#contemporary spiritual writers

[suziegallagher]

A academic reflection of Dallas Willard's "Renovation of the Heart"

What book would you recommend? “That’s interesting, I’d like to know something about spirituality. Can you recommend something for me to read that would be helpful?” Introduction This essay is framed in the context of Christianity. Spirituality must be viewed from our own lived experience and our weltanschauung[1] and it would be disingenuous to not be authentically Christian and…

[inkedwingss]

[wisdom-and-such]

Excerpt from An Interesting Book— more at AnInterestingBook.com

[jadenvargen]

free online james baldwin stories, essays, videos, and other resources

**edit

James baldwin online archive with his articles and photo archives.

---NOVELS---

Giovanni's room"When David meets the sensual Giovanni in a bohemian bar, he is swept into a passionate love affair. But his girlfriend's return to Paris destroys everything. Unable to admit to the truth, David pretends the liaison never happened - while Giovanni's life descends into tragedy. This book introduces love's fascinating possibilities and extremities."

Go Tell It On The Mountain"(...)Baldwin's first major work, a semi-autobiographical novel that has established itself as an American classic. With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity as the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. Baldwin's rendering of his protagonist's spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves."

+bonus: film adaptation on youtube. (if you’re a giancarlo esposito fan, you’ll be delighted to see him in an early preacher role)

Another Country and Going to Meet the Man Another country: "James Baldwin's masterly story of desire, hatred and violence opens with the unforgettable character of Rufus Scott, a scavenging Harlem jazz musician adrift in New York. Self-destructive, bad and brilliant, he draws us into a Bohemian underworld pulsing with heat, music and sex, where desperate and dangerous characters betray, love and test each other to the limit." Going to meet the Man: " collection of eight short stories by American writer James Baldwin. The book, dedicated "for Beauford Delaney", covers many topics related to anti-Black racism in American society, as well as African-American–Jewish relations, childhood, the creative process, criminal justice, drug addiction, family relationships, jazz, lynching, sexuality, and white supremacy."

Just Above My Head"Here, in a monumental saga of love and rage, Baldwin goes back to Harlem, to the church of his groundbreaking novel Go Tell It on the Mountain, to the homosexual passion of Giovanni's Room, and to the political fire that enflames his nonfiction work. Here, too, the story of gospel singer Arthur Hall and his family becomes both a journey into another country of the soul and senses--and a living contemporary history of black struggle in this land."

If Beale Street Could Talk"Told through the eyes of Tish, a nineteen-year-old girl, in love with Fonny, a young sculptor who is the father of her child, Baldwin's story mixes the sweet and the sad. Tish and Fonny have pledged to get married, but Fonny is falsely accused of a terrible crime and imprisoned. Their families set out to clear his name, and as they face an uncertain future, the young lovers experience a kaleidoscope of emotions-affection, despair, and hope. In a love story that evokes the blues, where passion and sadness are inevitably intertwined, Baldwin has created two characters so alive and profoundly realized that they are unforgettably ingrained in the American psyche."

also has a film adaptation by moonlight's barry jenkins

Tell Me How Long the Train's been gone At the height of his theatrical career, the actor Leo Proudhammer is nearly felled by a heart attack. As he hovers between life and death, Baldwin shows the choices that have made him enviably famous and terrifyingly vulnerable. For between Leo's childhood on the streets of Harlem and his arrival into the intoxicating world of the theater lies a wilderness of desire and loss, shame and rage. An adored older brother vanishes into prison. There are love affairs with a white woman and a younger black man, each of whom will make irresistible claims on Leo's loyalty. 

---ESSAYS---

Baldwin essay collection. Including most famously: notes of a native son, nobody knows my name, the fire next time, no name in the street, the devil finds work- baldwin on film

--DOCUMENTARIES--

Take this hammer, a tour of san Francisco.

Meeting the man

--DEBATES:--

Debate with Malcolm x, 1963 ( on integration, the nation of islam, and other topics. )

Debate with William Buckley, 1965. ( historic debate in america. )

Heavily moderated debate with Malcolm x, Charles Eric Lincoln, and Samuel Schyle 1961. (Primarily Malcolm X's debate on behalf of the nation of islam, with Baldwin giving occassional inputs.)

----

apart from themes obvious in the book's descriptions, a general heads up for themes of incest and sexual assault throughout his works.

[astrobiscuits]

Astro observations part 5

🐝 Saturn in 5th house individuals don’t like parties

🐝 All the Cancer Sun guys i met were either metalheads or femboys, i swear there’s no in-between

🐝 Libra Sun love nature. They're the type to spend weekends hiking, going on picnics with friends & family

🐝 Check out asteroid Armisticia (1464) in synastry. If you’ve got it conjuncting personal planets or angles, it indicates that you and the other person are on the same page when it comes to conflict, making it easier to find a solution to the problem and make peace

🐝 Aquarius on 4th house cusp individuals might have grown in a LGBTQ+ family. They might have got adopted by a gay/lesbian couple

🐝 When Cancer Moons go to college, they usually choose a college close to their hometown and commute to it

🐝 Trines to your Mercury show what type of writer you would be

If Mercury trines Moon - poetry, children's books (0-6 yo)

If Mercury trines Venus - romance novels, art books, chick-lit fiction (ik it's basically dead, but long live the internet)

If Mercury trines Mars - action & adventure novels, war novels

If Mercury trines Jupiter - young adults fiction, comedy books, travel literature, religion/spirituality books

If Mercury trines Saturn - contemporary novels, non-fiction books (memoirs, biographies, academic works, etc.)

If Mercury trines Uranus - sci-fi novels, (combined with Pluto) dystopian novels

If Mercury trines Neptune - fantasy novels, children's books (6-12 yo)

If Mercury trines Pluto - mystery novels, horror novels, thrillers

Hope you enjoyed today's post!❤️

Post ideas are welcomed in the comments!

See you soon! ଘ(੭ˊᵕˋ)੭* ੈ✩‧

[fansplaining]

We're thrilled to publish our newest piece—this time by a returning writer. @areyougonnabe first wrote for us about Tumblr back in 2020 (and also was one of the podcast's final guests this year before we went on hiatus). Now she's back with a deep dive into contemporary classic rock fandom—the shippy, transformative kind—and the interesting temporal shift that happens within historical RPF:

Today’s young Beatles fans can consume every atom of sound and image from the 1960s, but however fond they are of Ringo’s silly tweets or Paul’s new music, there’s a line of demarcation somewhere in the past which spiritually separates then from now. Real-time, ongoing celebrity pop culture can be full of anxieties, but an older band’s story can be more like reading a book that was already written. 

Read or listen to an audio version via the link above—and to support more in-depth fan culture journalism, consider becoming a patron!

[skaldish]

What is Norse Heathenry?

Norse Heathenry is a contemporary pagan spirituality derived from the beliefs, customs, superstitions, and folklore of the pre-Christian Norse people. It is one of a few different kinds of Heathenries, which include Slavic Heathenry and Teutonic (Germanic) Heathenry.

The word "heathen" means "of the heaths." However, it's not a word the Old norse people themselves used. They didn't have a word for their spiritual belief system, as they didn't distinguish this from all other aspects of their lives. Rather, "Heathen" was coined by Christian writers to refer to Scandinavian pagans (this is also why it's sometimes used interchangeably with the word "heretic").

