In her book Queer Phenomenology, Sara Ahmed investigates how we orient ourselves in space with respect to tables – the tables around which we sit, at which we eat with friends and families of choice and birth, and at which we write. She describes moving into a new place and arranging the furniture. “After the kitchen, the room I hope to inhabit is always the study. Or the place that I have decided is the place where I will write. There, that will be my desk. Or it could just be the writing table. It is here that I will gather my thoughts. It is here that I will write, and even write about writing. … Making a place feel like home, or becoming at home in a space, is for me about being at my table. I think fondly of Virginia Woolf’s A Room of One’s Own. How important it is, especially for women, to claim that space, to take up that space through what one does with one’s body. And so when I am at my table, I am also claiming that space, I am becoming a writer by taking up that space.” (11) Ahmed goes on to discuss how certain possibilities are opened up, and others foreclosed, by the way we orient ourselves (or find ourselves oriented) to others and to objects. She describes the bodily postures that result from orienting oneself to the writing table – the way one might hunch over one’s computer, or find oneself with ink-stained fingers.
In a very different context, the queer theologian Marcella Althaus-Reid describes a scene from her childhood in Argentina. She kneels in front of a priest for confession. But instead of kneeling to the side, aslant, as she ‘ought’ to have done, being a girl, she kneels directly in front of the priest, as if she were a boy. Kneeling here too is a form of orientation, a form of direction, a bodily habit of becoming. “Kneeling is troublesome and it has a theological referent in the church’s also troubled waters of sexuality and power. A whole symbolic sexual order is obviously manifested in kneelings as positions of subordination and sites of possible homo- and hetero- seductions, because these are theologically distributed around the axis of the priesthood’s male genitalia. The priest’s penis carries the sacred connotations of the phallus as a transcendental signifier of the theological discourses to everyday Christianity, and kneeling is a liturgical positing designed to centralise and highlight this.” (The Queer God, 11) To kneel in the right (gendered) position in relation to the priest is also to kneel in the right relation to God. Continue reading “Orientations: Body, Space, Authority by Linn Marie Tonstad”
My friend Jo, an artist and poet, is dying of an aggressive form of cancer that is infiltrating her brain. At home in hospice care, she has already lost the use of her left side and has been told she may lose her mind and speech soon. So I go right over to her house where she is enthroned (a tall, regal woman) in her hospital bed in the middle of her living room. All her visitors have the pleasure of being surrounded by her paintings, magical and alive, like all her work from sculpture to book arts (have you ever worn a book? Jo has!) to poetry–some of her most powerful work was composed in the hospital. Continue reading “Coming Out as a Shaman at Your Presbyterian Memorial Service by Elizabeth Cunningham”
Feminism and Religion 