Arthur C. McGill: Conversation and Tribute

Posted by: Richenda at Sunday July 15, 2012 in

A few months ago I encountered a book by a theologian who was new to me, his name was Arthur C. McGill. If newly released imprints and new publication (see Wipf and Stock Publishers) are any indication, there is currently a resurgence of interest in McGill’s work. This interest has to include my own. With this article, I hope to offer some information about McGill, who passed away in 1980, to the ‘google-sphere’ that hasn’t been available. This article includes the story of my encounter with McGill, my attempt to find information about him, and finally my effort to put together a biography for those who, like me, want to know more about him.


The cover of a newly published compilation of seventeen of McGill’s sermons thanks to Wipf & Stock Publishers and edited by David Cain. This book is the first in the series “Theological Fascinations” and includes previously unpublished works edited by Cain, with the next volume upcoming. Working title for the second volume is ‘Inverted Values: Arthur C. McGill on Gospel of Need and Dying unto Life.’

My Encounter with McGill:
It is fairly typical of me to first rant about someone, and then subsequently to fall madly in love with them. Such seems to be the case with Arthur Chute McGill.


New reprinting of Suffering, a Test of Theological Method, originally published by McGill in 1968, and Death and Life, which are lectures published posthumously in 1987. Thank you to Wipf & Stock Publishers for reprinting.

I came across his book Suffering when it showed up on a ‘extra reading’ list in a theological studies class. And about half way through the book, I posted a facebook rant that went like this:

Why go to all the trouble to prove … God’s essentials ‘love,’ if McGill is only going to swallow the pill of ‘Satan’ whole without questioning it? So the ‘evil one’ comes from where? God allows the pretense of power from the demonic why? If we don’t know from what we are redeemed, can we be said to be redeemed, at all? McGill … distracts us with his shiny, give-and-take God, and ignores the snake and the mouse altogether.

It wasn’t long, however, before my thinking shifted, first to:

Well, McGill is still somewhat irritating, but … I think his enthusiasm is worth something, and he’s got some good ideas.

And then to this:

Still thinking about McGill. And thinking how something brilliant he did was to shift the way Suffering could be perceived. He rejects the idea that humans are just inwardly sinful and any suffering we have is caused by our condemnable actions that separate us from a perfect God. Instead, he places suffering in the context of a world filled with difficult and unfathomable and harmful ‘powers’ that will attack and disorient and try to dissuade you from following God. Although I don’t love his solution, I absolutely ascribe to the idea of ‘powers.’ I have not decided exactly how I believe these ‘powers’ manifest, but certainly I agree with McGill that it is wrong to say people are inwardly sinful and awful and so if we suffer it is because we are perverse and willful…. I like that he rotates traditional thinking on this AND that he speaks to evangelicals in doing so…

And finally, to this:

Consider me in love. Or dare I say enraptured. I appreciate his energy, his enthusiasm, and his concrete common sense. I love that he dares to speak this concreteness out loud when those who would posit a monistic God are listening. And I love even more that the ‘concreteness’ of his perspective culminates in his own assertion that God is anything but concrete or static or unchanging. God, he asserts, is a God of change.

Googling “Arthur C. McGill”:
Thus began my first Google searches on “Arthur McGill.” What happened next was frustrating as there is/was next to nothing on the web I could find about him, including his obituary! No Wikipedia Article, nothing. (I have remedied that, wiki article here). Even my ticket to the vast digital holdings at the Seminary turned me up very, very little in terms of bio and theological dialogue. He seems to have disappeared into thin air, with only the persistent work of David Cain to keep his voice and work alive. (A big thank you to David Cain, by the way. David Cain is a Distinguished Professor of Religion at the University of Mary Washington. His primary interests include religion, literature, and theodicy, and the work of McGill, Wiesel, Kierkegaard, and Dostoevsky.)

My own interest in McGill’s theology is paired with my interest in the man himself. Who was he? In an age where your ‘social context’ is studied as part of the text of who you are and what formed you, I wanted to know more.


A screengrab from Google Maps, Streetview of McGill’s Office at Harvard Divinity School, Cambridge, MA.

Below you will find a basic biography of Arthur McGill. Please consider my providing it as both a service and a request. If you knew Arthur McGill, please email me and tell me about it. I know he touched a lot of lives. I know his enthusiasm was infectious and contagious and that he inspired many young theologians as well as everyday Christians while he lived. I would like to hear about him. I would like to post some of those testimonials here on this blog. And I would like a photograph of him that I could post with this article!

In researching McGill, I was blessed by Dr. Ernie Rubinstein, Theological Librarian at Drew University. Those of us who attend Drew know Dr. Rubinstein to be without equal, brilliant and generous. In speaking to him, I discovered the Dr. Rubinstein was a graduate of Harvard and had taken a class, Theology 101, from Professor McGill in 1977. Dr. Rubinstein was generous enough to share not only his own enthusiastic remembrance of Professor McGill, as a caring, vivacious, brilliant and charismatic theologian, but Rubinstein also allowed me to borrow and copy (so that I might share) the careful notes he had made during that class. Dr. Rubinstein’s notes are careful, precise, and can be hard to decipher. But there are places where he made careful note of what McGill said about something in particular, and I have included a couple of those here. Access to the syllabus, as well, offers a good flavor of what McGill saw as some of the key concerns of theology at the time. Unfortunately, by 1977, McGill had already begun to experience health problems, and sometimes had to leave the class lectures early.


Mimeographed and all, the header for the syllabus for Theology 101, taught by A. C. McGill and G. D. Kaufmann, Fall 1977.

Arthur Chute McGill, a basic biography:
Arthur Chute McGill was born in Wolfville, Nova Scotia, Canada on August 7th, 1926 to Chester William McGill and Marjorie Chute McGill. The family emigrated that same year to the United States, settling in Brookline, Mass, and naturalizing in 1930.


Wolfville, Nova Scotia, downtown in 2006. Grabshot by Verne Equinox, Wikipedia.org.

As a boy, Arthur McGill attended Rivers Country Day School in Brookline, where McGill was the boyhood friend of John T. Noonan Jr., who would become a prominent Senior Circuit Court Judge. Noonan mentions McGill in his memoir, The Lustre of Our Country The American Experience of Religious Freedom , who speaks of “…my River’s classmate, Arthur Chute McGill” as a friend “who later became a professor at Harvard Divinity School. But at Rivers I thought of Arthur as my chief academic rival, doubly formidable because his uncle, Austin Chute, was our Latin teacher.”

In addition to his theological interests, McGill had an interest in astronomy. The Biographical Record from Drew University states that McGill “has a six-inch telescope with photographic equipment that he developed himself. His particular interest in this field is the open star clusters, like the Pleiades, which pose a problem of identifying which stars belong to the cluster and which only happen to be in the same line of sight.”

Arthur C. McGill was a Fulbright scholar who earned a B.A. from Harvard and a Ph.D from Yale Divinity School. He married, was ordained in the UCC tradition, and had three children. He taught at Amherst, Wesleyan, Princeton, and Harvard, and was a visiting theologian/lecturer at Drew Theological School, and the University of Birmingham. His last position was that of the Bussey Professor of Theology at Harvard Divinity School where he lived with his family in the homey suburb of Lexington. In addition to university instruction, McGill taught bible studies and was a guest preacher and lecturer at many local churches across the country.