Nowadays, Norse Heathenry is referred to by many names, which reflects different developing iterations of it. Amongst these names are Norse Paganism, Asatru, and Forn Sidr / Forn Sed.

Where does Norse Heathenry come from?

Norse Heathenry comes from the Nordic countries of Europe: Norway, Sweden, Denmark, Iceland, and the Faroe Islands. These places are also known as the homelands of the vikings. But despite their shared origins, Norse Heathenry is not the religion of the vikings. This very large misconception has a very long, complex history behind it, owed to a combination of commercialization and fascist tampering. The Heathenry we see in America is extremely muddied from these influences. Fortunately, we now have the means to disambiguate it, thanks to increasingly accessible cultural exchange.

The following explanation is a product of ongoing anthropological, theological, and cultural research, in combination with what we know about the historical.

Norse Heathen Beliefs

Unlike organized religions, Norse Heathenry is (and has always been) a decentralized belief system. This means it has no universal doctrines, no orthopraxy or orthodoxy, no holy texts, and no religious figurehead governing it. When you hear people say "There's no 'right' way to practice Heathenry," this is generally what they're referring to.

However, Norse Heathenry does have a distinct way of thinking about and viewing the world, and it's very different from what we usually see here in the US. If you're feeling stuck trying to figure out how to "do Heathenry," this would be why.

Animism

A staple of Norse Heathen epistemology is Animism.

Usually, Animism is defined as the belief that all things have a spirit or vital essence to them. But this is only one definition of many, and not the definition that applies here.

The Norse concept of Animism is "the awareness that all things are part of an interdependent ecosystem." This changes how we engage with everything around us. We understand that when we interact with the forces of this world, they will interact back on their own merit. Our relationship with all things is a social one, and we're not spectators in our environment, but active participants at all times.

This stands is stark contrast to the way the USAmericans typically view the world: As a landscape to either test or be tested by, with the forces of the world acting as the means through which this is done.

Additionally, there's no separation between the sacred and the profane.

Immanence

Faiths that focus on spiritual ascension, enlightenment, or attaining a good afterlife are known as transcendent faiths.

While Norse Heathenry has some transcendent elements, it's ultimately an immanent belief system, which means its focus is on living life for the sake of living, as opposed to living life to receive a good afterlife. A good afterlife is already guaranteed.

(Some Heathens may strive for a specific kind of afterlife, however, which do have certain conditions for accessing. But these are elective rather than required, and different as opposed to superior. It's all a matter of preference, at the end of the day.)

The Norse Gods

Many people are already familiar with the Norse gods, such as Thor, Odin, Loki, and Freyja, but not many people are familiar with how they operate as gods.

In Hellenism and Religio Romano, the gods are divine lords who preside over different domains of society. It's a reflection of what the ancient Greeks and Romans highly valued in their civilizations: Law and political/civic involvement.

In Norse Heathenry, however, gods don't operate in a lordship capacity. Instead, they're more like celebrities in that they're celebrated figures everyone knows about.

While they don't rule over one thing or another, the Norse gods often act as allegorical representations of worldly phenomena. Thor is to thunderstorms as Loki is to "random-chance odds." SIf is to wheat-fields as Odin is to the old wandering beggar. Frey and Freyja represent masculine and feminine principles, Skadi the driven snow and foggy winter, and so on. The gods exist as worldly experiences inasmuch as they exist as ideas.

Lastly, but importantly, the Norse gods don't distribute rewards or punishments in accordance with on one's actions or deeds, nor do they tell us how we ought to live our lives. The way they interact with us depends on our individual relationships with them, which can be just as diverse as the ones we have with each other.

Myths & Folklore

What people often refer to as the "Norse Myths" are stories found in two old Icelandic texts called the Prose Edda and the Poetic Edda. These texts are special because they're the oldest and largest collection of tales featuring the Norse deities.

However, these texts represent just one region's period-specific interpretation of Norse folklore. They also only represent a fraction of the tales that still circulate within Nordic oral traditions, so not only are they not "canon" in the usual sense of the word, they're also just a sample.

This is all to say that Norse Heathenry doesn't have a hard body of mythology. It certainly has a defined one, but its definition is built from local legends, fairy tale humor, songs, customs, superstitions, and family folklore in addition to what survives on runestones and parchment. The corpus of Heathenry is very much a living, breathing thing.

Spirits

Norse Heathenry recognizes a wide variety of different beings, the likes of which can be found all around us. Some of these beings are like how we typically imagine spirits, in that they're incorporeal or otherwordly, while others are physical but may play tricks on you so you can't see them.

Like many things pertaining to Heathenry, there isn't a universally-shared classification system for Norse beings. But generally-speaking, beings are defined by their natures and the manner in which they relate to the rest of the world, rather than their morphology. For example, Trolls can take the appearance of rocks, trees, and also living people, but they can also be incorporeal spirits. This is all, however, the same kind of Troll, rather than being different types of trolls.

This is also why the lines between "spirit", "god," and "ancestor" can become very blurry at times. In English use, these are all typically labeled under the category "vaetter." Sometimes "wight" is used to refer to spirits of various types, but isn't often used to refer to gods.

Typically, the way people interact with spirits entirely depends on what kind of spirit they're dealing with, as well as their disposition towards human beings. Some spirits may enjoy a personal relationship, while others are best when left unbothered.

Values & Morality

Because Norse Heathenry has no doctrine and is immanent in nature, it has no fixed value system. Just like the stories were decentralized, so were the Norse people's values.

This is a feature as opposed to a flaw, and a fact as opposed to a theory. But it also has a habit of making Americans very uncomfortable.

For this reason, Heathens sometimes choose to construct their own value system to observe as part of their practice. But what those values are is up to each individual, and individual community, if applicable.

Anyone claiming Norse Heathenry has a universal value system is either new to Heathenry, or selling something.

Veneration

Heathen veneration is not just limited to gods, but also includes ancestors and even certain kinds of spirits, such as nisse/tomte.

Like most things in Norse Heathenry, what, who, and how a Heathen chooses to venerate is their choice to make. One popular observance across the globe is to craft altars, shrines, or similar sacred spaces for the entities one venerates. If a Heathen lives in a house that has a nisse (similar to a gnome), they might leave porridge (with butter) by the hearth for him, and he'll in turn bless the house with good luck and fortune.

Oftentimes, relationships with entities are very interpersonal. Heathenry's animistic and immanent nature means entities are rarely cold and distant, including the gods.

Misconceptions!

A list of misconceptions off the top of my head:

The practice known as 'Odinism' is an invention of the Germanic Volkish movement, which was the social precursor to Nazi Germany. This is also, unfortunately, the first kind of "heathenry" to be brought to the US, back in the 1970's. It was spread through the country via one of the fastest-moving networks at the time: The US prison system.

The Black Sun is a Nazi symbol, not a Heathen one.

No, Norse Heathenry is not a closed practice.

No, you don't have to have Scandinavian heritage to practice Norse Heathenry. Blood quantum is not a thing.

The rune alphabets are old, but the method of runecasting is new.

So is the use of magical bindrunes.

