Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909118
Reviewed by: The Nineteenth-Century Salesian Pentecost: The Salesian Family of Don Bosco, the Oblates and Oblate Sisters of St. Francis de Sales, the Daughters of St. Francis de Sales, and the Fransalians by Joseph Boenzi, SDB et al. Mary Frohlich, RSCJ (bio) The Nineteenth-Century Salesian Pentecost: The Salesian Family of Don Bosco, the Oblates and Oblate Sisters of St. Francis de Sales, the Daughters of St. Francis de Sales, and the Fransalians. Introduction, Editing, Translations and Commentaries by Joseph Boenzi, SDB, Joseph F. Chorpenning, OSFS, Suzanne C. Toczyski, and Wendy M. Wright. The Classics of Western Spirituality Series. Mahwah, NJ: Paulist Press, 2022. $49.95 hdbk. This is one of those books that few will read from cover to cover, but many will be glad to have it available for consultation. The excellent historical introductions and selected texts bring to focus the central influence of Salesian spirituality in nineteenth-century spirituality, especially in France. Francis de Sales (1567–1622) was enormously popular in his time, but the only religious congregation that he successfully founded (in partnership with Jeanne de Chantal) was the Visitation. His desire to found a congregation of priests did not materialize in his lifetime. His writings, especially Introduction to the Devout Life and Treatise on the Love of God, proved to have enduring value and quickly became regarded as classics, thus extending his influence. This volume demonstrates how that influence blossomed afresh in the nineteenth century, incarnating elements of his original vision in concrete and extraordinarily effective ways. De Sales was known for preaching and practicing a spirituality of simplicity, humility, and gentleness. He regarded human tenderness and affection as precious manifestations of the love of God, and on that basis he promoted kindness and friendship as essential ministerial virtues. By the nineteenth century, the Jansenistic stream that had also been born in seventeenth-century France had devolved into a rigid, scrupulous, fire-and-brimstone mentality that tended to predominate in the popular mind as well as in official Church teaching and preaching. In that context, each of the figures covered in this book felt a call to counter the harshness of the prevailing spirituality with Salesian gentleness and kindness. They also were inspired by de Sales's fervent desire to use means of preaching and pastoral care that would impact people on the affective level and lead to real conversion. The founders of the Missionaries of St. Francis de Sales of Annecy, for example, reclaimed the practice of the parish mission and developed it with impressive rituals and theatrical performances to create a highly immersive form of communal experience (42). Louis Brisson, one of the founders of the Oblates of St. Francis de Sales, wanted Oblates to be fervently apostolic rather than placing themselves apart from and above the people, as was the priestly style o
由:《19世纪慈幼会五旬节》:《唐·博斯克的慈幼会家族》、《圣方济·德·萨勒斯的椭圆形和椭圆形姐妹》、《圣方济·德·萨勒斯的女儿们》和《约瑟夫·伯恩兹的法兰克人》等人著。19世纪慈幼会五旬节:唐·博斯科的慈幼会家族、圣方济各·德·萨勒斯的椭圆形和椭圆形姐妹、圣方济各·德·萨勒斯的女儿们和弗兰萨利人。Joseph Boenzi, SDB, Joseph F. Chorpenning, OSFS, Suzanne C. Toczyski和Wendy M. Wright的介绍、编辑、翻译和评论。西方灵性经典系列。马华，新泽西:保利斯特出版社，2022。hdbk 49.95美元。这是一本很少有人会从头到尾读完的书，但很多人会很高兴有它可供咨询。优秀的历史介绍和精选文本带来集中的核心影响慈幼会灵性在19世纪的灵性，特别是在法国。弗朗西斯·德·萨勒斯(1567-1622)在他的时代非常受欢迎，但他成功创立的唯一一个宗教集会(与珍妮·德·尚塔尔合作)是探访会。他想建立一个牧师团体的愿望在他有生之年没有实现。他的著作，特别是《虔诚生活导论》和《爱神论》，被证明具有持久的价值，并迅速被视为经典，从而扩大了他的影响。这本书展示了这种影响如何在19世纪重新开花，以具体和非常有效的方式体现了他最初的愿景。德·萨莱斯以宣扬和实践简单、谦卑和温柔的精神而闻名。他认为人类的温柔和情感是上帝之爱的宝贵表现，在此基础上，他提倡善良和友谊是牧师的基本美德。