Required reading from McGill’s Theology 101 syllabus, including marginalia.

A list of books required by McGill for his students in Theology 101 included Rudolf Bultmann, Kerygma and Myth; James Cone, God of the Oppressed; Hans Frei, Eclipse of the Biblical Narrative; Van A. Harvey, The Historian and the Believer; H. Richard Niebuhr, The Meaning of Revelation; Rudolf Otto, The Idea of the Holy; Paul Ricoeur, The Symbolism of Evil; Richard L. Rubenstein, After Aschwitz; Max Scheler, Ressentiment; Sallie Te Selle, Speaking in Parables; and Henry N. Wieman, The Source of Human Good.

At Princeton, McGill also taught a Theology 101 course. At the graduate level, his classes included “Medieval Christian Thought,” and two seminars, “Contemporary Theological Issues,” and “Hermeneutics: the Bible as a Means of Salvation.”

McGill’s career statistics are impressive. I have listed them chronologically below, including a couple of biographical dates. Where there were dates in conflict, I listed both dates, with the one in parenthesis being the one I think is less likely:

1947 (1941) : a B.A. from Harvard.
1949-1951 (1950): McGill served as Pastor of the Congregational Church in the miniscule, white rural town of Pettibone, ND.
1951: a BD (Bachelor of Divinity) from Yale Divinity School.
1951: June 14, married Lucille “Lucy” McGill in Pettibone, ND, with whom he had three children, two daughters and a son.
1951 (1952): McGill was ordained in Hamden, CT, as a minister in the Congregational Christian Church (now the United Church of Christ).
1952-1954 (1955): McGill was an instructor at Amherst College.
1953: Elected as a Kent Fellow in the National Council on Religion in Higher Education.
1955-59: Assistant Professor of Theology at Wesleyan University, Middletown, CT.
1957-1958: Fulbright Research Fellow at the University of Louvain, Belgium.
1954-55: Pastor of the Congregational Church, Hatfield Mass.
1959-1968: McGill worked first as a Lecturer, then Associate Professor, then in 1964, made a full Professor at Princeton University.
1961 (1960): Ph.D from Yale Divinity School. His dissertation was titled The Place of Dogmatic Theology in the University.
1961: Promoted from Lecturer to Assistant Professor and named the Arthur H. Scribner Preceptor at Princeton University.
1965-1980: Founding member of the Academic Council Jerusalem Ecumenical Institute for Advanced Theological Research, Jerusalem.
1965: Visiting Professor of Theology, Drew Theological Seminary.
1966: Visiting Professor of Theology, Harvard Divinity School.
1967: Visiting Professor of Theology, Drew Theological Seminary.
1967-1968: Senior Fellow in Humanities at Princeton University.
1969: The Edward Cadbury Lecturer at the University of Birmingham, England.
1971: Elected to the position of the Bussey Professor of Theology at Harvard Divinity School.
1980: September 10, McGill passed away in Boston, Mass.

In addition McGill won numerous academic prizes, taught classes and bible studies, led seminars and lectured in local churches, and may have taught or lectured Union Theological Seminary. He was a guest minister and/or supply pastor in the countries and places he visited, was a member of a number of societies, including the Society for Religion in Higher Education, served on the Borough Council for Rocky Hill, New Jersey, and was a Democrat.

The Obituary printed by the Wilmington Delaware Morning News states that McGill suffered from diabetes and had undergone a kidney transplant in 1978. He died in 1980, in his sleep, at age 54. The memorial service was held at the Harvard Chapel. The Obituary notes that McGill was to be buried in Wolfsville.

Conservative? Evangelical? Liberal?
Arthur McGill, known as ‘Art’ to his friends, was a Christian Minister ordained in the United Church of Christ. In general, Arthur McGill seems to be someone we would call ‘liberal minded.’ In articles printed in the Princeton university newspaper, he is recorded as speaking up for the inclusion of women in higher education. In other places, and in snippets, McGill seems to suggest he felt it was men who suffered most from being separated from women academically, as it prevented young men from developing a healthy self-identity respective to women. McGill is also very vocal regarding his dislike of dogmatic doctrines and institutional Classic/Catholic teachings.


Notes taken by Rubinstein from McGill’s class Theology 101. “Two themes for the course: Theology and the Bible, Good and Evil.” 1977. Used with permission.


Notes taken by Rubinstein from McGill’s class Theology 101. “Theology: 1.) worked within a tradition, attempting to express it (ultimate reality). 2.) attempted to articulate what was believed about God in the tradition. The chaotic status of theology stems from the questioning of tradition.” 1977. Used with permission.


Notes taken by Rubinstein from McGill’s class Theology 101. “General Discussion 10/3/77. The question of evil—process thought vs tradition.” 1977. Used with permission.

By today’s standards, McGill might be considered both conservative and liberal, but certainly evangelical. As a Theologian who advocated for a God of change, he is both liberal and evangelical. By his stance on ‘powers’ and ‘evil,’ he would perhaps be categorized as conservative and evangelical. With his emphasis on experience as authoritative, I cannot doubt that he must himself have had experiences of God and the Divine. Additionally, I think his particular mix of theological belief speaks to his enthusiasm for both the common people and an accessible faith as well as a belief that we, each of us, are part of the Vitality that is God. He is ‘conservative’ in the attention he pays to bible-basics in the literature of the New Testament, and he offers an unblinking look at the cosmologies that inform the biblical text, particularly in how the New Testament treats ‘powers’ and ‘evil.’ (McGill’s assertions regarding ‘powers’ reminded me much of the work of the late Walter Wink, whose book ‘Naming the Powers’ shares a kind of kinship with McGill, here, I think.)


Notes taken by Rubinstein from McGill’s class Theology 101. In this notation, Rubinstein has marked where McGill has made a personal assessment and remark in addition to the summary information of the lecture. “Frei’s notion of appreciation [of/&] literary form—the literary form must give us [access?] to reality, but simply attending to the lit[erary] form needed to reveal reality to us.” 1977. Used with permission.


Notes taken by Rubinstein from McGill’s class Theology 101. Here, Rubinstein has made note of “McGill’s Criticism” of the topic. See larger image here. 1977. Used by permission.

McGill was radical for the same reasons he was conservative. He dared oppose a philosophically monistic, absolute God and declared for a God of change. He believed God was accessible to the common believer so much so that that believer could become a true authority of and participant in the creation/fruition of the Kingdom of God. This isn’t the same as Luther’s Priesthood of Believers. Luther wanted to expose a corrupt priestly culture and challenge the ‘set apartness’ that allowed it by bringing the believer up, too. It was a democratization of authority, but one that stayed high. McGill, on the other hand, has a much sweatier perspective. He dismisses all things dogmatic and static and insists that God is down to earth and slogging it out here, with us. When reading McGill’s book Suffering, I can almost imagine hand to hand combat in the streets.