Bindrunes are also different from Galdrastafir. The latter is actually a form of Jewish-Christian-Norse syncretism and needs to be taught orally since it's a mystery tradition. You can still slap the Helm of Awe on things and look cool about it though.

Norse Heathenry is not the same as being a viking, and Norse Heathens are not vikings. However, some Heathens partake in viking reenactment as an extension of their practice.

There's no good or bad gods in Norse Heathenry. All the gods are capable of great good and great bad, just like people. They're fallible, and that's what makes them relatable.

Odin and Loki aren't at odds with one another.

You don't need to wait for a god to pick you to start venerating them.

If you're interested in learning more about any of these in-depth, check out the website I've built on Norse Heathenry, located in my pinned post!

[kaurwreck]

My actual presumption re: Akutagawa's knightliness and amnesia is that Bram and Akutagawa are sharing a skinsuit, consequently weaving their consciousnesses into the most gothic twink the modern mind is capable of conceiving. (You might assume adding Poe or Percy Shelley would make for a more gothic twink, but the addition of either would destabilize the whole twink, and it would either become immediately beset with late stage rabies or it would drown itself within moments of its wretched birth).

Akutagawa is not entirely Akutagawa. The armor looks decidedly more draconic in the teaser we received at the end of S5, wherein Akutagawa seems to have wholly returned to Atsushi's side— fulfilling Shibusawa's climactic fight comment in Dead Apple that the dragon and tiger deserve each other— in time for the overarching climax.

(That's why I think Fyodor set Shibusawa on Atsushi— he mistook Shibusawa for the dragon that would engage with the tiger, creating a singularity that is the "book" insofar as the book exists. Really, it's a white hole that connects realities, either metaphorically or literally. Or, so I think.)

So, Akutagawa has not yet actualized into the dragon that his rivalry with Atsushi has allowed him to cultivate into over the course of the story, but he's very close. He's also too much of a knight right now, which is Bram's role— Akutagawa was always a rook. Even where Akutagawa is protective, he is not chivalrous or knightly, and his protectiveness does not arise from ordainment or ritual oaths of public service but from the individual promises he's made to others and his city. He also doesn't remember Atsushi. Bram, meanwhile, is nobility with vassals to protect, empowered by the princess to whom he swore fealty with the weight of his ordained station. He also has never met Atsushi.

However, this knightly Akutagawa is not all Bram either. His precise, clipped, and cutting speaking pattern slips between Bram's romantic, archaic denouncements. Akutagawa recalls his own words from his first appearance. He appeared where he was needed most, and he's remaining true to his promises. Rashomon responds to him. Akutagawa is very much there, but insofar as he's backseat driving, Bram has the firmer grip on the wheel.

Notably, knight!Akutagawa seemingly quotes the Kolbrin Bible, after which the chapter is named, which is something of a conspiracy theorist's secular bible that mashes together Celtic and Druid mysticism, Judaism and Egyptology. Allegedly, it's a manuscript written 3,600 years ago that was translated between WW1 and WW2. There is no evidence that any of this is true— it was most likely produced in the 90s, based on its very anachronistic language.

I fucking hate contemporary occultism, I tried to dismiss the Kolbrin Bible as the relevant reference, but I haven't yet found anything more likely (although the day is young). There's some foundation for referencing an esoteric occult publication: the somewhat notorious founder of theosophy, Helena Pavlovna Blavatsky, published a theosophical interpretation of Dostoevsky months after his death; spiritualism absolutely influenced fiction and sci-fi; WB Yeats and George William Russell (luminaries of modern Irish literature) were involved with the Hermetic Order of the Golden Dawn, and their works were shaped by their interests in mysticism and the occult. More saliently, Bram Stoker corresponded with prominent occultists and harbored a tempered "writer's interest" in the occult. I am not getting into Houdini's former friend's interest in spiritualism because I hate him, and thinking about him makes me spit bile, but he's another prominent example.

So, there's cause for the reference, and, maybe this sort of text feels right for bsd, which is also an anachronistic alternative history that's mashing together a whole lot of eastern and western influences with little regard for propriety. I'm still not pleased with it, and I hope my shallow look into the imagery from this most recent chapter led me into the enshittified part of the surface web. But, there are some apparent threads worth exploring.

Prior to Akutagawa name dropping the Harbor of Sorrow, Fyodor seemingly also references the Kolbrin Bible (which is, to mirror Fyodor's language below, an imitation religious text):

"The Harbour of Sorrow we leave behind and with four ships sail towards the sunsetting."

At first, I thought the setting sun imagery in Fyodor's exposition was an uncharacteristically blunt reference to Dazai Osamu's novel, but the setting sun in the Kolbrin Bible seems more likely, since in the latter there is an intentional journey towards the setting sun, while the setting sun in Dazai Osamu's novel reflects an aristocratic family's necrotizing decline.

The Harbour of Sorrow in the Kolbrin Bible is described thusly:

They came to the Harbour of Sorrow, which lies by the Hazy Sea, away from the Land of Mists. There great trees grew and smaller trees upon them, and moss hung from them like door curtains. It lay near the great shallow waters South of the Isle of Hawhige and North of the Sea Pass. Green pearls are found there. Many died in the Harbour of Sorrow, for it was a place with a curse upon it, which caused an evil sickness. The Sons of Fire came with Hoskiah and saved them, and they came to this place and built a city.

(I can't help but acknowledge that the character for "Asagiri" in Kafka Asagiri refers to morning mist.)

In modern Western mysticism, "sons of fire" could mean a few different things, but in this context, I'm inclined towards the epithet for Western spiritualists' bastardization of sage kings— "divine" teachers. It may also reference Aaron's sons in the Bible, who were killed by Moses after they committed a profane act before God. As a reminder, shortly before stabilizing Yokohama in collaboration with Mori, Taneda, and Natsume, Fukuzawa either participated in or permitted acts that appear to have been assassinations to facilitate Japan's withdrawal from the Great War, which engendered in him self loathing and shame and shattered his relationship with four others.

(As an aside, I don't actually think Fukuzawa assassinated anyone, or was an assassin by trade— the five swords of Japan are a specific reference to five swords and their mythologies, and I think he must have been the ceremonial purification sword that was never meant to be sharp. It was meant to cut only evil. I think he allowed something to happen that violated oaths he made, so he exiled himself like a ronin who killed his master. The only reason we think he killed anyone, despite Ranpo acknowledging Fukuzawa wasn't an assassin in Untold Origins, is because the Decay of Angel fed "evidence" to the government officials who Nikolai later killed to incite them into pursuing the Agency— there is nothing suggesting that evidence has any merit, and much suggesting it's falsified. This is why I always say not to rely on the bsd wiki— it tends to take these things at face value and doesn't qualify unreliable information.)

Anyway! There are other threads to connect the text above to bsd, including the foreigners present in Yokohama and the Kolbrin Bible's British Isles settings and US + UK modern mysticism. But, to move on to other passages connected to the Harbor of Sorrow.

“When some of us came from the Harbour of Sorrow, we were full of praise at our deliverance from death, but amid the forests of fruitfulness, much of our gratitude and will was lost. Why must men always be better men in the face of disaster and in the midst of privation, than in the green fields of peace and plenty? Does this not answer the questions of many who ask why there is sorrow and suffering on Earth? Why is it the lot of men to struggle and suffer, if not to make better men?

