poetry – Page 13 – Feminism and Religion

Black and White Ball: A Poem to Honor Poodle Friends by Alla Bozarth

After Eucharist, the Sea of Galilee - alla — At the sea of Galilee

The following poem is in honor of Hank, the Rev. LouAnn and her wonderful husband Jim Pickering’s new puppy, a gorgeous black standard poodle, and his older brothers who are or were gorgeous and white.

All of them are or have been LouAnn’s pastoral assistants. I like to say they are the curates of her church of St. Gabriel the Archangel, because as therapy dogs whatever might be painful or lonesome in a person’s soul, the pups, at least for their visits, can cure it.

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Black and White Ball

Give your dogs a black and white ball and tell them,
just to say it out loud, what it means.

Black is the color of mysterious things,
of the powerful regeneration and renewal
of Night in which Stars are born,
the universe delivering Beauty.

On Earth’s palette of color, black is all
the colors there are, blended variously
to the depth of Absolute Beauty. Continue reading “Black and White Ball: A Poem to Honor Poodle Friends by Alla Bozarth”

Sappho, Frankincense, and Female Spirituality by Stuart Dean

White Howjary Frankincense (photo: Trygve Harris (www.enfleurage.com))

Sappho is the first Greek author to attest to the usage of frankincense. The word she uses to refer to it (libanos) is what comparative linguists call a ‘loan word,’ in this case from ancient South Arabic (the root meaning of which is ‘white’), the language spoken in the only region in the world still now, as then, where the trees grow that produce the resin that is frankincense (the finest being White Howjary from near Salalah Oman).

This was long before Amazon Same-Day Prime: that frankincense even made it to where Sappho was is astonishing given the thousands of miles of desert terrain that had to be covered. That fact plus the fact that Sappho chose to use the Arabic word for frankincense suggests it must have been of special importance to her. How important can be seen in the power she attributes to it. In one prayer poem (S.2, composite translation and very brief notes here) she completes a stanza by referring to frankincense burning from Aphrodite’s altars; she completes the very next stanza with a reference to ‘sleep falling.’ The parallelism implies a reciprocity: the smoke goes up, the sleep comes down and a stanza later, there is Aphrodite. Continue reading “Sappho, Frankincense, and Female Spirituality by Stuart Dean”

Devotional Poetry: You’re Invited to a Community Bardic Exercise

Kate Brunner Let the creative word romp begin! Our exercise will be simple, yet challenging. I invite you to write one devotional poem per day for the next seven days about whatever moves you spiritually that day in whatever poetic format the words emerge.

Your goal for the next seven days is to let loose a little- step into the creative flow and allow your Bardic Soul to speak. What we will not be going for is perfect, publication-ready material. I know whenever I undertake something like this, I have to remind myself of that. And I have to muzzle that horribly devious little fellow known as my Inner Critic in order for my Courageous Bard to spring free.

Poetry is the creative form which attempts to capture in words and sound the mystery which lies beyond language. We are all capable of writing poetry.

~from Priestess of Avalon, Priestess of the Goddess by Kathy Jones~

Look for divine poetic inspiration in any and everything around you during next week. Step with intention through your days. Let the whole world sing to you. Dance with language- FEEL it move you! Do not bludgeon yourself with repeated editing. Write, share, and be brave enough to let it be. Continue reading “Devotional Poetry: You’re Invited to a Community Bardic Exercise”

She Alone Was There In The Beginning: Nature Creatrix by Stuart Dean

Stuart WordPress photo I concluded my last post by suggesting that “Creator” in the Declaration of Independence (DI) should have been ‘Creatrix.’ Though ‘Creator’ imbues the DI with a bit of quasi-scriptural authority, the possessive pronoun “their” before it effectively limits the full benefits of creation to men. That alone should have precluded even the suggestion that the DI effectively endorses Christianity or that it constitutes the basis for a civil religion.

Quite obviously that has not been the case, but that should not be taken to validate the misogyny the DI manifests. ‘Creator,’ the masculine form of the Latin noun derived from the verb ‘to create’ (‘Creatrix’ is the feminine), is unambiguously masculine in a way that ‘God’ simply is not. Its appearance in the DI raises the suspicion that it was selected to underscore the masculinity of “Nature’s God,” the phase used in the DI’s opening paragraph. Surely some of the signatories of the DI knew their Latin authors well enough to know how peculiar it is to speak of Nature as having or needing a God. Perhaps they wanted to clarify things. Continue reading “She Alone Was There In The Beginning: Nature Creatrix by Stuart Dean”

Exuberant Noise by Safa Plenty

She is the firefly
that lights up our nights,
her cherubed face,
and cheeky smile,
laying siege on our living spaces.

Her tiny form occupying,
our basement steps,
as she joyously serenaded us
in an infantile song,
spanglish laced with berber.