For McGill, theology is an experience. Even in the rhetoric and energetic style of his book he seems to offer us a taste of this experience. ‘Reason’ is a plaything for someone else, perhaps. But ‘experience’ is what erupts from the playground around McGill. And, in this prioritizing of experience, I sensed that McGill saw this as so much more than ‘personal’ experience. Though there is attention to the individual, yes, and emphasis on the importance of individual effort within the constantly shifting ground of theological witness, still, what I really imagined in reading it were clusters and waves and leagues of things all together. It seemed important, vital (for Life!) that we recognize our togetherness. Divine encounter, he seems to declare, is experience to be entered into together, wrestled with together, and altogether shared.

In closing, I will share a wish that I could have been present for this conversation Rubinstein makes note of as having taken place on September 26, 1977:


Notes taken by Rubinstein from McGill’s class Theology 101. “9/26/77, I Method, A. Objective Psychology, B. Otto & Introspective [phenomenology]. II Religion against humanism. III Two questions, A. The status of experience. B. The status of Xianity.” 1977. Used with permission.

(Note: I understand the word ‘Xianity’ to be slang, as it doesn’t show up in the OED. It is a short form of the word ‘Christianity’—similar to Xmas. The X is in reference to the Greek spelling of Christ, Χριστός. The word can be used in a derogatory way, and can imply dogmatic belief. There is no reason to believe McGill himself is using the word as a derogation, though he is known to dislike dogmatic thinking.)

~

McGill’s Publications:
McGill, Arthur C. The Twilight World of Popular Songs, Religious Education 49, 1954. p 382-88
McGill, Arthur C. Reason in a Violent World, The Distrust of Reason. Wesleyan UP: Middletown, CT. 1958. p 34-50.
McGill, Arthur C. The Place of Dogmatic Theology in the University Ph.D Diss. Yale University. 1961.
McGill, Arthur C. The Celebration of the Flesh: Poetry in Christian Life. Association Press:NY. 1964.
McGill, Arthur C. The End of Intimacy. Christian Faith and Higher Education Institute: East Lansing, MI. 1965.
McGill, Arthur C. The Education of Specialists. The Christian Scholar, Spring 1966.
McGill, Arthur C. The Many-Faced Argument. John Hick Ed. Macmillan:NY. 1967.
McGill, Arthur C. The Death of God and All. That in Radical Theology: Phase Two. C.W.Christian and Glenn R. Wittig Eds. Lippincott: Philadelphia. 1967. p 45-58.
McGill, Arthur C. Technology and Love—A Human Problem Man in Nature and the Nature of Man. Fifth Combined Plan Conference, Arden house, Harriman, NY, 5-8. Nov. 1967.
McGill, Arthur C. Suffering: A Test of Theological Method. Geneva: Philadelphia. 1968. Reprinted Westminster Press, 1982.
McGill, Arthur C. Critique II. Theology Today 25 (1968) 317-19.
McGill, Arthur C. Is Private Charity Coming to an End? Vanguard: A Bulletin for Church Officers 6 (1969) 3-6, 16.
McGill, Arthur C. The Ambiguous Position of Christian Theology, Paul Ramsey and John F Wilson Eds., The Study of Religion in Colleges and Universities. Princeton UP: Princeton. 1970. p105-38.
McGill, Arthur C. The Crisis of Faith Thesis Theological Cassettes: Pittsburgh. 1974.
McGill, Arthur C. Structures of Inhumanity. Alan M. Olson Ed. Disguises of the Demonic. Association: NY. 1975.

~

Sources for this blog article:
Arthur Chute McGill. Directory of American Scholars, Volume 4, 1982. Science Press. Page 335

Cain, David. Arthur McGill:A Memoir. Harvard Theological Review, Vol 77 1. 1984. p 95-111.

McGill, Arthur C., Suffering: A Test of Theological Method. Geneva: Philadelphia. 1968. Reprinted Westminster Press, 1982.

McGill, Arthur C., and G. D. Kaufman. Theology 101, Class Syllabus. Fall 1977.

Noonan, John T., Jr., The Lustre of Our Country: The American Experience of Religious Freedom. University of California Press, 2000. 23.

Rubinstein, Ernest. Class notes, Theology 101. 1977.

Who’s Who in America, Marquis Who’s Who, Inc. (1978)

United Church of Christ. Arthur Chute McGill. United Church of Christ, Year book. Vol. 1982, New York, N.Y., p. 452.

From the Drew University Archives:
Biographical Information: Dr. Arthur Chute McGill. Faculty Biography. Special Collections and Archives. Drew University Library. Madison, NJ. c. 1965.

Dr. A.C.McGill dead in Boston. Obituaries. Morning News, Wilmington Delaware. 18 September 1980. (Clipping)

From the Harvard Library Archives:
Report of the President of Harvard College and Reports of Departments. 1980-1981. Official Register of Harvard University. Vol. LXXIX July 2, 1982. Page 45. http://pds.lib.harvard.edu/ April 28, 2012

From the Princeton Library Archives:
The Daily Princetonian. Volume 85, Number 82, 13 September 1961. Princeton University Library. http://theprince.princeton.edu April 28, 2012.

Simons, Todd. McGill. The Daily Princetonian Volume 89, No 21, March 1965. Princeton University Library. http://theprince.princeton.edu April 28, 2012.

SCA Convocation Emphasizes Women Students’ Importance. The Daily Princetonian, Volume 89, Number 21. 1 March 1965. Princeton University Library. http://theprince.princeton.edu April 28, 2012.

Rice, Beans, and Peppers with Mango and Lime

Posted by: Richenda at Wednesday June 6, 2012 in

Hmm…. The second blog in a row devoted to food. Not sure if that’s a trend… But I have had quite a bit of fun searching for lowfat vegan-esque foods I like, and I have always been a creative cook. And, importantly, when I make up something lowfat/nonfat, healthy, and yuuummmy, I want to share.

The menu tonight was Rice, Beans, and Peppers with Mango and Lime. It’s pretty much nonfat and vegan and absolutely delicious.


I didn’t take a picture of the final presentation, but here are the leftovers in a bowl. Not much left over! And most of the pretty yellow and red peppers have been eaten up. Still, you get the idea. Imagine the contents served over an enchilada sized tortilla.

R’s Rice, Beans and Peppers with Mango and Lime

Needed:

2 Lowfat, enchilada-sized, white corn tortillas, warmed.

For sauce:
Juice of one half lime
Two Anaheim peppers, roasted, seeded, and skinned
One large ripe tomato, skinned and chopped
2 large cloves garlic
1 tsp chili powder
⅔ cup chopped onion

For filling:
1 cup cooked Long Grain Himalayan Red Rice (see more about this kind of rice below)
1 can (16oz) tri-color beans, pinto, black, and red
3 bell peppers, one green, one red, one yellow
2 onions, one red, one Spanish
Flax seed oil

Garnish:
Chopped mango
¼ tsp chili powder
½ chopped avocado
½ cup chopped cilantro

For sauce, sauté ⅔ cup finely chopped Spanish onion, tomato and garlic until soft. Add chili powder and puree. Return to heat, add seeded, roasted, skinned, and finely chopped Anaheim peppers and lime juice. Allow to simmer. Add more water if necessary for saucing consistency.

For filling, slice onions and peppers in rounds (reserve the top and bottom sections of the peppers for the bean mixture) and fry the onions in a hot cast iron pan with a small amount of flax seed oil. Cook until onions are soft and golden, then add sliced peppers and fry a little longer, until they are cooked and edge-browned a little but still have their color and flavor. In separate saucepan, place long grain rice, allowing the rice to become a little chewy in the pan. Add beans. Chop the top and bottoms of the peppers into little squares, and add. It should look very pretty with the three colors of beans and the brightly colored peppers. Mix together and heat thoroughly.