...

"Many who are with us in the light will join us, and then we shall be stronger in arms and strengthened in belief. (Annotation: How few came!) Yet our destiny lies among the barbarians. They are fine, upright men endowed with courage, do not belittle their ways, but bring them into the light.

"Our city was not founded as a marketplace, a place for exchanging only the things of Earth. Neither did we come here as conquerors, but as men seeking refuge.

“My trusted ones, remember that the road of life is not smooth, neither is the way of survival a path of grass. The most needful thing for any people who wish to survive is self-discipline. Think less of gold and more of the iron which protects the gold. Remember, too, these words from the Book of Mithram, The keenest sword is useless unless it be held in the hand of a resolute man. Also, the man who has gold keeps it in peace if he tends his bowstring."

I have not read the Kolbrin Bible, I have immense distaste for modern occultism/spiritualism/mysticism outside of limited and carefully curated, contextualized slices of the same. I also don't make a habit of overly familiarizing myself with the British Isles. I don't have much frame of reference for interpreting the above.

But on a surface reading, the passages in the Kolbrin Bible that refer to the Harbor of Sorrow touch on similar-to-bsd themes of intentional community and finding purpose in protecting and cultivating the light in both the wake and the eve of immense darkness, and finding companionship in those who share your purpose and resolve no matter how differently they may approach the same.

Further, they both embrace that it's not about being golden, but protecting what is gold, which is Kyouka's core arc in Dead Apple as she transitions from trying to protect Atsushi as someone she considers untouched by the darkness within her, to realizing that Atsushi, too, has killed, and that her desire to use Demon Snow to protect those she loves isn't shameful or a betrayal of her mother's memory. This is something that I think the fandom often misunderstands about bsd— the light and dark do not exist in opposition, but in duality. The characters immersed in the dark do not need to be saved; the characters in the twilight have their reasons for finding purpose elsewhere, but that doesn't strip the love they had while in the dark. If anything, it makes it easier for them to realize that love was and still is there.

That interplay of light and dark (which is also the title of a Natsume Soseki novel) is where Akutagawa and Bram begin to melt most into one another. They have both been dehumanized, hated, and killed; rejected and stripped of dignity, robbed of those they loved by petty violence. Neither seeks to save anyone other than those to whom they've sworn to try, and they've both been reckless with who they've killed. Nevertheless, they love fiercely, and where their fear is defensive, their anger is avenging (Akutagawa's furious pursuit of the reckless murderers in 55 Minutes, the implication that Bram was fighting to protect his vassals when he was subdued as a calamity previously).

But they aren't evil. Evilness isn't a person, it's cowardice and weakness and fear. They've both grappled with the desire to succumb to their grief and their anger and their terror. But they struggle against those urges in themselves with fierce resolve.

It's the sort of resolve that Fyodor lacks. Fyodor, codependent on his dehumanization, claims that there's death in salvation only because he can't bear to keep living under the weight of humanity's rejection but is too weak and afraid of being alone to die without taking everyone else with him. Fyodor's disgusted by Atsushi's humanity and love because he sees in it what he's convinced himself he can never be afforded. But Bram and Akutagawa both have always had the certainty of love in their families, and then in Aya and in Higuchi.

There is no salvation in death or goodness; there is no sure path towards resolution or closure. There isn't any inherent meaning to our pain, and even those of us who live in relative peace are walking on a knife's edge over uncertainty and chaos. But, we can choose to accept love, and we can choose to love others. Isn't that a little bit wonderful?

[la-femme-au-collier-vert]

Sources on Louisiana Voodoo

door in New Orleans by Jean-Marcel St. Jacques

For better or worse, (almost always downright wrong,) Louisiana Voodoo and Hoodoo are likely to come up in any depiction of the state of Louisiana. I’ve created a list of works on contemporary and historical Voodoo/Hoodoo for anyone who’d like to learn more about what this tradition is and is not (hint: it developed separately from Haitian Vodou which is its own thing) or would like to depict it in a non-stereotypical way. I’ve listed them in chronological order. Please keep a few things in mind. Almost all sources presented unfortunately have their biases. As ethnographies Hurston’s work no longer represent best practices in Anthropology, and has been suspected of embellishment and sensationalism on this topic. Additionally, the portrayal is of the religion as it was nearly 100 years ago- all traditions change over time. Likewise, Teish is extremely valuable for providing an inside view into the practice, but certain views, as on Ancient Egypt, may be offensive now. I have chosen to include the non-academic works by Alvarado and Filan for the research on historical Voodoo they did with regards to the Federal Writer’s Project that is not readily accessible, HOWEVER, this is NOT a guide to teach you to practice this closed tradition, and again some of the opinions are suspect- DO NOT use sage, which is part of Native practice and destroys local environments. I do not support every view expressed, but think even when wrong these sources present something to be learned about the way we treat culture.

*Start with Osbey, the shortest of the works. The works in bold are those I consider the best- many are primary sources. To compare Louisiana Voodoo with other traditions see the chapter on Haitian Vodou in Creole Religions of the Caribbean by Olmos and Paravinsi-Gebert. Additionally many songs and chants were originally in Louisiana Creole (different from the Louisiana French dialect), which is now severely endangered. You can study the language in Ti Liv Kreyol by Guillery-Chatman et. Al.

Le Petit Albert by Albertus Parvus Lucius (1706) grimoire widely circulated in France in the 18th century, brought to the colony & significantly impacted Hoodoo

Mules and Men by Zora Neale Hurston (1935)

Spirit World-Photographs & Journal: Pattern in the Expressive Folk Culture of Afro-American New Orleans by Michael P. Smith (1984)

Jambalaya: The Natural Woman's Book of Personal Charms and Practical Rituals by Luisah Teish (1985)

Eve’s Bayou (1997), film

Spiritual Merchants: Religion, Magic, and Commerce by Carolyn Morrow Long (2001)

A New Orleans Voodoo Priestess: The Legend and Reality of Marie Laveau by Carolyn Morrow Long (2006)

“Yoruba Influences on Haitian Vodou and New Orleans Voodoo” by Ina J. Fandrich (2007)

The New Orleans Voodoo Handbook by Kenaz Filan (2011)

“Why We Can’t Talk To You About Voodoo” by Brenda Marie Osbey (2011)

Mojo Workin': The Old African American Hoodoo System by Katrina Hazzard-Donald (2013)

The Tomb of Marie Laveau In St. Louis Cemetery No. 1 by Carolyn Morrow Long (2016)

Lemonade, visual album by Beyonce (2016)

How to Make Lemonade, book by Beyonce (2016)

“Work the Root: Black Feminism, Hoodoo Love Rituals, and Practices of Freedom” by Lyndsey Stewart (2017)

The Lemonade Reader edited by Kinitra D. Brooks and Kameelah L. Martin (2019)

The Magic of Marie Laveau by Denise Alvarado (2020)

In Our Mother’s Gardens (2021), documentary on Netflix, around 1 hour mark traditional offering to the ancestors by Dr. Zauditu-Selassie

“Playing the Bamboula” rhythm for honoring ancestors associated with historical Voodoo

Voodoo and Power: The Politics of Religion in New Orleans 1880-1940 by Kodi A. Roberts (2023)

The Marie Laveau Grimoire by Denise Alvarado (2024)

Voodoo: An African American Religion by Jeffrey E. Anderson (2024)

[talonabraxas]

Medusa Spitblossoms Medusa: A Mythological Tale of Maiden to Monstrosity

Medusa, a name that evokes both fascination and terror, is one of the most intriguing figures in Greek mythology. This captivating Gorgon, known for her hair of serpents and the ability to turn mortals into stone, has been the subject of countless artistic interpretations, symbolizing power, femininity, and the complex nature of humanity. Although Medusa is not considered a goddess, she is an important and unique character from Greek mythology, specifically one of the Gorgons, three sisters known for their monstrous appearance.