到19世纪，同样诞生于17世纪法国的詹森派已经演变成一种严格、严谨、火气十足的思想，这种思想倾向于在大众思想以及官方教会的教导和布道中占据主导地位。在这样的背景下，本书中的每一个人物都感受到一种召唤，要用慈幼会的温柔和善良来对抗主流灵性的严酷。他们也受到德萨勒斯的强烈愿望的启发，希望利用说教和教牧关怀的手段，在情感层面上影响人们，并导致真正的皈依。例如，安纳西的圣方济各·德·萨勒斯传教士会的创始人重新采用了教区传教的做法，并通过令人印象深刻的仪式和戏剧表演来发展它，以创造一种高度沉浸式的公共体验形式(42)。路易斯·布里森是圣方济各·德·萨勒斯主教会的创始人之一，他希望主教们热切地像使徒一样，而不是像当时的牧师风格那样，把自己置于人民之外或之上。他指示他的祭司们把自己抹去，这样救主就可以通过他们行事，并注意用他们像基督一样的行动而不是他们的言语来传教(161-62)。其他核心的慈幼会主题也在这些运动中出现。博斯科(Don bosco)在意大利创立的世俗和宗教运动——本书中唯一介绍的非法国团体——将注意力集中在“最小的”和最被忽视的邻居身上，用关爱和实用教育欢迎被遗弃和无家可归的年轻人。圣方济各·德·萨勒斯的女儿会是由卡罗琳·卡罗莱·德·马尔伯格(Caroline carr de Malberg)创立的一个单身和已婚平信徒妇女的协会，她继承了德·萨勒斯的特殊关怀，提供了一种圣洁的方式，可以在平信徒的生活要求中生活。这些侧面人物所描述的大多数灵性都是实际的、苦行的、使徒式的，而不是沉思的或神秘的。这可能更多地说明了他们选择写下来的东西，而不是他们实际的内心生活。这里提供的大多数文本都是按照诸如告诫或生活规则，圣徒传记或鼓励信等类型编写的。唯一一个更神秘的部分是在描述玛丽·德·查普伊修女收到的内部通讯，她是……
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909105
Taylor Worley
"All Things Visible and Invisible":Conceptual Art and Contemplation Taylor Worley (bio) In his "Sentences on Conceptual Art," the artist Sol LeWitt asserts that, "Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach."1 While it may seem that the author was using a religious term for rhetorical effect, it should be noted that this statement actually begins his list of thirty-five discreet aphorisms on conceptual art. More than that, biographers have noted that LeWitt possessed and drew from several sources on Jewish mysticism in his personal library.2 For his part, LeWitt's exploration into more conceptual modes of art making was fueled in large part by his fascination with representing the relationship between the concept of an artwork and its physical realization. Hence, he preferred serialized sets of instructions for realizing drawings on the walls of gallery spaces, which opened the concept to a potentially unending array of diverse manifestations. His question revolved around pushing a singular idea to its fullest, most generative expression. For LeWitt, simple instructions produce beautiful results. Take, for example, his 1971 work entitled Wall Drawing #63: A wall is divided into four horizontal parts. In the top row are four equal vertical divisions, each with lines in a different direction. In the second row, six double combinations; in the third row, four triple combinations; in the bottom row, all four combinations superimposed. While titles like these are certainly precise to the point of tediousness, many people, perhaps, would be surprised to discover that the same artist is responsible for numerous visually pleasing and lovely wall drawings situated with care in major museums around the world. In this way, then, what may appear as nothing more than a novel form of iconoclasm in contemporary art is, in fact, LeWitt's attempt to reshape visual art practice in ways that might protect the mysterious space between the artist's inspiration and its physical manifestation. In other words, art's meaning constitutes more than its surface in image, symbol, or language. Indeed, there is much more of conceptual art's story that remains to be told where it concerns its "mysticism." While short-lived as a distinct art movement, conceptual approaches show up in contemporary art to a significant degree today. The influence can be seen in everything from land art, installation art, performance art, social practice [End Page 229] art, video art, new media, and digital art. The artworld has absorbed conceptualism's introspective approach and its liberated stance toward materiality.3 The diffuse influence of conceptualism is, however, not an accident. In fact, the early pioneers of Conceptual Art refused the term 'conceptualism' in hopes of avoiding the formation of another, easily caricatured modernist "-ism."4 By most accounts, their insistence has proved effective, and today's creative possibiliti