For garnish, chop mango into small pieces and sweeten with agave nectar if needed. Add ¼ tsp of chili powder to mango and stir. Chop avocado and cilantro and serve separately.

To serve:
Place a warmed tortilla on a plate. Spoon rice and bean mixture on tortilla. Pour sauce over beans and rice, then add generous amount of stir fried onion and peppers. Garnish with mango, avocado, and cilantro.

Serves two.

For dessert
Warmed bananas in Nonfat Cottage Cheese

This is one of my favorite sweet desserts modified a little to follow the beans and rice dish. I was a little heavy handed with the cottage cheese tonight, so the picture shows a gooey-er dessert than usual.

2 bananas, cut in chunky rounds
1 cup nonfat cottage cheese (On the west coast, I like Trader Joe’s’, on the East Coast, Breakstone’s’.)
Agave nectar
Lime juice
Lime segments for garnish

In a saucepan, heat bananas and cottage cheese until the cheese curds melt and become stringy. Divide into two dessert dishes. Squeeze lime juice over the top, and squeeze Agave Nectar on top of that. Add lime garnish, and serve.

A word about the rice.

I love steamed white rice, but lets face it, whole rice is better. I confess I do not like brown rice. It’s icky. I just don’t like the taste nor the texture. Simply swapping white rice for brown is a very disheartening experience. I do like wild rice, though, and some of the Lundberg Family Farms blends are good. Best of all, however, is a type of rice I discovered called Himalayan Red Rice.


A little Himalayan Red Rice I cooked up and stored in the freezer. It keeps very well, and I can freeze it in 1 cup serving sizes.

Believe it or not, this Red Rice is a treat. I love the stuff, and can honestly recommend it. I use it almost exclusively. It’s great in chili with beans to keep that dish vegan and healthy. It’s also great with curries, or simply fried up with a little tofu or chicken. It’s got a satisfying texture and the taste is nutty but not overly so. Just try it. That’s all I’m saying.

Homage to Fratelli's Deli

Posted by: Richenda at Tuesday May 29, 2012 in

Am I a foodie? Yes. If ‘picky’ is a foodie category, count me as one! Unfortunately, I don’t get a lot of time to indulge my foodie-ness, though I have a good friend with a food blog that always makes me hungry. Her blog is My Own Sweet Thyme.

But…to Fratelli’s.

I’ve been living in Madison, NJ, as I am currently a Theological student at Drew Theological Seminary. But, as it is summer time, I have returned home to the Pacific Northwest, to the shadow of Mt. St. Helens and Mt. Hood for a few months. (I hear it’s 90 degrees in NJ today. Should I mention that it’s 51 degrees, here? ;-) Brr….think I’ll fetch a sweater.)

Drew University happens to be in Madison, NJ, right next to a very quaint downtown area. I have never lived on the east coast before and as a result I never had a love of Italian food. There is just something about food that needs regionality. You really have to go to the region where that food has been perfected—preferably by someone’s grandmother—before you get the food in its best form.

Fratelli’s has been a center of my adoration for months now. I go in every Thursday afternoon and order an ‘Amichi’ (grilled chicken, sweet red peppers, mozzarella) which they are kind enough to serve me just the way my picky self likes it: on a round roll (which they bake themselves) with lots of balsamic.


Only half left…and it, too, was gone too soon, too soon…

First…the ‘round roll.’ Silly me, I just thought a round roll was a roll that was round. Nope. Here in NJ a round roll is a very specific kind of roll with a very specific kind of flavor. And Fratelli’s bakes them in-house.

Fratelli’s also makes it’s own ‘Mozzarella’ which the proprietor refers to simply as ‘Muutz.’ And, yes, when Mario Fratelli asks if you want some you should say ‘yes.’ It, too, is made in-house and it’s perfect. I don’t usually eat cheese, but for special Thursdays I will make an exception because, frankly, it is really good.

Fratelli’s does not have a website, but in googling them I discovered they have a video!

The video was put together by Terry Bondreau and features Mario Fratelli, the man and proprietor himself.

Fratelli’s isn’t just about Italian food, they also make homemade foods from Columbia and other places. Their menu is extensive and yes, you should go there and get a sandwich for lunch.

Sadly for me, I am too far from Madison to get my Thursday sandwich!! But, I am not deterred, no sir. To keep myself entertained and my taste buds placated, I’ve created a sandwich homage to Fratelli’s. I call it my ‘Fratelli’s-in-the-Cascades’ and it’s delicious enough to share. Lacking a proper ‘round roll’ I’ve substituted a soft panini roll from Delphina’s bakery. (Delphina’s is a Portland bakery and ….beware…it’s really goood….) On to said roll I place some slabs of tofu fried in a little flax seed oil, and then as much fresh baby arugula as I can squeeze on top. Finally, I splash on a lot of balsamic.

No. It’s not as good as my Thursday Amichi. But. Close enough. And just for fun, I have created a theme sandwich photo. Here it is, drum roll please. The ‘Fratelli’s-in-the-Cascades’ as my Mt. St. Helen’s homage to Fratelli’s sandwich perfection.

Photocredits.
The picture of Fratelli’s Deli top is a promotional photo from Madison Patch promoting A Taste Of Madison 2012.

The ‘theme sandwich’ credits thanks to Wikipedia Commons:The pic of Mt. St. Helens is public domain (USGS 1982); The Atsuage, A fried tofu thanks to Potesara 2007; The arugula, public domain, TY Leo Michels (2006); and the Pane Turano – italian Pane bread (no the roll is not a panini, this is a thematic recreation. In other words, I’m pretending.) thanks to Turano Baking company (2010).

Perspectives on the Annunciation

Posted by: Richenda at Friday April 13, 2012 in

What is the Annunciation?
The ‘Annunciation of Mary’ is an extremely important event in the Christian calendar. The day of the Annunciation is the celebration of the day that the Angel Gabriel appeared to the Lady/Virgin Mary, Mother of Jesus Christ, to tell her that she was pregnant by the Holy Spirit and she was going to bear a son, and that this son will be Jesus the Christ, son of God. On that day Mary accepts her pregnancy, and sings a song celebrating the magnificent work of God in that Jesus’s birth is good news for all the lowly and undervalued people of the world. This song is known as the Magnificat.


The Annunciation by Rupert Bunny. Wikipedia Commons.

Christians get two stories of Jesus’s birth from the New Testament. There are four books in the bible that tell of Jesus’s life, and all four are called ‘Gospels.’ Of the four, only two include a story of birth of Jesus: The Book Of Matthew and The Book of Luke. Of these two, it is really only Luke who gives us the full story that has become the traditional celebration Christians known as The Annunciation. If you have ever heard this story, it was likely you heard it near Christmas time as part of a play or teaching about Jesus’s birth.