While Medusa is a notable figure in Greek mythology and has been the subject of various artistic interpretations and symbolism, she is not worshipped as a goddess in the traditional sense. Over time, Medusa myth has been used as a symbol to protect and ward off the negative, representing a dangerous threat meant to deter other dangerous threats, an image of evil to repel evil. In this blog post, we will delve into the myth of Medusa and explore the profound symbolism associated with her enigmatic persona.

Medusa, a name that evokes both fascination and terror, is one of the most intriguing figures in Greek mythology. This captivating Gorgon, known for her hair of serpents and the ability to turn mortals into stone, has been the subject of countless artistic interpretations, symbolizing power, femininity, and the complex nature of humanity. Although Medusa is not considered a goddess, she is an important and unique character from Greek mythology, specifically one of the Gorgons, three sisters known for their monstrous appearance.

While Medusa is a notable figure in Greek mythology and has been the subject of various artistic interpretations and symbolism, she is not worshipped as a goddess in the traditional sense. Over time, Medusa myth has been used as a symbol to protect and ward off the negative, representing a dangerous threat meant to deter other dangerous threats, an image of evil to repel evil. In this blog post, we will delve into the myth of Medusa and explore the profound symbolism associated with her enigmatic persona.

The Mythical Origins of Medusa:

Medusa Greek mythology was once a beautiful mortal woman with flowing hair. However, due to a series of unfortunate events, she was cursed by the goddess Athena, transforming her into a monstrous creature. Her once luscious locks were replaced by serpents, and her gaze became the deadly weapon that turned any who looked upon her to stone. This tale of transformation and divine punishment carries deep symbolic meaning, resonating with themes of beauty, envy, and the consequences of hubris.

Medusa Spiritual Meaning:

While Medusa mythology is often depicted as a terrifying monster, she also embodies a potent symbol of feminine power. Her serpentine hair represents primordial wisdom, connected to the chthonic forces of nature and the untamed aspects of femininity. Medusa challenges traditional notions of beauty and subverts the male gaze, offering an alternative archetype of strength and resilience for women throughout history. In modern times, she has become an icon for female empowerment, encouraging women to embrace their unique qualities and reclaim their narrative.

Medusa in Art and Literature:

Throughout the ages, artists and writers have been captivated by Medusa's enigmatic allure, immortalizing her in various forms. From ancient Greek pottery to Renaissance paintings and contemporary sculptures, Medusa's image continues to inspire creative interpretations. Notable works such as Caravaggio's "Medusa" and Bernini's "Medusa Shield" showcase the enduring fascination with this mythological figure. Furthermore, Medusa's presence in literature, from Ovid's "Metamorphoses" to contemporary novels, reflects her enduring relevance as a complex symbol of power, desire, and the human condition.

Medusa as a Metaphor for the Human Psyche:

Medusa symbolism as a figure of feminine power, Medusa also represents the intricate workings of the human psyche. The concept of "petrification" associated with her gaze can be interpreted as the fear of facing our deepest fears and desires, the paralysis that comes with inaction, or the consequences of avoiding self-reflection. Medusa reminds us that embracing and integrating our shadow selves is a crucial step towards personal growth and self-actualization.

Medusa and Poseidon

Medusa greek mythology was described as a beautiful mortal woman before she was cursed. She was said to have flowing golden or auburn hair, which was considered her most striking feature. Her beauty was so captivating that she caught the attention of various suitors and even garnered the interest of the sea god Poseidon.

However, after an encounter with Poseidon in the temple of Athena, Medusa's fate took a tragic turn. According to the myth, Poseidon raped Medusa within the temple of Athena, defiling the sacred space. As a result of this violation, Athena punished Medusa rather than Poseidon. The enraged Athena cursed Medusa, transforming her appearance into a grotesque form to punish her. Her beautiful hair was turned into serpents, her eyes became glowing and petrifying, and her once attractive countenance became monstrous.

It's important to note that descriptions of Medusa's appearance can vary in different interpretations and artistic depictions. Artists and storytellers throughout history have depicted Medusa in various ways, emphasizing different aspects of her monstrous transformation. However, the common thread in the myth is that she was initially a beautiful woman who was tragically transformed into a horrifying creature as a result of a curse bestowed upon her.

Perseus and Medusa

The story of Medusa and Perseus is a well-known tale in Greek mythology. It involves the hero Perseus and his quest to slay the monstrous Gorgon Medusa.

Perseus was the son of Zeus, the king of the gods, and Danaë, a mortal woman. When Perseus was a baby, an oracle prophesied that he would one day kill his grandfather, Acrisius. To prevent this, Acrisius locked Danaë and Perseus in a chest and cast them into the sea. They were eventually rescued by a fisherman and brought to the island of Seriphos, where they lived.

As Perseus grew older, King Polydectes of Seriphos became infatuated with Danaë and desired to marry her. Perseus, reluctant to see his mother wedded to the king, accepted a dangerous task proposed by Polydectes. The king requested the head of Medusa, the only mortal Gorgon, as a gift from Perseus.

The Gorgons, Medusa included, were monstrous creatures with snakes for hair and the power to turn people to stone with their gaze. Medusa, in particular, possessed this petrifying ability. To aid him in his quest, Perseus received various gifts from the gods, including a reflective shield from Athena, winged sandals from Hermes, and a helm of invisibility from Hades.

Using these divine gifts, Perseus embarked on his journey. He managed to find the three Gorgons, including Medusa, in their lair. Avoiding direct eye contact with Medusa, he used his shield as a mirror to observe her without turning to stone. With a swift strike, Perseus beheaded Medusa while she slept. The winged horse Pegasus and the giant Chrysaor, both born from Medusa's blood, emerged from her severed neck.

On his way back, Perseus encountered various adventures, including rescuing Andromeda, a princess, from a sea monster. Eventually, he returned to Seriphos and used Medusa's head as a weapon against his enemies. In one incident, he petrified King Polydectes and his court, avenging his mother's mistreatment.

Perseus later reunited with his grandfather, Acrisius. However, the prophecy came true when Perseus accidentally killed Acrisius during a discus-throwing contest. As a result, Perseus fulfilled the prophecy, but his heroic feats brought him renown and established his place in Greek mythology.

The myth of Medusa and Perseus is often seen as a tale of heroism, triumph over monstrous forces, and the fulfillment of prophecies. It showcases Perseus' courage, resourcefulness, and divine assistance in his quest to slay Medusa and the subsequent events that unfolded as a result.

