question.

As always, these are only suggestions based on my imperfect research, as I am still newly navigating my reclaimed faith. If you have other patrons to recommend, please add them in a reblog so that others may learn about them.

divider made by animatedglittergraphics-n-more

more lists of patron saints — Patron Saints for your problems • Patron Saints for World Mental Health Day

[portraitsofsaints]

Saint Frances Xavier Cabrini

1850 - 1917

Feast day: November 13 (New), December 22 (Trad)

Patronage: immigrants, hospital administrators

St. Frances Xavier Cabrini, M.S.C., also called Mother Cabrini, was an Italian Religious Sister, who founded the Missionary Sisters of the Sacred Heart, a Catholic religious institute which was a major support to the Italian immigrants to the United States. She was the first citizen of the United States to be canonized by the Catholic Church.

Prints, plaques & holy cards available for purchase here: (website)

[caltropspress]

DISPATCHES FROM 2ND ST. STUDIOS: Fatboi Sharif & DRIVEBY in session

I went to DRIVEBY’s apartment in Jersey City because I wished to live deliberately, to front only the essential facts of documenting musical exxxprrrimentation, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I knew witnessing Fatboi Sharif in the studio would be morbidly rewarding—I felt it in my critik’s skull-and-crossbones (memento mori, pirate flag, poison pictogram). It was New Year’s Day in the year of our Lord Have Mercy 2024, and I had to pull myself away from a tree documentary that had, sadly, begun to disappoint. I had opened a stocking-stuffed box of Goobers and was reluctant when Sharif sent the invitational text. I had settled in for the night. But it was my idea to watch the man work his black magikal esoterika hammer-don’t-hurt-them-witches recording session, so I’d be a real punk to rebuff the offer. I got into the Toyota and headed down Route 3 toward Jersey City. I was on the 1&9 in no time—the truest highway to hell, if one ever existed. Ate de Jong could never scout such a location. AC/DC roadside appliance wasteland. Potholes pave the way, but in a De Nah Soul manner. I finished eating the Goobers in the car, by the palmful, and lost one to an erratic lane merge. I motherfucked and shitted at the thought of a chocolate stain on my upholstered driver’s seat, or worse, the seat of my pants. My dad delivered Blimpie’s for thirty-plus years in Jersey City, long before it became Brooklyn-of-the-West, so I know parking spots there are at a never-dream-of-’em premium. I parked several blocks away from DRIVEBY’s studio and cloven-hoofed it while huffing brick air. Texted from outside, but Sharif was already ushering me through a wrought-iron gate (suitable for guttings and impalements) and into the basement apartment: DRIVEBY’s 2nd St. Studios. That gate was like an entrance into a secret garden—overblown and overflowin’ with a riot of root rot, weeds, and (of course) crumbling-but-still-grumbling gargoyles, most with the medieval motif of mooning jutting out from the church buttresses. DRIVEBY’s had a William Shatner’s TekWorld comic next to his speaker. Dusty keyboards lined the floor. Sega Genesis cartridges, a Sharp boombox, and the requisite vinyl collection on bowing crates completed the scene. The space stored antiquated and dead media—ghost machines humming and haunting.