The Annunciation as Art
That is the basic information. But I want to look even a little more deeply, or critically, perhaps, at how images of the Annunciation of Mary have come to us over the many centuries. Because this is such an important event, there have been many, many paintings made of it. Each of these paintings tells the story in a unique way. Each of these paintings also includes many more aspects and details than the story in Luke ever did. Sometimes, the way the characters are depicted seems to be in direct opposition to Luke’s story. The way Mary is shown, the way the event is depicted, tells us, I think, a lot about who we are and what things of our own (our thoughts, feelings, impressions) we bring to our stories of faith.

In looking at images of the Annunciation, I find it is like entering a “conversation” that includes me, the painter, and the story itself. This conversation is really interesting! I feel like I can get a look at what kinds of attitudes and assumptions are being made about who Mary was and how she lived. I invite you to take a look at a few images and journey through the ‘commentary’ a little with me.

One thing to remember is that all the images I have chosen were painted long after the story itself took place. Not only were they painted hundreds of years after Jesus was born, but they were painted after the Catholic church was well established, and had very specific rules (called doctrines) about who Jesus was and who Mary was. These “rules” make up the basis of the way most people think of Jesus and Mary today.

One final note is that in looking at these paintings, I am looking at them in terms of their ‘face value’ in relationship to the Mary stories. I am not concerned with the artists themselves, or the subjects they have painted in particular. This article is long enough! What I have kept myself to is simply an examination of what the painting or image say in terms of the stories of the Annunciation.

Symbols in the Paintings
A few things to know about what kinds of things usually show up in paintings of the Annunciation:
• The Angel Gabriel as Messenger. In the Christian tradition, Gabriel is a very important angel.
• Mary as a virgin girl or woman being surprised by God and/or the Angel with the information that she is pregnant.
• A white Lily somewhere is a symbol associated with Mary’s divine/special attributes as the Mother of Jesus.
• Light. Light coming in through an open window or door or just in general flooding the scene.
• Heavens intruding in the world in some way, clouds, angels, ethereal aspects.
• A prayer book, which Mary is or was reading, or some other prayerful activity.

The ‘Historical Mary.’
One more thing that might be helpful as we move through these images is to consider what Mary, as a historical person, likely would have been like. We have no particular evidence outside of biblical stories that Mary ever existed. Yet the stories of the Gospels are compelling history in their own right. We know from the Gospels that Mary was very young when she conceived Jesus, perhaps 14 or 15. We know that she was a peasant girl in Galilee who lived at a time when the rich took the good land and left poor land to the villagers. We know there was a lot of debt slavery, villagers who couldn’t pay taxes and tithes and debts could be sold into slavery with their children and families. We also know that military soldiers from Rome were present throughout the countryside, and patrolled the rural roads.

Mary, then, was a poor, young, village girl in an occupied country with little opportunity for economic advancement. She would also have been illiterate. The most difficult thing of all was that Mary, who was an ethnic Judean, would have had to live by particular religious and social “laws.” One of these laws forbid girls to have sexual relations outside of marriage. Unmarried girls who became pregnant were shunned by their families and fiancées and stoned to death. This was simply the reality. Mary, as an unwed mother, if she had been spared stoning, would have been doomed to live as an outcast and likely a prostitute which would also have greatly reduced her life expectancy. She would be thought of as sinful, unclean, and cursed. That Joseph decided to marry her despite her pregnancy is a testament to the loving influence of God and the goodness and honorableness of Joseph. Clearly, he was a very good man.

As we look at the paintings, then, think how different the Mary of the paintings is than the ‘historical Mary’ of Galilee.

Painting by Robert Campin, 1427.


The Annunciation by Robert Campin. Wikipedia Commons.

This first painting is by Robert Campin, 1427, and I think it offers a view of what we traditionally have in our minds when we think of Mary. It is a very rosy painting and Mary seems well protected. This Mary is from a privileged background and clearly has enough social standing that she could have expected to be protected from the slights and transgressions poor people often encounter. This Mary would have had servants to clean and cook and sew and a tutor to teach her to read. (Stories from the middle ages tell us that Mary’s mother Anne taught Mary to read.)

This Mary’s life is one of demure devotion to the task of quiet reading. This demure reading is typical of an idealized understanding of a nun, so I believe we are supposed to associate this Mary in this painting, as if she is like a virgin, sainted nun. This Mary is also squeaky clean and her garment is an expensive color. Even the pot in the hearth is clean with no trace of soil or ash.

In the background of the picture, it looks as if the window has blown open to receive the visiting Holy Spirit/Infant and Angel Gabriel. The form of the Spirit here is a fat, naked cherub carrying a large wooden cross. The wind that blew open the window has also blown out the candle, but Mary is bathed in enough light, and disciplined enough, to keep to her reading. The question here is to ask, Why did she need a candle during daylight in the first place? I think the answer to that is to show us that Mary is so demure, protected, innocent, and removed from the world (so impeccably virginal) that she does not even sit by the window to read (as all people did before electricity) but stayed away from men even to the point of not seeing them through the window or talking to her male neighbors who might pass by on the street.

This ‘keeping away from windows’ is characteristic in some stories of sainted nuns. The stories tell proudly about how these nuns shut themselves away and never let men gaze at them. What is implied in this action is that a gaze of a man who might find them beautiful would ‘penetrate’ them (a penetrating look!) with a lustful spirit and so the nun might be made impure just from this kind of look alone. This Mary’s purity, then, shut away from the window, cannot be questioned. She has not made her person available to the lustful glances of men. (This characterization, of course, is really unfair to men—and women, too!)

Because of this painting’s extreme depiction of Mary’s private-purity, the question can also be asked, does she even know that Gabriel is there? She does not seem to be aware of him. This is yet another comment on Mary’s extreme purity. Mary is not so removed from men that she is not even aware of the presence of a ‘him,’ even an angel ‘him,’ and perhaps especially a ‘him’ who will utter the word ‘pregnant.’ The painter has given us a story point of view that shows us a Mary so utterly pure, sheltered, and virginal—so perfectly whole and intact into herself—that even the word pregnant, and the process of impregnation (even by a cherub or the Holy Spirit), is outside her capacity to engage or recognize.

As for Gabriel, his behavior is respectful and also demure. We know from the bible stories that Gabriel is a ‘he.’ But here in this painting, he doesn’t seem to really have a gender. He is very gender-neutral looking, and this keeps him from appearing as a sexual threat. His hand is raised in priestly blessing. Nothing about his demeanor is sexually charged. If Mary is to be impregnated, it seems that it will be the blessing, then, that will bring the Holy Spirit upon Mary. If so, then this is a very, very safe kind of ‘impregnation.’ Though it is probably still technically going to have to be referred to as ‘penetration’ (as in a penetrating prayer), clearly it will be free of any polluting or threatening aspect. This Mary retains her perfectly virginal state.

(In the old traditions, some of which are still part of the faith today, the Holy Spirit is said to have entered Mary’s womb through her ear. Perhaps, in a few more centuries, and inspired by the stories of Star Trek, others will say that Jesus “beamed in” to Mary’s womb. Both methods equally ensure Mary’s virginity is unquestioned. I might ask, too, whether we can ask why Mary’s virginity was so important to the story of Jesus in the first place. What did historical people believe it meant for a woman to be a virgin? And why did how they felt about female virginity have an impact on who they believed Mary to be? )

But to return to the painting above. This painting, like many others, gives us a very tranquil, non-sexual, pure and devout perspective of a worthy, rich, gentle Mary who could only be penetrated by blessings. This, of all the paintings, best tells the story as I heard it as a girl. But this is just one way to tell the story. There are many ways that painters have depicted the Annunciation. Some of them are quite different.