Medusa's Children

According to Greek mythology, Medusa goddess did have offspring. After Perseus, the hero who beheaded Medusa, two creatures emerged from her severed neck: Pegasus and Chrysaor.

Pegasus was a winged horse known for his incredible speed and association with poetry and inspiration. He became a famous mythological figure in his own right and was tamed by the hero Bellerophon, who rode him on various adventures.

Chrysaor, on the other hand, was a giant or a warrior with a golden sword. His name translates to "Golden Blade." Chrysaor is not as widely known or featured in mythology as Pegasus, but he is often mentioned as the sibling of the winged horse.

It's important to note that Medusa's offspring were not conceived in the traditional sense but were born from her blood or the remnants of her body after her death. They played significant roles in subsequent mythological narratives and were seen as the legacy of Medusa, carrying aspects of her power and essence.

Was Medusa Immortal?

In Greek mythology, Medusa was not immortal. Like many other figures in Greek mythology, she was a mortal who possessed certain abilities and encountered divine beings. Medusa was originally a beautiful mortal woman, but due to a curse placed upon her by the goddess Athena, she was transformed into a monstrous creature with snakes for hair and the ability to turn people to stone with her gaze.

Medusa's immortality, or lack thereof, can be interpreted differently depending on the version of the myth. Some sources suggest that she was mortal and eventually slain by the hero Perseus, who used a mirror-like shield to avoid looking directly at her and beheaded her while she slept. In this interpretation, Medusa's death implies that she was not immortal.

However, other versions of the myth propose that Medusa, along with her sisters, possessed a degree of immortality. They were depicted as beings who could not be killed conventionally due to their monstrous nature. Their immortality was tied to their monstrous form, which persisted despite any injuries inflicted upon them. It was only through a specific act, such as Perseus using his reflective shield to decapitate her, that Medusa could be defeated.

Overall, the concept of Medusa's immortality can vary depending on the interpretation of the myth. In some versions, she was mortal and eventually slain, while in others, she possessed a form of immortality that required a specific method of defeating her.

Is Medusa a Goddess?

Medusa is not a goddess; she's a figure from Greek mythology. She was originally a beautiful woman turned into a Gorgon with snakes for hair. Medusa is often associated with her petrifying gaze.

What Does Medusa Symbolize?

The Medusa meaning is multifaceted and can be interpreted through various lenses, including mythology, psychology, and symbolism. Here are a few key aspects of the meaning associated with Medusa:

What Does Medusa Represent?

Transformation and Metamorphosis: Medusa's story revolves around a significant transformation. She was once a beautiful mortal woman who, due to a curse, became a grotesque figure with snakes for hair and the power to turn people to stone. Her tale represents the concept of metamorphosis, both physically and symbolically. It reflects the potential for profound changes in one's life and the transformative power that lies within.

Complexity and Duality: Medusa embodies the complexity and duality of human nature. On one hand, she is depicted as a monstrous figure capable of petrifying others. On the other hand, she was once a beautiful woman who faced unjust punishment. This duality reflects the intricate nature of humanity, showcasing how individuals can possess both light and dark aspects within themselves.

Reflection and Self-Exploration: Medusa's gaze, which turned people to stone, can be seen as a metaphor for self-reflection and the consequences of avoiding or denying one's own truth. Medusa prompts individuals to confront their inner fears, desires, and shadows. Her story encourages deep introspection, acceptance, and the integration of all aspects of oneself.

Archetypal and Symbolic Representation: Medusa has become an archetypal figure, representing various themes and symbols. These include femininity, power dynamics, wisdom, protection, transformation, and the embodiment of the wild and untamed forces of nature. Her symbolism transcends time and continues to resonate with individuals seeking to understand and express different facets of the human experience.

Medusa in Modern Witchcraft

Medusa's role in witchcraft varies depending on the specific tradition or belief system being explored. It's important to note that Medusa herself is a figure from Greek mythology, while witchcraft encompasses a wide range of practices and beliefs that can be found in different cultures throughout history.

In some modern forms of witchcraft, Medusa energy may be invoked or revered as a symbol of feminine power, transformation, and protection. She is seen as a representation of the wild, untamed aspects of nature and the feminine divine. Some witches may draw inspiration from her story to connect with their own inner strength, resilience, and the ability to face challenges.

In certain magical practices, Medusa's image or symbolism might be incorporated into rituals, spells, or charms for specific purposes. For example, her serpentine hair might be seen as a potent symbol for the awakening of kundalini energy or as a representation of the transformative power of the serpent archetype.

It's essential to recognize that witchcraft is a diverse and multifaceted spiritual path, and individuals or groups within witchcraft traditions may interpret and incorporate Medusa's symbolism differently. Medusa's role in witchcraft is often subjective and open to personal interpretation, reflecting the practitioner's unique beliefs and intentions.

[cartermagazine]

Comrade Sisters: Women of the Black Panther Party by @ericka_huggins and @stephenshames

This powerful photo book highlights the amazing women of the party that often have been overlooked, but by all means was necessary to the sustainability and community of the party.

Foreword by Angela Davis: "This stunning collection of historical photographs, complimented by contemporary conversations with women members of the Black Panther Party, reminds us that women were literally the heart of this new political approach to Black freedom."

“I am a human rights activist, poet, educator, Black Panther Party leader and former political prisoner. For the past 36 years I’ve lectured throughout the United States and internationally. My life experiences have enabled me to speak personally and honestly on issues relating to the physical and emotional well-being of women, children and youth, whole being education, the incarceration of men and women of color, and the role of the spiritual practice in sustaining activism and promoting social change.” - Ericka Huggins

“The Panthers were never a black nationalist organization… They formed alliances with many black writers and activists and their whole legal team was white. They were not out to get white people, as the American government insisted. They were a revolutionary organization who worked with anybody they felt was sincerely trying to change the system to benefit poor people and create a more just society.” - Stephen Shames

Many of us have heard these three words: Black Panther Party, but they few know the story of the backbone of the Party: the women.

It's estimated that six out of ten Panther Party members were women. While these remarkable women of all ages and diverse backgrounds were regularly making headlines agitating, protesting, and organizing, off-stage these same women were building communities and enacting social justice, providing food, housing, education, healthcare, and more.

CARTER Magazine

[cynicalrosebud]

Writing Ojibwe Characters: A Basic Guide

Creating well-rounded, respectful Ojibwe characters takes a bit of research and consideration. This guide gives a quick overview of things to think about when writing Ojibwe people and incorporates some context to avoid common pitfalls. Writing any Indigenous character means approaching with care, so let’s dive in!

1. Understand Ojibwe Culture and Community

Get to know the basics of Ojibwe culture, beliefs, and values. My people, the Ojibwe (also spelled Ojibwa, Ojibway, or Chippewa) are part of the Anishinaabe people. We are present across Canada and the northern U.S. Midwest, with diverse communities that each have their own practices and perspectives.

Community-centered thinking: Many Ojibwe people have a strong sense of connection to community and family. Recognize that we tend to prioritize our connections and often have a deep relationship with our elders and youth.

Language and terminology: Use respectful terms. The Ojibwe language (Anishinaabemowin) is central to identity, even if a character doesn’t speak it fluently.