艺术家索尔·勒维特(Sol LeWitt)在他的《论观念艺术的句子》(sentence on Conceptual Art)中断言:“观念艺术家是神秘主义者，而不是理性主义者。他们轻率地得出逻辑无法得出的结论。虽然作者似乎是在使用一个宗教术语来达到修辞效果，但应该注意的是，这句话实际上是他关于概念艺术的35条谨慎格言清单的开头。不仅如此，传记作家们还注意到，勒维特在他的私人图书馆中拥有并借鉴了一些关于犹太神秘主义的资料就勒维特而言，他对艺术创作的更多概念模式的探索在很大程度上是由于他对表现艺术概念与其物理实现之间关系的迷恋。因此，他更喜欢在画廊空间的墙壁上实现绘画的系列说明，这将这个概念打开了一个潜在的无穷无尽的各种表现形式。他的问题围绕着将一个单一的想法推向最充分、最具创造性的表达。对勒维特来说，简单的指令能产生美妙的效果。以他1971年的作品《墙画#63》为例:一面墙被分成四个水平部分。最上面一排是四个相等的垂直分区，每个分区都有不同方向的线。在第二行，六个双组合;在第三行，四个三重组合;在最下面一行，所有四种组合叠加在一起。虽然像这样的标题肯定是精确到乏味的地步，但许多人可能会惊讶地发现，同一个艺术家负责许多视觉上令人愉悦和可爱的壁画，这些壁画被精心放置在世界各地的主要博物馆里。因此，在当代艺术中，看似一种新形式的反偶像主义，实际上是勒维特试图重塑视觉艺术实践，以保护艺术家的灵感与其物理表现之间的神秘空间。换句话说，艺术的意义不仅仅是由图像、符号或语言构成的。事实上，关于概念艺术的“神秘主义”，还有更多的故事有待讲述。作为一种独特的艺术运动，概念方法虽然昙花一现，但在当代艺术中却在很大程度上出现了。这种影响在土地艺术、装置艺术、行为艺术、社会实践艺术、视频艺术、新媒体和数字艺术等各个方面都可以看到。艺术界吸收了概念主义的内省方法及其对物质的解放立场然而，观念主义的广泛影响并非偶然。事实上，观念艺术的早期先驱们拒绝使用“观念主义”一词，希望避免形成另一种容易被讽刺的现代主义“主义”。在大多数情况下，他们的坚持被证明是有效的，今天的创造可能性似乎是无限的。虽然观念艺术可以采用不同的方法来处理物质性，并涉及不同的关键问题，但在其基本的反思特征中似乎有一个统一的特征。的确，艺术史学家托尼·戈弗雷(Tony Godfrey)这样描述概念主义的心理框架:“我们被强迫去思考自己在思考。”与此相关的是，戈弗雷反思道，“因为作品不采取传统形式，它需要观众更积极的反应，实际上可以说，观念艺术作品只真正存在于观众的精神参与中。”从这个角度来看，概念主义并不是简单地破坏艺术的审美优先性，而是利用所有可用的认知策略，使视觉艺术体验中变得陈旧的东西变得陌生。但与此同时，观念艺术当然不能被指责过于努力，因为这个原因，它似乎是当代艺术中最不引人入胜或最不受操纵的形式。如果感觉概念性作品几乎不存在，那是因为对反思的邀请不是强制性的或严厉的。因此，戈弗雷总结道:“观念艺术的遗产不是一种历史风格，而是一种根深蒂固的质疑习惯。正是在质疑的过程中，主体、读者或观众成为了他自己。“正如戈弗雷的评价所表明的那样，概念主义……
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909120
Reviewed by: Life to the Whole Being: The Spiritual Memoir of a Literature Professor by Matthew Wickman David B. Perrin (bio) Life to the Whole Being: The Spiritual Memoir of a Literature Professor. By Matthew Wickman. Provo, UT: BYU Maxwell Institute, 2022. 227 pp. $19.95 pbk. It is not obvious that a book such as Life to the Whole Being would be subject to a critical analysis of its research, methodology, and contribution to scholarship—all elements typically included in a book review for an academic journal such as Spiritus. As the subtitle indicates, this book is largely autobiographical—in the genre of spiritual memoir—and hardly academic in the strict sense of the word. So, why would such a book be subject to review in the academy from the perspective of the field of Christian spirituality and not, let us say, as a piece of literature perhaps best reviewed from within the fields of literary and cultural studies, the fields of expertise of the author? Read on dear reader, read on. For this is the precise question this review intends to respond to, all the while keeping in focus the book's research, methodology, and contribution to scholarship. For quite some time, research in Christian spirituality has struggled with the implicit self-implicating nature of the discipline. Can the field of Christian spirituality hold its own against the expectations of the academy that research be as objective as possible, as analytical as possible, and thus instill greater confidence in the veracity of its results—all the while acknowledging the self-implication dynamics at play in the field of Christian spirituality? The dust has largely settled on this question, and the verdict is in: Christian spirituality as a research field of study is a self-implicating endeavor. The explorer in the field of Christian spirituality is part of the reality under scrutiny. And we see this reality in full flight in Wickman's Life to the Whole Being. Not only is Wickman trying to plumb the truth and meaning of a range of topics in Christian spirituality in general but also, and perhaps more significantly, the author is searching directly for personal identity in it all. Christian spirituality is a field of study where one