Painting by Domenico Veneziano c. 1445.
This next painting of the Annunciation is by Domenico Veneziano, and painted c. 1445.


The Annunciation by Domenico Veneziano, c. 1445. Wikipedia Commons.

This painting shows a much more vulnerable Mary. Her social standing is similar, in that she is likely a well-born woman from a good family. But notice this Mary is surrounded by open doors. These open doors imply that this Mary is more vulnerable to penetration. The prominent archway and floral bridal-like arch at the center of the painting also are resonant of ancient images of the female (and the vulva) as a door or opening to fertility (one of the most ancient of which is of the goddess Inanna who was associated with date fruits and the storehouse ). In this image, Mary does not have the power to refuse. Here, she is depicted with her head bowed. She is also a little bent over, as if she has just risen from the bench. It is also a submissive position.

Gabriel is also far more intentional in this image than in the previous one. Though he seems properly respectful (this is the Mother of Jesus, after all), he is clearly more of an aggressor. He has the authority to demand she heed God’s word, and this is demonstrated in the painting by her obeisance to his beckoning. His fingers are also interestingly phallic. Sticking up fingers in many cultures is obscene, and in Europe the extension of the index finger and middle finger (a sort of ‘peace sign’ to us) together has always been a vulgar gesture that symbolizes a woman’s legs and crotch. That Gabriel makes a two fingered sign here (though not the two fingered sign), with a space at the center, is interesting. Again, it is not the vulgar sign, but still it absolutely evokes it. Clearly, though sanitized, this painting is supposed to depict a sexual encounter, one that Mary will experience as a dominated person. While Gabriel’s manner does have some of the aspects of ‘courtship’ (for instance, he is kneeling), yet in the context of the rest of the image, it is clear that he will get his way.

The ‘dominating’ aspect of this painting bothered me a little. But it was not the worst painting I found in terms of sexual dominance. In fact, it is really quaint compared to the next one, below, by Lorenzo Letto, 1527.

Painting by Lorenzo Lotto, 1527.


The Annunciation by Lorenzo Lotto. Wikipedia Commons.

In this painting, Mary’s encounter with Gabriel and God looks distinctly like rape. I find this image to be more than a little frightening. God is depicted as an older man with a weapon we can’t see. I have included a close up of his eyes, which look possessed or crazed. As to the Angel, though kneeling he looks muscular and intrusive. The angel’s shadow cast toward Mary even seems a bit demonic, and, with the black cat also in the image, I have to wonder, what does this shadow represent? Mary herself is turned away from God and the Angel. She seems to be fleeing and pleading to whomever is viewing the painting for help. Her open hands show she is vulnerable and unarmed.

I am glad that in my simple and general searches that this painting by Letto was the worst I saw in terms of depicting the Annunciation as an act of violence. But it is still horrifying to me. It is, frankly, the worst I’ve ever seen in terms of savagery against Mary. I wonder, why did the painter depict the story in this way? I want to say, too, that this painting is extremely contrary to the stories we get in the bible.

Painting by Paulo de Matteis, 1712
This next image, by Paulo de Matteis, 1712, also has some sexual content, though it is nothing like the last one. Having grown up with the ‘virginal’ and ‘non sexual’ Mary, I find the paintings that celebrate the sexuality of Mary’s pregnancy very interesting. In this next painting, the Annunciation looks very much like romantic courtship. Here, the sexual content is very idealized, offering an example of innocent joy instead of terror or domination.


The Annunciation by Paolo de Matteis. Wikipedia Commons.

In this painting, Gabriel appears to be a sort of heroic suitor, riding in on his white cloud to sweep Mary off her feet. Mary is reading a book, a very common activity for her in many of the paintings—which is notable as the historical Mary was certainly illiterate. The book, of course, would be a book of psalms or prayers. No romances or novels!

The Mary in the painting has also been surprised—surprise, too, is very typical of these paintings. Perhaps one of the most consistent aspect of depictions of the Annunciation is the element of surprise. This kind of surprise might be called ‘theophany.’ Theophany is a fancy religious word that means, basically, God revealed to man. In other words, it is a ‘in-breaking of God.’ It is a moment where God appears or breaks into your life. It is a moment where the divine has, in some way, been revealed to you.

In this painting, then, we have a Mary who had been surprised by God and Gabriel during a quiet devotional time. Mary as a demure, contemplative and prayerful person seems a little overwhelmed by this sudden attention. Her humility, then, is part of what the artist has depicted here. She is not proud and did not expect such an honor. Unlike the first image of Mary, who does not even look up at the Angel, this Mary gives a tentative and perhaps a little bit of an blushing bow.

This painting is also unapologetically depicts aspects of romance—look at the cherubs sighing and kissing with the ecstasy of the moment. Though there is no touching, Gabriel’s romantic hero presence is active not passive. He hands Mary her flower quite pointedly. Is that supposed to imply a penetrative object? The white Lily has for centuries been associated with Mary as a visual representation of her and her divine aspect. This gift of this flower denotes her new status as Mother of Jesus, and its presence in this painting (and in so many other paintings) will mark her new authority and confirm her pregnancy. The girl without the flower is not yet Mary the mother of Jesus. The flower, as fertility, as divinity, as purity, comes to symbolize the woman who the girl will become.

The Holy Spirit, shown here as a dove, also speeds with deliberation in Mary’s direction. Interestingly to me, the Mary here in this image seems definitely to have a lot more power than in the previous images. Maybe even, does she have the power to refuse? Her arm is raised and perhaps with that gesture those looking at the painting might imagine that she could swat the flower away instead of accepting it. Theologically, this is a big deal. What the painting says, then, is that Mary has enough power, even in the face of God and the Angels, to refuse the pregnancy. This painting invests Mary with power in her own right, invested in her person as not-yet pregnant. The power that comes to Mary, then, according to this painting is not simply with power given to her by her pregnancy or her role as Mother of Jesus. She has, somehow, the power to say ‘yes’ or ‘no’ to God.

If, then, she has the power to refuse, she also has the power to act the part of the lover. Lovers are partners in courtship, and this painting, in depicting courtship, includes this ‘lovers’ aspect. Mary’s interaction with Gabriel here has some of the lover’s blush and coquetry of romantic courtship. Her teasing power to refuse, though, is just that—teasing. I am reminded of a line from Pride and Prejudice, where Elizabeth Bennett refuses Mr. Collins’s proposal of marriage. Mr. Collins is not discouraged, however, telling the reader that well-born women often refuse proposals to extend the courtship game and so heighten the joy of their eventual ‘yes.’ A charge Elizabeth Bennett denies.

And from this painting, we can see Mary’s blushing pleasure. We can recognize her as a willing participant—certainly we know she chooses ‘yes.’ And how could she refuse, the painter seems to ask! When the Spirit has come to her with news reminiscent of a dream-wedding proposal. Mary here is a girl who is suddenly princess and will be Queen. It is a very romantic depiction, indeed.