2. Avoid “Spiritual Mysticism” Stereotypes

Steer clear of clichés about Indigenous mysticism. Instead, focus on how Ojibwe spirituality is lived in everyday ways—whether through ceremonies like smudging, seasonal celebrations, or even just respecting the land and ancestors. Characters don’t need to be “shamans” or mystical guides to show their culture.

Spirituality in balance: While many Ojibwe people honor spirituality, each person practices differently. Just as in any culture, some may be very connected to it, while others are more secular.

3. Use Realistic Names and Nicknames

Ojibwe names often have meaning and are given in specific cultural contexts, sometimes in ceremonies or after significant events. If using an Ojibwe name, make sure it’s well-researched, and consider including a backstory on how it was given to your character.

Nicknames are common and can range from family names to personal traits. Think about nicknames that resonate with your character’s personality and family background rather than something “exotified.”

4. Research Traditional Roles, Not “Warrior” Stereotypes

Ojibwe people are often cast as “warriors” or “stoic fighters,” which is limiting. In reality, Ojibwe communities have had diverse roles throughout history, including diplomats, healers, artisans, teachers, and more.

Consider what makes sense for the time and place your character lives in—an Ojibwe character could be a modern-day artist, teacher, software developer, veteran, or lawyer. Complex portrayals highlight our adaptability and contemporary lives.

5. Acknowledge History Without Making Trauma the Focus

Many Indigenous communities, including Ojibwe, have endured hardships like colonization, boarding schools, and loss of land. However, it’s essential not to reduce characters to trauma alone. Show their resilience, joy, humor, and everyday experiences alongside their histories.

Avoid “tragic backstory syndrome”: A good character is multidimensional. Balance struggles with strengths, showing how they thrive in the modern world while honoring their roots.

6. Respect Language and Use It Thoughtfully

If your character speaks or knows Anishinaabemowin, use it respectfully and sparingly unless you're fluent. Small phrases or words can add depth without risking inaccuracies. If they use Ojibwe words, provide a translation for context.

Resource suggestion: Check out the Ojibwe People’s Dictionary for phrases, pronunciation, and examples of how the language fits into daily life.

7. Research and Connect With Indigenous Resources

For non-Indigenous writers, it’s important to engage with authentic sources and, if possible, speak with Ojibwe individuals or consult books, articles, or online resources created by Ojibwe authors and scholars.

Media to check out: Look for books, films, and articles by Ojibwe creators (such as works by Louise Erdrich or Gerald Vizenor) for direct perspectives.

8. Show Ojibwe Humor and Resilience

Ojibwe humor is a big part of the culture—often dry, sarcastic, and shared among family and friends. Including humor adds authenticity and breaks away from “stoic” stereotypes. Remember, we laugh, joke, and enjoy life as much as anyone else!

9. Give Credit and Respect Acknowledgments

Mention that you’ve researched Ojibwe culture and language if possible, and consider a small acknowledgment to the sources you used. It shows respect for our culture and the people who helped make the character accurate and relatable.

Sample Character Traits for Inspiration:

Joyful and witty, known for quick humor but deeply thoughtful.

Family-oriented, regularly calling or visiting relatives or helping out in the community.

Resourceful and resilient, finding creative ways to navigate the modern world while honoring traditional values.

Quietly proud, choosing to celebrate their heritage subtly but meaningfully, like wearing Ojibwe beadwork or carrying traditional items.

Writing an Ojibwe character respectfully and fully means creating someone real and complex. Remember, the best portrayals come from genuine understanding and thoughtful depiction. Happy writing, and Chi miigwech (thank you very much) for taking the time to represent us well! 🪶✨

And if you are ever confused, ask! I love answering questions about my culture!

[musesofawolf]

Reading Preferences

Reading Preferences - Brynhorn Fiske

BOLD genres your character reads. Italicize genres your character occasionally peruses. Strikethrough if they absolutely won’t touch it.

art | biography | business | chick lit | children’s | classics | comics | contemporary | cookbooks | crime | fantasy | fiction | gay and lesbian | graphic novels | historical fiction | history | horror | humor and comedy | memoir | music | mystery | nonfiction | paranormal | philosophy | poetry | psychology | religion | romance | science | science fiction | self help | suspense | spirituality | sports | thriller | travel | young adult | warfare

Bryn didn't learn to read until after he left Ala Mihgo. And even then, it was mostly so he could read missives from the Maelstrom officers, or a map. Most of his reading is practical, with a purpose, but he later in life had someone convince him to read more enjoyable books. Even if his enjoyment comes from puzzling out a mystery before the writer lays it all out.

Reading Preferences - Kaleh'a Quickdraw

art | biography | business | chick lit | children’s | classics | comics | contemporary | cookbooks | crime | fantasy | fiction | gay and lesbian | graphic novels | historical fiction | history | horror | humor and comedy | memoir | music | mystery | nonfiction | paranormal | philosophy | poetry | psychology | religion | romance | science | science fiction | self help | suspense | spirituality | sports | thriller | travel | young adult | warfare

Kaleh'a is...well he enjoys the simple pleasures of life. Reading is something he picked up at a young age and ran with. He would read just about anything he could get his hands on! Except for the stuffy old history or biography stuff. That bored him to tears. So while he is well read, he might not be well read in what you would expect...won't stop him from talking your ear off about it!

Tagged by: @mimble-sparklepudding

Tagging: @voidtouched-blue @the-crimson-rose @the-sycophant @nhaneh @luck-and-larceny @13th-dragon-prince

[roga-el-rojo]

“Borderlands/La Frontera” - Gloria Anzaldúa

Hello friends,

For my first recommendation this Latine Heritage Month, I want to highlight a famous text that dissects the contradictory identities Latines face inside the “US” from a queer Chicana perspective: “Borderlands/La Frontera: The New Mestiza” by Gloria Anzaldúa.

Gloria E. Anzaldúa was an internationally-acclaimed independent scholar, cultural theorist, creative writer, and social-justice activist who has made lasting contributions to numerous fields. This book in particular played a major role in shaping contemporary Chicano/a and lesbian/queer identities.

“Borderlands/La Frontera” is a semi-autobiographical work that explores the Chicano and Latine experience through themes of race, gender, identity, and colonialism. The narrative reflects on Anzaldúa's upbringing in South Texas, her cultural heritage, and the struggles of her community, particularly in relation to land and identity. Her writing aims to connect oppressed Latine peoples with their indigenous cultural backgrounds as shown through her “poet-shaman aesthetics,” her poetry, and English-Spanish code switching.

I really appreciated how Anzaldúa examined the pain and trauma imposed on Indigenous and Chicano communities by colonial powers in relation to their struggles for cultural survival as a form of spiritual healing. I also loved how she critiqued traditional gender roles within Chicano contexts and embraced her lesbian identity as a way of standing in solidarity with queer Latines to affirm current and ancestral queer identities in the face of patriarchy.

Another important and controversial concept Anzaldúa unpacks is mestizaje, referring to the blending and intermingling of different cultural, racial, and ethnic identities, particularly in the context of the Chicano and Latino experience. This can potentially be empowering as it allows folks to re-imagine their histories beyond strict notions of identity and belonging, but can also romanticize the idea of cultural blending at the expense of acknowledging that Afro-Mexican, Afro-Latine, and Mexic-Amerindian experiences are unique.