⤧

Sharif told me he’d be recording some tracks for his upcoming album with Blockhead, something for Bigg Jus, and several features. When I arrived, he was in the middle of recording one of the Blockhead tracks. The mic and the iso shield were directly inside the door of the apartment, and I sat on the couch to the left of that. Sharif would be spitting at me, beyond me, as he did his thing—an intimate setting, to say the very least. Beans of Antipop Consortium sat on this same cushion months earlier, I thought. They recorded “Sex With the Leopard Print Lady” here. While I pondered the legacy of stylist berzerkers of past and present, Key & Peele played on the television in front of me. I wanted to make myself scarce, invisible as possible, Brundlefly-on-the-wall, non-participatory, so I watched the “Laron Can’t Laugh” sketch on mute and registered how Laron’s noiseless convulsions and eventual shriek expertly pantomimed Sharif’s vocals. These layers of silence allowed me to hear some of what Sharif was spewing forth and commit it to memory. He spoke of avenging the death of Candyman. The words loom like Tony Todd—tall as a ponderosa pine in a Cabrini-Green courtyard. Caroline crossed eyelids…90 degree pressure… Closing in on 400 degreez, but we’re talking below zero. The winter of our disconnected selves. Sharif tells DRIVEBY he wants his voice to sound “fucked up.” He’s snorting, super sinusy. He wants to cultivate a specific sound—it coats the inner concavities of his skull. He just needs to externalize it into a self-portrait in a convex DAW interface. “The soul establishes itself,” John Ashbery writes. Sharif is shoeless, I should add. He’s black socked as he cuts the song’s first of three adlib tracks. The first is completely muddled, barely audible—a grumbly grumble grumb. The second is a helium-huffed high pitch mania. The third, a yell—“the banshee,” as DRIVEBY calls it. Sharif slackens the headphone wires and walks across the room. He does “the banshee” from as great a distance as possible. You’ve no doubt heard the banshee adlib track before (B.A.T. for short, as in, the hematophagic vampire bat). If you’ve heard a Fatboi Sharif recording, you’ve likely heard a hotly desperate and deranged voice coming from the depths of a hellmouth—sinners swallowed and still writhing, quasi-alive, anticipating rigor mortis. DRIVEBY captures the natural reverb. Sharif asks him to put distortion and echo on the last word of the verse. 

⤧

Fatboi Sharif was reading lyrics off his phone, but by then he was Loosifa loose—engaging me, inviting me to dialogue, reveling in the job.  His feet are light and nimble, like McCarthy’s Judge. He says that he will never die. And, you bet, he dances in light and in shadow. He’s a craftsman and possesses an engineer’s ear, an ant-infested and severed one he probably plucked from a manicured lawn in Scotch Plains, NJ, Jeffrey Beaumont style. For the second verse of the song, he makes an alteration and decides to end the verse earlier than he had written it, stopping at the phrase “role model” because he likes the “swing of it.” Okay, Nuke Hellington. I see you, Benny Badman. A natural performer, the recording session reflects both technical know-how and impassioned delivery. He doesn’t quite lose himself as he does on the stage (or the audience floor where he so often ends up), but he’s unequivocally locked in, as he kids say. Locked in a room with padded walls, more apropos. On the next, he requires a seemingly endless run of retakes. I begin to wonder if my presence is a burden, a distraction. But the session keeps its devil-may-care air intact. Still, Sharif has a sonic vision he yearns to achieve. He won’t settle for less. He eventually gets the take he desires and tells DRIVEBY he’s gonna do three adlibs. These two men work in harmony to develop their songs of disharmony. They’ve been boys, and so that keeps the chemistry alchemical for the duration. Open and honest, DRIVEBY tells Sharif that three tracks of adlibs is “too many.” FUCK THAT! Sharif shouts at him. Sharif wants the adlibs to sound beneath everything—six-feet deep, or “buried alive and will come forth later in uglier ways” (unexpressed emotions, that is), as Freud or a Freud-fraud once wrote. Sharif wants echoes. He wants to sound like he’s a signal coming in and out of the radio as you drive through the night. These are the requests he makes, delicately selected from his mental doom board as DRIVEBY adjusts the mix, adds effects. “Do you do a lot of vocal mixing on the spot?” I ask. Sharif shakes his head, points to DRIVEBY slumped over his computer monitor, clicking and dragging, random access memory maybe lagging: “He’s on his Bob Power shit.” Listening to the playback, Sharif tells me he wants to be like Joker in the children’s hospital scene. What kinda clown carries a fuckin’ gun?! I’m waiting for the next Sharif release, crossing my fingers into an arthritic mass of flesh and bone in hopes of his cover of “If You’re Happy and You Know It” appearing on the tracklist. 