Painting by Pontormo, 1527
This next painting by Pontormo takes the relationship between Gabriel and Mary even farther. This painting also seems to pair Gabriel and Mary as lovers. Clearly their encounter is pleasurable. Mary’s posture implies sexual availability and desire, while Gabriel looks as if he is filled with desire, and perhaps, even post coital. I have to wonder, Are his hands raising or lowering his gown?


The Annunciation by Jacopo Pontormo. Wikipedia Commons.

In this pair of paintings, Mary and Gabriel gaze adoringly at each other. Whatever is transpiring or has transpired between them is companionate and enjoyable, and Mary is an active participant in the process.

Painting by Tanner, 1889.
This next painting by Henry Ossawa Tanner, 1889, is one of my absolute favorites.


The Annunciation by Henry Ossawa Tanner. Wikipedia Commons.

Tanner shows us a Mary who feels human and vulnerable. She is not set apart or idealized as she is in many of the other depictions. I like that Gabriel here is depicted as a light…is he entering? Is he leaving? Is this all of himself that is revealed? Is this what he is, just light? The vulva shape of the light is also interesting to me. Gabriel is either erupting from, or depicted as, a fissure. This is a space of crossover, and, as such, this is spectacular in terms of theophany or revelation. What does this depiction of Gabriel say about God and divinity?

Tanner’s Mary is poor. She is not destitute, but she is clearly poor and as such she is a girl who knows a perhaps difficult life. She has probably worked menial jobs and is likely vulnerable to the gaze and comments (and worse) of strangers. Yet Tanner’s depiction of her is loving and generous. He has enfolded her in layers of protective cloth, soft and comforting. Tanner has also bathed her in light. Clearly, she has encountered a loving God who allows her to take in the information gently.

The only hint of penetration, if it can even be read that way, is a suggestive furrow in the carpet that runs under the bed. Has anything burrowed through those layers to get to Mary? Perhaps. But regardless, it is as if whatever mechanism of pregnancy has to occur, it occurred while she was dreaming. She has woken up pregnant, still an innocent and coming to terms with the information that Gabriel has arrived to let her know.

Yet though the painting shows no indignity, the appearance has occurred in Mary’s bedroom and it looks as if it happened just as she was waking—or perhaps was the cause of her waking. Or perhaps it is the middle of the night. This is fairly suggestive in its own right. I cannot imagine the first Mary in this article from the painting by Campin anywhere as vulnerable as her bedroom when Gabriel shows up. Tanner’s Mary, then, though loved and comforted, has still encountered the news of pregnancy in the most private and personal space: in her person, and in her bedroom. This is pregnancy, after all. And Tanner’s treatment of it gives us a very human Mary with an intimately human experience.

Painting without Attribution.
(If you know the author of this painting, please let me know. I was unable to discover the artist and I would like to ask permission to post this image.)

What does it mean to have a Mary who is not sheltered, virginal and perfect? How does a human Mary, like the historical Mary, change the way we think of who she is, what power she may have, and why she is chosen to be the mother of Jesus?

What is the difference between being born for something vs having something happen to you? What is the difference between being destined for something vs being called? Does Mary have the power to refuse? And if she does, what does it say about her as a person that she did not? Is Mary always groomed and tutored and prepared so that she is ready to be the mother of God? Or has God reached out to make an unlikely choice and startled a girl who perhaps is undeserving and uncomprehending? What could it possibly mean when God suddenly shows up? What does is say about Mary that she goes from a young, unwed mother to the mother of the Son of God?


The Annunciation.

In this image of the Annunciation, we see a very different image than what has been depicted before. This Mary seems fearful perhaps even uncomprehending. With the white walls and all the white clothing it is as if she is a patient in a psych ward. If so, what is her history? How have the cruelties of life set her cowering. She looks so vulnerable, a vulnerability perhaps to speak of a history of abuse, neglect, illness, or subjugation. What does it say that this is the Mary to whom Gabriel appears?

As for Gabriel, his left hand is raised, not in blessing but in a soothing gesture, as if to say ‘don’t run, I will not hurt you. I am here to free you.’ The window behind her is open. That openness is the only real promise in the otherwise tightly framed image. Will she jump out the window and flee from the news, from the pregnancy? Or is the window the promise that in her accepting of God she will be freed? Certainly that window seems like a way out. A way out for what, her pain? Her powerlessness? Her hopelessness? Perhaps in accepting the flower and the gift of God’s love, this Mary will find healing.

Another Look at “Mary.”
These next images were not intended to be images of the Annunciation. As we can see from the paintings so far, when it comes to representing Mary and Gabriel in art, very little about the image can be considered ‘historical.’ The paintings do not show Galilee or an unwed, 15(ish) year old ethnic Judean woman. They show very stylized and romanticized European women. As such, they are ‘commentary’ not ‘reality.’ They are part of a conversation about who Mary is to us and to the church, not historic representations about who Mary actually was.

As such, I want to expand the ‘conversation’ even more. In looking through images for this article, I was struck by how many images of young women seem to pick up aspects that are generally associated with paintings of the ‘Annunciation.’ It made me wonder what, exactly, might be the commentary on who Mary is in this time and place. How might we understand, in today’s terms, who a ‘Mary’ might be.

I wondered who ‘Mary’ might be, what she might look like. I wondered what our expectations for her are, and how the Spirit and God’s gift might transform someone who is unexpected as God’s choice. Because, let’s face it, Mary in her own time was radically unexpected. For an unwed Galilean girl to bear the Son of God was absolutely unthinkable in her time.

Painting by Boucher, 1715.
This first image is by Francois Boucher, and who she is a bit of a puzzle. There is the girl herself, and then there is the narrative of the image both to be considered in reflection. As to the girl herself, she might be a servant, courtesan, or mistress, but absolutely she would be someone vulnerable to being painted nude in 1751 and to have their nudity displayed. She would not be high-born. She would have few social protectors and no social standing of her own.


Resting Maiden by Francois Boucher. Wikipedia Commons.

The girl seems young. She is painted with her legs open and a pillow between them. This girl, then, is not a virgin. There is no attempt to hide the implication of sexual penetration. Yet she does not look like a rape victim or as a woman who is destitute. On the contrary, she is lovely, and well fed. She appears well cared for. Whatever the circumstances of her life, her youth and beauty have given her status enough to have caught the eye of a man who wishes to represent her sexuality with paint.

Next is the narrative of the painting itself. Clearly, this is an image painted to depict a girl who has just engaged in intercourse. There are aspects of the painting that imply that this girl just experienced her first sexual encounter. There are two flowers, roses, on the ground by her feet. They have been ‘cast aside’ or ‘cast down.’ Do they represent the deflowering? Has she consented to be someone’s lover? She cannot be a young bride, she has no ring.

In addition, the encounter seems to have taken place illicitly, not in a bedroom, but on parlor furniture. For the story of the painting, then, I wonder, what is the artist trying to say? What is the ‘story’ he is trying to paint? Is he depicting her as a servant who has succumbed to sex (or invited sex) in an act of impulse perhaps? I wonder at her hair, which, despite the implied sexual encounter, is still perfectly in place. Perhaps she is supposed to represent a girl who was seduced, a girl who ‘fell’ to the promises or excitement of her seducer. Clearly, she is shown surrounded by the trappings of wealth. The pillows and blankets as well as the furniture are sumptuous. Her hair is carefully coifed.