I highly recommend Latines read this text as a part of our contradictory history.

[omegaphilosophia]

The Philosophy of the Sublime

The sublime is a concept in philosophy and aesthetics that refers to an experience of awe, grandeur, and wonder, often evoking a mixture of fear and admiration. This notion has been explored by various philosophers and thinkers throughout history, particularly in the context of nature, art, and human experience. Here’s an in-depth exploration of the philosophy of the sublime:

1. Historical Origins

Edmund Burke: In his work "A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful" (1757), Burke distinguished between the beautiful and the sublime. He associated the sublime with vastness, infinity, and power, which can overwhelm and inspire a sense of awe and terror.

Immanuel Kant: In "Critique of Judgment" (1790), Kant elaborated on the sublime as something that transcends normal human experience and comprehension. He identified two forms of the sublime: the mathematical sublime, related to the vastness of nature and the universe, and the dynamical sublime, related to the power and force of natural phenomena.

Romanticism: The Romantic poets and artists, such as William Wordsworth, Samuel Taylor Coleridge, and Caspar David Friedrich, celebrated the sublime in nature, emphasizing the emotional and spiritual responses to its grandeur and beauty.

2. Key Characteristics of the Sublime

Vastness and Infinity: Experiences or objects that are vast in scale, such as mountains, oceans, or the night sky, evoke a sense of the sublime. Their immensity challenges human perception and comprehension.

Power and Terror: The sublime often involves elements of danger and power, such as thunderstorms, hurricanes, or erupting volcanoes. These evoke fear but also admiration for their majesty and force.

Transcendence: The sublime experience transcends ordinary understanding and evokes a sense of something greater than oneself. It can lead to feelings of humility and reverence.

Aesthetic Experience: In art and literature, the sublime is associated with works that evoke profound emotional responses, often through depictions of nature’s grandeur or human achievement.

3. Philosophical Implications

Human Limits: The concept of the sublime highlights the limitations of human perception and understanding. It suggests that there are aspects of existence that are beyond human control and comprehension.

Emotional Complexity: The sublime evokes complex emotions that combine fear, awe, wonder, and admiration. This complexity enriches human experience and understanding of the world.

Nature and the Divine: The sublime often leads to reflections on the relationship between nature and the divine. The overwhelming power and beauty of nature can evoke a sense of the divine presence or the transcendental.

4. The Sublime in Art and Culture

Visual Arts: Artists like J.M.W. Turner and Caspar David Friedrich captured the sublime in their depictions of natural landscapes and phenomena, emphasizing vastness, power, and emotional depth.

Literature: Writers such as Mary Shelley and Lord Byron explored the sublime in their works, using language to evoke the awe and terror of natural and supernatural elements.

Modern Interpretations: Contemporary artists and thinkers continue to explore the sublime in various forms, including digital art, cinema, and virtual reality, pushing the boundaries of what can evoke awe and wonder.

5. Critiques and Evolving Perspectives

Subjectivity: Some critics argue that the experience of the sublime is highly subjective and culturally specific. What one person finds sublime, another may not.

Environmental Ethics: The concept of the sublime has been revisited in discussions about environmental ethics, emphasizing the need to protect and preserve the natural landscapes that evoke these profound experiences.

The philosophy of the sublime explores the profound and often overwhelming experiences of awe, grandeur, and wonder in response to nature, art, and human achievement. It challenges human limits of perception and understanding, evoking complex emotions and reflections on the transcendental. From its historical origins in the works of Burke and Kant to its manifestations in Romantic art and contemporary culture, the sublime remains a powerful and enduring concept in philosophy and aesthetics.

[wonder-worker]

Writers who knew [Marie of France Countess of Champagne] depicted her in several guises. For Chrétien de Troyes, the most elusive of contemporary writers, she was an assertive patron of romances, dictating for example the subject and meaning of the Lancelot tale. The mischievous Andreas Capellanus, who was close to Marie in the mid-1180s, drew a highly entertaining parody of Marie and the prominent women of her milieu resolving the conundrums of amatory conduct in “courts of love,” in the manner of modern advice columnists. In Hugh of Oisy’s musical performance, Marie cut a fine figure as a combatant in a tournament of elite women. It is striking how in three quite distinctive imaginative works written in the 1180s, Marie appears as an author of an Arthurian romance, a judge at a court of love, and a participant in a tournament mêlée.

Others who knew Marie well in the 1180s and 1190s remarked different aspects of her character. The Eructavit poet noted her penchant for the trappings of wealth, and addressing her directly during a performance of his religious drama, chastised her for her “largesse and lavish expenses.” [Canon] Evrat, on the other hand, a resident canon of St-Étienne who observed Marie closely in the 1190s, stressed her spiritual and moral character. Seeking to understand the deep meaning of the scriptures, he wrote, she provided him a copy of Genesis to translate into the vernacular and annotate with the findings of the latest “academic” studies. In an epilogue added after her death, Evrat penned a eulogy praising her largesse and renown, and comparing her, la gentis contesse Marie, to the three biblical Marys—“she would be the fourth.”

An entirely different side of Marie was captured by Marie’s court stenographers, William (1181–87) and Theodoric (1190–97), who made verbatim transcripts of her comments and directives while observing her deal with the practical affairs of governance: assigning revenues (“I assigned 100s. on the entry tax on wine”), resolving disputes at court (“resolved in my presence in this manner”), confirming prior transactions (“I approved this act”), registering acts done at court (“done in my presence”), consenting to feudal alienations (“I approved because it was my fief”), founding chaplaincies (“for Geoffroy, count of Brittany, my brother”), and establishing endowments (“for the anniversary of my lord and husband, Count Henry”). All of that was “done in public,” usually in the presence of her officers and witnesses. It was precisely in her capacity as ruling countess of Champagne that she continued Henry the Liberal’s example of performing in public as prince of his principality. Having observed Henry at court—just as Henry, while a very young man, had observed the conduct of his father, which earned him the reputation as the “good” Count Thibaut—Marie understood that the comital court, as the core institution of the principality, demanded her active participation, and she paid close attention to the great and the minor issues presented there for her disposition.

It should be emphasized that Henry the Liberal’s principality was only three decades old when Marie became regent in 1181, and the primary comital residence and chapel in Troyes were barely twenty years old, not yet fully implanted as the seat of a new territorial state and mausoleum of a princely lineage. Marie’s task was to preserve the principality and its institutions intact, and to assure the continuity of the lineage. And that she did. Evrat sensed both the precarious nature of her rule and her achievement in holding a firm hand on the levers of comital authority, especially during those anomalous years of the 1190s: “Well did she protect and govern the land / letting nothing slip from her hand, / she was gracious, wise, valiant, and courageous.” By all accounts, Marie projected a complex, forceful, and captivating character, one that proved a worthy counterpart to the compelling personality of Henry the Liberal. [Canon Evrat rendered homage to her in the epilogue of his Genesis translation: 'She had the heart of a man and the body of a woman'].

-Theodore Evergates, "Marie of France Countess of Champagne, 1145-1198"