Her two energetic companions,
careening from couch
to table, then to floor,
laughing and screaming,
racing feet threading
across laminate floors. Continue reading “Exuberant Noise by Safa Plenty”

Love Facing by Safa Plenty

This piece titled, ‘Love Facing’ is a meditation on the intergenerational dynamics of family violence and our need to move beyond labels in order to understand the complexities of American violence. It begins with a narrative critic of spanking as a corrective measure and its propensity to escalate into other forms of violence. The poem continues with reflection on how male privilege and power impact the disempowerment of women and girls. It signals forgiveness as a possible means of understanding intergenerational trauma and stress, however. The piece advocates an understanding of male privilege and dynamics of power and control, as a means of empowering women and children, affected by family violence. Furthermore, it examines our societies failure to raise healthy men and boys, who are comfortable openly expressing their emotions. In the end, the poem signals our human need for unconditional love, respect, and honor and need for religious and spiritual practice imbued with compassion, mercy, and kindness, or feminine attributes of the Divine.

“When the power of love overcomes the love of power, the world will know peace.” ― Jimi Hendrix

Continue reading “Love Facing by Safa Plenty”

Resurrection Garden, Resurrection Feast by Elizabeth Cunningham

In John’s account of the Resurrection, Mary Magdalen mistakes Jesus for the gardener. Or perhaps it is not a mistake or not just a mistake but also a poetic truth. In any event, John’s Gospel makes clear: the Resurrection takes place in a garden!

(For the feminist significance of horticulture, I refer you to Carol Christ’s recent post on this site: Women and Weeding, the first 10,000 years .)

Many prominent (male) theologians, historians, anthropologists, and psychoanalysts among them James Frazer, Jung, and C.S. Lewis made the case for and/or against (in Lewis’ case) Jesus being another dying rising god of vegetation with Christianity borrowing imagery and ritual from earlier or even contemporary cults. The argument against insists that Jesus’s life, death and resurrection is historical, redemptive, and unique. From a tour of Bloglandia, the debate pro and con appears to continue unabated. I say better to pull weeds (if you are lucky enough to have a garden) than pontificate. Continue reading “Resurrection Garden, Resurrection Feast by Elizabeth Cunningham”

Sanctuary of Echoes by Natalie Weaver

Tomorrow I will have the unique opportunity to hear my son recite a poem I wrote before his class. The students were invited to select a poem to memorize and perform along with props or costumes as suited the material. The only conditions were that the poem be a minimum of twelve lines, published in a book, and in good taste. A poorly chosen poem, he said, would result in perpetual detention.

I was excited when he expressed enthusiasm for the assignment. I asked him what kind of poem he would like to learn. Something humorous? Something dramatic? Something tragic? Something about love? War? I read to him first those famous opening words of Virgil’s Aeneid: Arma virumque cano (I sing of arms and a man…). I thought surely he would be intrigued by the rhythm and the promise of such a tale. He asked for some other options, so I presented favorites from the Medieval Hebrew canon. I taught him Adon Olam, since he was curious about learning poetry in a foreign language. He liked it quite a bit and learned how to pronounce the Hebrew, but this was not his choice. I pulled out selections from Catullus’ eulogies for his brother. I searched Sappho for something playful. We read more contemporary options from the usual suspects in an anthology of poetry that I had used in a college course: Frost, Dickinson, Poe. I even introduced him to the seductive “duende” of the great early 20^th century Spanish poet Federico Garcia Lorca in his Poet in New York.

Continue reading “Sanctuary of Echoes by Natalie Weaver”

Painting Sappho by Angela Yarber

“Someone, I say, will remember us in the future,” she once wrote. To my knowledge, she was never dubbed a prophet. A muse, yes. A romantic, perhaps. But never a prophet, rarely holy, and nary an icon. Until now. Hailed as one of the best Greek lyric poets, many have tried to forget her, or at least the more provocative elements of her life. The passionate poet Sappho was born on the island of Lesbos around 620 BCE (sometime between 630-612 BCE). The word lesbian stems from the place of her birth and her name is the origin of the word sapphic, though most scholars assert that little is known of her actual life and that the majority of her poetry is not autobiographical. Yet her lyric poetry speaks of love for both sexes and myriad people.

What is more, the idea of homo and heterosexuality are not transhistorical essences, but instead are relatively recent socio-historical constructs. To say that there were strict sexual binaries in the ancient world in which Sappho lived would be an anachronism. Sexuality was much more fluid. Not surprisingly, many scholars have tried to name and claim male lovers for Sappho, a heteronormative attempt to erase her fluid sexuality, her hope to be remembered in the future dashed, demeaned, forgotten. In fact, during the Victorian Era, many asserted that Sappho was the headmistress of a girls’ school, another attempt to straighten out her memory, her poetry, her love. Continue reading “Painting Sappho by Angela Yarber”

Poetic Stumbles by Xochitl Alvizo

Photo by http://www.chrispinkham.com/ — Photo by Chris Pinkham

They feel like incomplete thoughts. One day I finally realized the reason why I, for a very long time, was unable to connect with poetry or appreciate it. When I would read a poem I would feel as if the expression was incomplete; poetry felt abstract in a way that did not make sense to me. Even if I would initially have a positive response to a poem and would think, “Ah, that was poetic!” in the same instance I would also judge it to be pretentious, trying to communicate more than what the words could actually mean or rightly convey. And this was precisely the reason why I struggled to appreciate poetry in the first place, I had learned to value only that which communicates clearly, cogently, and ‘logically’. I had been well trained for academic writing, and got stuck there! Eventually, a class I took with Kwok Pui Lan helped me break out of such a narrow way of thinking and valuing, but it was not an easy task. Continue reading “Poetic Stumbles by Xochitl Alvizo”