subjects to critical inquiry, for example, the beliefs, practices, and history of the field and, often by implication, one's own personal clarity around beliefs, practices, and history. This is the research undertaken in Life to the Whole Being. The author is the subject of his own research in the pursuit of finding clarity on his own beliefs, practices, and history, but not just for his personal edification. The research is far broader than this. The book was written as a case study that has as its ultimate goal a deepening of understanding of the truth claims of the issues studied from within the perspective of the faith-based community to which the author belongs: the Church of Jesus Christ of Latter-Day Saints. What methodology does the author use to un
{"title":"Life to the Whole Being: The Spiritual Memoir of a Literature Professor by Matthew Wickman (review)","authors":"","doi":"10.1353/scs.2023.a909120","DOIUrl":"https://doi.org/10.1353/scs.2023.a909120","url":null,"abstract":"Reviewed by: Life to the Whole Being: The Spiritual Memoir of a Literature Professor by Matthew Wickman David B. Perrin (bio) Life to the Whole Being: The Spiritual Memoir of a Literature Professor. By Matthew Wickman. Provo, UT: BYU Maxwell Institute, 2022. 227 pp. $19.95 pbk. It is not obvious that a book such as Life to the Whole Being would be subject to a critical analysis of its research, methodology, and contribution to scholarship—all elements typically included in a book review for an academic journal such as Spiritus. As the subtitle indicates, this book is largely autobiographical—in the genre of spiritual memoir—and hardly academic in the strict sense of the word. So, why would such a book be subject to review in the academy from the perspective of the field of Christian spirituality and not, let us say, as a piece of literature perhaps best reviewed from within the fields of literary and cultural studies, the fields of expertise of the author? Read on dear reader, read on. For this is the precise question this review intends to respond to, all the while keeping in focus the book's research, methodology, and contribution to scholarship. For quite some time, research in Christian spirituality has struggled with the implicit self-implicating nature of the discipline. Can the field of Christian spirituality hold its own against the expectations of the academy that research be as objective as possible, as analytical as possible, and thus instill greater confidence in the veracity of its results—all the while acknowledging the self-implication dynamics at play in the field of Christian spirituality? The dust has largely settled on this question, and the verdict is in: Christian spirituality as a research field of study is a self-implicating endeavor. The explorer in the field of Christian spirituality is part of the reality under scrutiny. And we see this reality in full flight in Wickman's Life to the Whole Being. Not only is Wickman trying to plumb the truth and meaning of a range of topics in Christian spirituality in general but also, and perhaps more significantly, the author is searching directly for personal identity in it all. Christian spirituality is a field of study where one subjects to critical inquiry, for example, the beliefs, practices, and history of the field and, often by implication, one's own personal clarity around beliefs, practices, and history. This is the research undertaken in Life to the Whole Being. The author is the subject of his own research in the pursuit of finding clarity on his own beliefs, practices, and history, but not just for his personal edification. The research is far broader than this. The book was written as a case study that has as its ultimate goal a deepening of understanding of the truth claims of the issues studied from within the perspective of the faith-based community to which the author belongs: the Church of Jesus Christ of Latter-Day Saints. What methodology does the author use to un","PeriodicalId":42348,"journal":{"name":"Spiritus-A Journal of Christian Spirituality","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135688572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909107