⤧

DRIVEBY puts Joker on the TV. It’s the bus scene; he can’t stop laughing. He hands a fellow passenger his card: Forgive my Laughter: I have a Condition. Sharif still sleeps to beats. He’s told this story numerous times to various media outlets, and so it’s beginning to take on the tone of lore. But it’s not. Even wilder, he’s not listening on headphones as he sleeps; he blasts the beats on speakers. Sharif prefers to record late, well into the wee hours of morning. DRIVEBY’s couch often becomes Sharif’s bed. “He’ll have the same beat on for five hours,” DRIVEBY explains. He’ll be in his bedroom, unable to sleep. Sharif grins and tells me, “That’s when I’m in the mindfuck.” Sharif reapproaches the mic. Another Blockhead track. “He told me he made this one especially for me,” Sharif says. The beat sounds like a Gregorian chant in a cavern. Beware of the Shroom Monster. Sharif has managed to amass an intimidating number of releases over the past several years while not indulging us to excess. He’s conservative with his run-times. Clocks ain’t shit to him. Many of his projects are EP-length, but categorizing them in any terms would seem to discredit his ingenuity. As the session unofficially ends and we settle into more casual conversation, Sharif implores DRIVEBY to play selections from their unreleased album, currently on ice like a corpse. I listen and hear of an exorcism of Antoinette, of Elvira and death resurrections, of Basquiat painting in Transylvania, crossroads, and plosive sonic samples from The Pagemaster—a film I have absolutely no recollection of but DRIVEBY speaks almost as highly of as his Fantastic Damage instrumental CD-R. OneShotOnce shows up, presumably for a session, but not before he and Sharif pillage DRIVEBY’s fridge. They feast on cold chicken while I gather myself to leave. 

Images: Astronomical table detail from the Almanach Purpetuum of Abraham Zacuto (c. 1500)

[argentumcor]

I gather the Cabrini movie essentially leaves out St. Cabrini's faith. She is not seen praying, she is not seen at Mass (there seems to be no Masses in the film?), she is not seen holding a rosary, she is not seen at or after confession. She does not reference the Sacred Heart, an odd thing for a Sister of the Sacred Heart not to do. Her inspiration does not seem to come from God but a sort of generic, admirable compassion. I gather it's still an inspiring film, but why tell the story of a saint with the core of it stripped away? We get enough of that sort of thing from normal Hollywood "based on a true story" movies!

[locustheologicus]

Mother Frances Cabrini: The Saint of the Immigrants (and a model for those of us who serve the immigrant communities)

The National Endowment for the Humanities offers a wonderful resource on the life of St. Frances Cabrini, the first American Saint. The article goes into the depth of Mother Cabrini who is describes as “a woman fully Italian and fully American, a pragmatic and empathetic leader, and a remarkable humanitarian whose faith charged her tireless work for impoverished and marginalized immigrants.”

In 1889 she was commissioned by Pope Leo XIII, the author of Rerum Novarum, the famed encyclical which would give birth to Catholic social teaching, to go with her Italian community to America. Pope Leo XIII recognized the challenges that migrants faced in America and he wanted to make sure the Church was responding to their social and spiritual needs.

How sad and fraught with trouble is the state of those who yearly emigrate in bodies to America for the means of living is so well known to you that there is no need of us to speak of it at length. . . . It is, indeed, piteous that so many unhappy sons of Italy, driven by want to seek another land, should encounter ills greater than those from which they would fly. And it often happens that to the toils of every kind by which their physical life is wasted, is added the far more wretched ruin of their souls. – Pope Leo XIII

Evidently it was recognized that many of the American Catholic community shared in the anti-immigrant prejudice that the majority of America had for the Italian community at that time. She came to New York and saw the plight that the immigrants suffered as they were either neglected or abused from those who wanted to use them for cheap labor. 

My thoughts run to our many immigrants who arrive annually on the shores of the Atlantic, moving into the already overcrowded cities of the East, and there they encounter many difficulties and meager wages. In our small sphere we are helping to solve important social problems, in every State and every city where our houses are opened. In these homes, we receive the orphans, the sick, the poor: thousands of children are instructed, not only that, but the good that is done is immense, through contact with the people who facilitate our institutions. – Mother Cabrini

Her community went to the poorest immigrant communities in New York. Her Missionary Sisters went to communities where allegedly the police feared to go. The social injustices of the late 1800′s was daunting. In 1890, one year after Mother Cabrini came to New York, Jacob Riis published  “How the Other Half Lives,” documenting the intense squalor where immigrants lived in New York City.

Mother Cabrini did not let this stop her. Her goal was not to solve the political issue but to respond to the needs they encountered.

