In contrast to the linearity of our time concept in the West, Indians view life as infinite and cyclical. Although Hindus, like ancient Greeks, believe in four ages of humanity (the so-called yugas), these occur not just once, but repeat cyclically every several million years. Similarly, the creator god Brahma is said to have a daily cycle which has recurring effects on the existence of the world. When Brahma awakes the world is created anew, and when he falls asleep it dissolves once again into the primal waters of eternity. Fortunately for us, Brahma’s day lasts 4,320,000,000 human years.
Holland Cotter, in reflecting on Eastern art, once brought these temporal differences into sharp focus when he contrasted two of the major icons of East and West — Christ on the cross and the dancing Shiva. He said, “The Christ figure embodies the Judeo-Christian concept of divine history as a straight, purposeful line from the Fall of Man (sic.) to redemption, but with a tragic human story of self-sacrifice, loss and atonement at its heart. The dancing Shiva is, by contrast, a dynamic, joyous cyclical image: a poised, uplifted foot and hands form a circle echoing the nimbus of flames surrounding the figure. The image represents a culture which…views both humans and gods as participants in a cosmic game that periodically grinds to a catastrophic halt only to begin again.”[i]
Like Shiva, Kali has been depicted surrounded by a halo of flames. But unlike Shiva, her portrait is far from a joyous image. In one example, a 17th or 18th century North Indian sculpture, Kali is personified as a voracious, old hag squatting on a victim whose entrails she eats. Slicing open the belly of the anonymous corpse, Kali scoops out its intestines with her bony fingers and gobbles them with her protruding teeth. The anonymity of the victim brings home to the viewer the fact that ultimately we are all Kali’s prey. And the flames burning around her head reemphasize this point, for as the aureole of the Dancing Shiva, they are the fires of the final conflagration at the end of each world period. But in this image we realize that such flames flicker constantly, since time erodes all that has ever existed and Kali swallows all she has ever birthed.[ii] Continue reading “Kali Ma (Part 3 of 3) by Nancy Vedder-Shults”




I do not attend church (or any “house of worship”) regularly anymore. However, one hot, humid, Sunday morning this past August, I wended my way to St. Mark’s Episcopal to hear my friend, Dale, preach. He does “pulpit supply” there (his home church) occasionally. Dale earned an MFA (Master of Fine Arts) in creative writing after finishing his seminary studies. He’s written a one-man play titled “Jesus Phreak” and has performed it in churches and universities nationwide. Dale and I have been friends for a decade or so. He identifies as a Christian, but he’s not like any Christian I’ve ever known.
In addition to teaching Gender and Women’s Studies, I have also been the screenwriting professor at University of California Irvine since 1992. I have used the screenplay for this movie (adapted from Prejean’s book and direct interviews) almost since it was published. It’s a great example of how research, interview, and authenticity can make a movie work—rather than “making it up.” Even the title was new to most of America- “Dead man walking!” refers to the last walk an inmate makes as he (or she) walks to his (or her) death.
In these last several weeks, the horror that one out of four women will encounter domestic violence- sometimes referred to as “intimate partner” violence- in their life time has come to the national forefront. Indeed, women are more likely than men to be killed by their “intimate partner:” one in three women who is a victim of homicide is killed by an intimate partner. While
Today I am honored to give a lecture on “Queering Iconography: Holy Women Icons from Sappho to Pauli Murray” at the
I always knew I was a feminist, despite my lack of knowledge in the movement and philosophy growing up. I did, however, have the religious support of my family and community to be an Evangelical Christian. I knew all the right words, mannerisms, and behaviors to represent myself as the proper Christian woman. I went on mission trips abroad, wore purity rings, attended sexual purity retreats and church camps, prayed fervently, spoke in tongues (