Mark S. Burrows
"What Deepens the Deep for Us":Poetry, Contemplation, and the Art of Reading Mark S. Burrows (bio) The sole archives of the divine are poems, and an address to the god, more than any other kind, requires a conversion in language or an entirely different attitude within it. —Philippe Lacoue-Labarthe This essay undertakes the task of unfolding Lacoue-Labarthe's bold claim,1 exploring poetry as a literary genre and examining how it relates to "an address to the god," here understood as contemplative practice.2 As Lacoue-Labarthe suggests, such an approach identifies poetry with prayer since each depends upon nothing less than "a conversion in language" and nothing other than "an entirely different attitude within it." It is important to say that both have more to do with practice than theory, steering us toward the question of reading as contemplative engagement and inviting us to consider contemplation as a poetics of experience. What unites the two is that each gestures toward, and indeed depends upon, such a conversion—in terms of language, first of all, but just as importantly a broader view of life itself. At the outset, it must be said that the matter of what constitutes contemplation—and poetry itself—is not uncomplicated, particularly in a culture shaped by pressures that ignore the call to "address the god" and dismiss the poetic as an irrelevant luxury in "a world come of age."3 Nietzsche anticipated the challenge when he conceded that Down below—everything speaks, everything is missed. One might ring out one's wisdom with bells, but the merchants in the marketplace will out-ring it with pennies. Everything down there speaks, but no one knows how to understand. Everything falls into the water, but nothing falls into the deep wells. Everything down there speaks, but nothing comes to completion. Everything cackles, but who knows to sit quietly on a nest and hatch eggs?4 This essay explores how poetry might be engaged as a means of orienting ourselves to a contemplative practice of reading, examining the ways that such a practice expands our capacity to listen for the voice of the "other," so that our words—and we with them—might fall into "deep wells." [End Page 269] "A RAID ON THE INARTICULATE" In a short prose-poem entitled "Lecture on Mystery," the Polish poet Adam Zagajewski approached the challenge of speaking about poetry with a wryness characteristic of his thought: We do not know what poetry is. We do not know what suffering is. We do not know what death is. We do know what mystery is.5 Or do we? Zagajewski avoids going further in attempting to define "mystery"—for good reason, one might add, leaving us wondering how, if at all, we might "know" what mystery is, to say nothing of daring to speak or write about it. The point he is making is not that of explaining this but rather of pointing to mystery as an essential dimension not only of suffering and death but of poetry as well. One might even go so far as to say that a poetic gestur