What we as women cannot do on a large scale to help solve grave social ills is being done in our small sphere of influence in every state and city where we have opened houses. In them we shelter and care for orphans, the sick and the poor. – Mother Cabrini

The movie that is about to come out tells the story of Mother Cabrini and the courage she had to organize institutional responses to the plight of the immigrant. Mother Cabrini and her Missionary Sisters set up schools, orphanages, and hospitals. In the end, they opened sixty-seven institutions in nine countries, on three continents. The movie depicts the challenges she faces throughout American society including the pressure from the political system and the local Catholic Church. A local church that walks a fine line between the prophetic Gospel values on one side and corruptive influences of local politics on the other. Mother Cabrini’s story has much to offer us as we respond to the current immigrant crisis that once again befalls our great city. Once again we have some Catholics and political conservatives that either promote an anti-immigrant position or are to timid to support the new arrivals. But we also have other Catholics who, in the spirit of Mother Cabrini, champion the social teachings of the Church that began under Pope Leo XIII and continue with Pope Francis.  

With immigrants, take this path of integration into society. It is not a work of charity to leave immigrants where they are. No. Charity involves taking them and integrating them, with education, with job placement, with all these things. - Pope Francis

The work of Catholic Charities has been to promote the values of our social  tradition and to follow the powerful model of saints like Mother Cabrini. Mother Frances Cabrini teaches us how to recognize the preferential option for the poor and struggle to promote the dignity of all people, especially those who are socially marginalized. In the movie you can hear her prophetically yelling “we are all human beings, we are all the same,” to the powers that be in the New York City. This is a central principle of Catholic social teaching that needs to be enforced now just as it needed to be heard then. 

It is worth remembering that in order to respond to these challenges Mother Cabrini surrounded herself with prayer. This was necessary so the God could guide her and keep her centered on these values as she responded to the deep social challenges that the migrant community, and those who served them, encountered.   

Fortify me with the grace of Your Holy Spirit and give Your peace to my soul that I may be free from all needless anxiety and worry. Help me to desire always that which is pleasing and acceptable to You so that Your will may be my will. – Mother Cabrini

Here is a one page biography on Mother Frances Cabrini to download. It includes the following prayer of intercession:

Good and loving God, Thank you for the beautiful example of your servant, Frances Cabrini. Help her life to inspire us to listen to your call, persevere in working for the poor, and tirelessly put others before ourselves. Bless the poor and the immigrants around us and those who work for them. Strengthen the efforts of all the saints striving on your earth today. Amen.

[cruger2984]

THE DESCRIPTION OF SAINT FRANCES XAVIER CABRINI The Patron of Immigrants Feast Day: November 13

Before she became the patron of immigrants, she was born Maria Francesca Cabrini on July 15, 1850, in Sant'Angelo Lodigiano, in the Lombard Province of Lodi, then part of the Austrian Empire. She was the youngest of the thirteen children of farmers Agostino Cabrini and Stella Oldini. Only four of the thirteen survived beyond adolescence.

Born two months early, Maria was small and weak as a child and remained in delicate health throughout her life. During her childhood, she visited an uncle, Don Luigi Oldini of Livagra, a priest who lived beside a swift canal. While there, she made little boats of paper, dropped violets in them, called the flowers 'missionaries', and launched them to sail off to India and China. Francesca attended a school run by the Daughters of the Sacred Heart of Jesus at thirteen, then she graduated cum laude with a teaching degree five years later.

After her parents died in 1870, she applied for admission to the Daughters of the Sacred Heart at Arluno. These sisters were her former teachers, but reluctantly, they told her she was too frail for their life.

Cabrini took religious vows in 1877 and added Xavier (Saverio) to her name to honor the Jesuit saint, St. Francis Xavier, the patron saint of missionary service. She had planned, like Francis Xavier, to be a missionary in the Far East.

In November 1880, Cabrini and seven other women who had taken religious vows with her founded the Missionary Sisters of the Sacred Heart of Jesus. The sisters took in orphans and foundlings, opened a day school to help pay expenses, started classes in needlework and sold their fine embroidery to earn a little more money. The institute established seven homes and a free school and nursery in its first five years. Its good works brought Cabrini to the attention of Giovanni Scalabrini, Bishop of Piacenza, and of Pope Leo XIII.