《是什么加深了我们的心灵深处》:诗歌、沉思和阅读的艺术马克·s·巴罗斯(传记)神的唯一档案是诗歌，而对神的演讲，比其他任何形式的演讲都更需要语言上的转换，或者在其中有一种完全不同的态度。-菲利普·拉库-拉巴特本文承担了展开拉库-拉巴特大胆主张的任务，1探索诗歌作为一种文学体裁，并研究它如何与“对上帝的讲话”联系起来，在这里被理解为沉思的实践正如拉科-拉巴特所建议的那样，这种方法将诗歌与祈祷等同起来，因为两者都依赖于“语言的转换”和“其中完全不同的态度”。重要的是，两者都更多地与实践而不是理论有关，引导我们将阅读视为沉思的参与，并邀请我们将沉思视为一种体验的诗学。将两者联系在一起的是，两者都倾向于，而且确实依赖于这样一种转变——首先是语言上的转变，但同样重要的是对生活本身更广阔的看法。首先，必须指出的是，构成沉思——以及诗歌本身——的问题并非简单，尤其是在一个由压力塑造的文化中，这种压力忽视了“向上帝讲话”的呼吁，并将诗歌视为“一个成熟的世界”中无关紧要的奢侈品。尼采预见到了这一挑战，他承认，在下面，一切都在说话，一切都被错过了。一个人可以用钟声敲响自己的智慧，但市场上的商人会用硬币来敲响自己的智慧。下面的一切都在说话，但没人知道怎么听懂。一切都掉到水里，但没有什么掉到深井里。下面的一切都在说话，但没有什么是完整的。万物都咯咯地笑，但谁知道安静地坐在窝里孵蛋呢?这篇文章探讨了如何将诗歌作为一种引导我们进行沉思式阅读练习的手段，考察了这种练习如何扩大我们倾听“他者”声音的能力，从而使我们的语言——以及我们与之在一起的语言——可能落入“深井”。波兰诗人亚当·扎加耶夫斯基(Adam Zagajewski)在一首名为《神秘的演讲》(Lecture ON Mystery)的散文诗短篇中，以他思想中特有的讽刺口吻面对谈论诗歌的挑战:我们不知道诗歌是什么。我们不知道什么是痛苦。我们不知道死亡是什么。我们知道什么是神秘还是我们呢?扎加耶夫斯基避免进一步试图定义“神秘”——有人可能会补充说，这是有充分理由的，让我们想知道，如果我们能“知道”什么是神秘，更不用说敢于谈论或写它了。他的观点并不是解释这一点，而是指出神秘不仅是痛苦和死亡的一个基本维度，也是诗歌的一个基本维度。人们甚至可以说，对这种“认识”的诗意姿态是一种沉思的任务，因为无论我们可能理解它是什么，沉思都暗示了一种既在我们的经验之内又在我们的经验之外的姿势，渴望超越我们的东西，但也以某种方式在我们的经验中提供了自己的“认识”。在一次关于“正确性”的讲座中，伊塔洛·卡尔维诺(Italo Calvino)谈到了同样的动态，他这样说:我认为我们总是在寻找隐藏的东西，或者仅仅是潜在的或假设的东西，只要它们出现在表面上，我们就会追踪它们的痕迹。我认为我们的基本心理过程在每一个历史时期都是如此，从我们的旧石器时代的祖先开始，他们是猎人和采集者。这个词把看得见的痕迹与看不见的东西、不存在的东西、渴望或害怕的东西联系起来，就像一座脆弱的紧急桥梁被扔到深渊上。因此，对我个人而言，正确使用语言是使我们能够谨慎、注意和谨慎地接近事物(在场或不在场)，尊重事物(在场或不在场)所传达的信息……
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909121
Reviewed by: Modern Mystics: An Introduction by Bernard McGinn Glenn Young (bio) Modern Mystics: An Introduction. By Bernard McGinn. New York: Crossroad Publishing Company, 2023. viii + 340 pp. $49.95. I admit to having felt some disappointment when Bernard McGinn announced that the seventh volume of his landmark study of Western Christian mysticism—The Presence of God—would bring the series to an end. That volume dealt with mysticism in the seventeenth century, a time he characterized as a crisis for mysticism that paused its further development. My disappointment was that this series, which has been so important to students of mysticism, would not go on to consider some of the compelling mystical figures who are closer to our own time. It was thus with joy that I heard the news that McGinn was writing this new book, Modern Mystics. While not technically a volume of The Presence of God, it might well be seen as a fitting coda to that series, as it addresses the development of Christian mysticism in the twentieth century. The book begins with an introductory chapter that offers a description of mysticism in general as well as a discussion of particular themes that are prominent in modern mysticism. This is followed by ten chapters, each of which addresses a twentieth-century mystic: Charles de Foucauld, Thérèse of Lisieux (who did not live into the twentieth century, though her influence was felt beyond her years), Elizabeth of the Trinity, Pierre Teilhard de Chardin, Edith Stein, Dag Hammarskjöld, Simone Weil, Henri Le Saux (Swami Abhishiktananda), Etty Hillesum, and Thomas Merton. Some observations about the diversity of the figures on this list are in order. While it is true that the mystics included here are predominantly Catholic, other traditions are represented. Dag Hammarskjöld's roots were in Lutheranism, and McGinn uses this as an opportunity to provide a brief survey of modern Protestant mysticism. Etty Hillesum was Jewish. And while Swami Abhishiktananda was a Catholic, he also incorporated significant elements of Hinduism into his mysticism. It is also noteworthy that the list of figures addressed is evenly divided between female and male mystics. The book ends with a brief chapter that asks what it might mean for present-day people to read mystical texts. In the book's introductory chapter, McGinn provides an in-depth discussion of his heuristic description of mysticism as "that part, or element, of Christian belief and practice that concerns the preparation for, the consciousness of, and the effect of what the mystics themselves have described as a direct and transformative [encounter with] the presence of God" (11). Following this, he names themes that are especially prominent in twentieth-century mysticism. These include "visions and [End Page 358] ecstasy" and "suffering and dereliction" in mystical consciousness, the relationship of "action and contemplation (the political and the mystical)," a "holistic perspective" that gives
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Pub Date : 2023-09-01DOI: 10.1353/scs.2023.a909109
Joy Moore
Before Poetry Joy Moore (bio) I In the time preceding poetry A friend of mine says that eleven is the best possible age, eleven teetering toward twelve, un-self-conscious and easily animated by imagination and particular delights. That pre-teen need to fit in still slinking around the edges. I remember self-consciousness awakening in me at that age, but if I think of being eleven, what inevitably arises first, still holding sway in me, is the church bells of the Episcopal school I attended in fifth and sixth grades. The bells rang before weekly chapel, a service unfamiliar to me, Baptist child that I was, and their sound comforted me, ringing out across the courtyard where I moved awkwardly, inarticulate in middle-school insecurities. They made music of the sky for a few minutes and sang of something else beyond the fenced-in world in which I moved each day. What I remember more viscerally than their ringing is the time I was assigned to set them going: another student and I are standing in a tiny room opposite the altar, the massive rope suspended from a bell so high its brass blends into the tower's shadows. I take a turn pulling on the rope with all my eleven-year-old might, my body briefly lifting off the floor. In the momentum, in that singular glory, I pull again and again, and the bell gains its swing and sings. From those years, it isn't an index of learning but a collage of things that return to me: beakers from a science fair project, the monkey bars on my first and very lonely day at that school or how I later sat with other girls in the bathroom, giggling over stolen notes. Not who liked whom, but the tornado gray tile, the stormcloud wall of the locked stall. And especially those church bells, still ringing somewhere inside me, down the arcades of my ribs and limbs. Though I lacked reflection for this then, what I was learning was inextricably bound to being-in-the-world, my whole self encountering in the sensible world, in things themselves, the visible and invisible, audible and silent, overt and intuitively sensed. Much of this learning was subterranean and not at all the world that I was being taught to inhabit. We sat still in desks and were taught things that did somehow accumulate into working knowledge of the world. In chapel, we sat [End Page 316] in pews and listened to the priest, just as I sat each Sunday listening to my father preach. Some of it stuck. The stories themselves, for one: Joseph in a dungeon interpreting a baker's and cup-bearer's dreams, for instance. The details surrounding me, too, like the blue-cushioned pews, the pearl-beaded purse of the woman who gave me a peppermint each week, the brass offering plate with its red velvet center, and a giant wall map in my Sunday school classroom. Imagine the stories we could tell through the catalogue of things that accumulate in early memories. But for so long, my sense of this was hidden in forests of intuition, and in the daylight of days, I was taught reverence f
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