In September 1887, Cabrini went to seek the pope's approval to establish missions in China. Instead, he urged that she go to the United States to help the Italian immigrants who were flooding to that nation, mostly in great poverty. 'Not to the East, but to the West' was his advice.

Along with six other sisters, Cabrini left for the United States, arriving in New York City on March 31, 1889. While in New York, she encountered disappointment and difficulties. Michael Corrigan, the third archbishop of New York, who was not immediately supportive, found them housing at the convent of the Sisters of Charity. She obtained the archbishop's permission to found the Sacred Heart Orphan Asylum in rural West Park, New York, later renamed Saint Cabrini Home. She organized catechism and education classes for the Italian immigrants and provided for many orphans' needs. She established schools and orphanages despite tremendous odds. She was as resourceful as she was prayerful, finding people who would donate what she needed in money, time, labor, and support. Cabrini was naturalized as a United States citizen in 1909.

While preparing Christmas candy for local children, Cabrini died on December 22, 1917 at the age of 67 due to malaria in Columbus Hospital in Chicago, Illinois. Her body was initially interred at what became Saint Cabrini Home, the orphanage she founded in West Park, Ulster County, New York. She was beatified on November 13, 1938, by Pope Pius XI, and canonized on July 7, 1946, by Pope Pius XII, a year after World War II ended. In 1950, Pope Pius XII named Frances Xavier Cabrini as the patron saint of immigrants, recognizing her efforts on their behalf across the Americas in schools, orphanages, hospitals, and prisons.

[everydaycatholicism]

St Frances Xavier Cabrini

Mother Cabrini was born on July 15, 1850 in Sant'Angelo Lodigiano, Italy. Being enthralled by missionaries and their work she made up her mind to join a religious order. Because of her frail health Mother Cabrini was not able to join the Daughters of the Sacred Heart who had been her teachers and under whom she obtained a teaching certificate. However, in 1880 she along with seven young women founded  the Missionary Sisters of the Sacred Heart of Jesus. She was resourceful managing to find people to donate their time, labor, and money to cover the needs of her order and its charitable acts. Mother Cabrini and her fellow sisters wanted to go to China as Missionaries but in an audience with Pope Leo XIII she was told "Not to go East but to go West." Mother Cabrini was to go to New York. She and several sisters emigrated to the United States leaving Italy on March 23, 1889 and arriving in New York City on March 31st. Mother Cabrini was to serve the Italian immigrants in New York where she was met with poverty and chaos. Despite tremendous odds Mother Cabrini and her sisters provided for the many needs of the Italian immigrants establishing schools and orphanages. Mother Cabrini arrived in Seattle (my home town) on 1903 exclaiming upon her arrival in the Northwest, "Here we are, not far from the North Pole." While in Seattle she worshipped at St. James Cathedral and she founded Cabrini Medical Tower only but a block away from the cathedral. Mother Cabrini would go on to found hospitals and schools throughout the world. Mother Cabrini died on December 22, 1917, in Chicago. Before her death Mother Cabrini became a United States citizen. In 1946, she became the first American citizen to be canonized. She was elevated to sainthood by Pope Pius XII.

Saint Mother Cabrini is the patron saint of immigrants. Her feast day is November 13.

[anastpaul]

Christmas Novenas, Notre-Dame de Chartres / Our Lady of Chartres / The Chartres Pilgrimage) (1935), St Frances Xavier Cabrini and the Saints for 22 December

Christmas Novena to the Divine Infant JesusBy St Alphonsus Maria de Liguori (1696-1787)THE SEVENTH DAY:https://anastpaul.com/2022/12/22/christmas-novena-to-the-divine-infant-jesus-by-st-alphonsus-day-seven-22-december/ The Monthly Novena to theMiraculous Infant Jesus of PragueThe Seventh Day Notre-Dame de Chartres / Our Lady of Chartres, (Pèlerinage de Chartres / The Chartres Pilgrimage) Mother…

[catholic-saint-tournament]

StFrances Xavier Cabrini

St Teresa Benedicta of the Cross

St Josephine Bakhita

St Katharine Drexel

St Gianna Molla

St Josemaria Escriva

oh ho ho another FABULOUS set of modern saints!

ALL OF THEM ARE NEW TO THE LIST!! Keep voting for your favorite ones if they'll make it to the modern bracket!