Especially interesting to me are the symbols that resonate with other paintings of ‘Mary.’ First, there is the light, which washes over her. Second, there are the flowers. Though they are not lilies, none the less they are prominent in the painting. Third, there is an open book on the footstool next to her. What sort of book? When Mary is depicted, it is a book of psalms and her attitude is prayerful. What is this book? Is it a novel? Or is it, too, a book of prayers? Was she reading it before the sexual encounter?

Finally, though she is splayed out naked with her legs open, there is a sense of surprise and innocence in the painting. First, she is so young, this in and of itself denotes innocence. Second, something has intruded into her world. In the form of a seducer, this is a bad thing. A girl without social power could hope for a protective lover and status as his mistress. But more often she was disposable. If she was also pregnant, her life would become very difficult.

In this painting, despite the gloom of her future circumstance her innocence is preserved and the light that is cast across her makes the painting hopeful. Somehow, all is not lost. The girl peers over the arm of the upholstery, and the light shines on her as if some door has just been opened. Her facial expression is of timidity, questioning, surprise. She is unsure of something, herself maybe? Perhaps she is recognizing the consequences of what just happened. Perhaps she has fear of getting ‘caught.’ Who or what does she ‘see.’ Perhaps she is already ‘caught.’

In her facial expression, there is some inward aspect. Her body position could be the result of rolling over to see the something or someone who has ‘entered’ the room, or someone who has revealed their presence. Though she is naked, in turning to see what or who was in the room, she has drawn part of the sheet up under her chin. It is a futile gesture of covering herself. In this painting, it would serve to further show her innocence, her shame at being exposed. It would also serve as sexual titillation for those who would be aroused to have caught sight of a young girl in a sexually vulnerable state.

Is this girl, whom we can surmise to have been taken advantage of either purposefully or in encouraging her to be impulsive, is this girl now pregnant? And if so, what kind of pregnancy can she expect? Is a pregnancy, even one begun like this, still sacred to God? Still worthy of God’s love and care?

Who does Mary have to be?
It begs the question, how did Mary get pregnant? Do we believe the dogma of the ancient church that the Holy Spirit entered through Mary’s ear and impregnated her? This dogma allows for us to believe that Mary remained a virgin for her whole life, this despite the biblical story telling us she had other children after Jesus. But is it important for Mary to be pure? Is it important for us to be pure for God to love us? For us to be worthy of care and provision?

What does Mary’s purity mean for Jesus? Does Mary have to be ‘pure’ for Jesus to be ‘pure?; Does Jesus need to be ‘pure’ if he is born as a human being? Jesus as a man entered into the same human risks we all do, like bacteria and a human mother. Jesus breastfed. Probably he ate dirt as a baby and at least one bug. Yet, we recognize that Jesus was a man of power and divinity. Does it destroy his divinity that his humanity, his human body, was conceived with sperm like everyone else? Is sperm more powerful than God? Does sperm have the power to evict or block the Holy Spirit? Could God not have entered into or orchestrated a human pregnancy with the Holy Spirit and had just as much power in so doing? What part of the ‘mechanics’ of the pregnancy matter the most, and why? How active is the Divine in conception just in general?

If God is all powerful is it possible that God could use a sexual encounter or indiscretion for purposes of conception and incarnation. If so, would an encounter like this one render the option of conception unworthy to God? Could a young girl who had been foolish in flirtation with an older married man, and as a result is deflowered and impregnated—Could God use such a girl and such an encounter for God’s own purposes? How different is this in essentials to the traditional images of Mary shown previously, where Mary is dominated and even seems to encounter rape as she encounters the circumstances of her pregnancy. What of the depictions of Mary as romantic lover? Could God use a Mary who transgressed socially to be a lover or one who indulged in the excitement of a sexual encounter? Would God perhaps even seek out a woman who had known the loving embrace and sexual play and intimate care of a man she loved. How sexual could Gabriel’s involvement, or the Holy Spirit’s involvement, be? Does a sexual conception diminish Jesus? Is rape stronger than God so as to preclude any good child coming as a result, or does God bless all children fully, recognizing they play no part in their conception. Does it matter if she was impenetrably pure or foolishly wanton? Does it matter if she is vulnerable and was used?

So, what if this is a girl who had been taken advantage of? What if this is one of those girls whose position in the household did not allow a ‘no.’ Would God refuse to use a Mary such as this? God raises up unlikely people. Perhaps God would find such a foolish or disempowered girl to be the right one all the same?

These questions are tantalizing to me as I look at this image. I see the flowers and the book. I see the innocence. And I see the clear evidence that she is not a virgin anymore. The consequences of sex can be pregnancy. What if the light is divine? What if God has seen and knows and decides to use this moment to make a miracle? Even if this picture isn’t Mary, there is for many women who find themselves pregnant a time of reckoning. Many mothers will see an unexpected pregnancy as an unexpected miracle. They recognize the intrusion of the divine in their lives, and are transformed.

I want to take this one step farther. I want us to consider that Jesus’s list of ancestors included Rahab the prostitute. If Rahab could be used by God to provide the living human chain of birth to birth to birth to beget Jesus, what would the qualifications for Mary need to be?

A Sketch by Edgar Degas.
In this next image, a sketch by Edgar Degas, four prostitutes appear startled by an interruption we do not see. This startle at interruption, with a single woman called out as the focus of that interruption, is what reminded me of images that depict the Annunciation.


Sketch by Edgar Degas. Wikipedia Commons.

These women look coarse. They are street prostitutes. Their hair is garish and their bodies are round and fleshy. Their attire is overtly sexual and speaks of the immediate availability of their bodies to any man who wants them. The three women in the foreground serve as a contrast to the woman standing behind. Their manner is much more vulgar and they are more exposed.

Just in the contrast we notice the girl behind to be more covered, more demure. Her hands are folded in front of her body, covering herself. Is this a protective stance? Her face is not softly pretty, but hardened looking. Her features are lines and her mouth set downward. It is as if she has grimly accepted her lot. She has not had the social position, perhaps, to be a mistress instead of a prostitute. She has not been seen as worthy of protection.

In viewing her characteristics, especially as they contrast with the other three women, I wonder: is she someone for whom we might feel sympathy or pity in their life circumstance? She seems to be set apart and awaiting something. Whatever it is, it does not look frightening. The other three women seem to view it as if they are evaluating. One looks doubtful, even cynical, one looks ready to challenge and deride, the third seems to have a quiet, wait-and-see expression. Perhaps they look on something wondrous? What kind of miracle might a girl like this unexpectedly encounter?

Additionally, over her head are three objects of light. Are they celestial? Or a coronet? Are they the Holy Spirit? Could God use the pregnancy of such a girl to bring about the birth of child blessed?

Photograph by Rena Effendi, 2007.
This last image is a little shocking, especially in the context of a discussion of the Annunciation. But there are aspects to the image that—despite its challenges—resonate with aspects of other Annunciation images. It is these resonances that interest me.

I also want to reiterate that in dealing with all these images, it is the image itself that I am engaging and not the historical or actual particulars of the image. This is particularly important to remember here, as the subject of this image is a living person. But in this discussion, I am not speaking about the subject specifically or personally. I am speaking instead about the image as “art,” as that thing that comes together of itself and for itself in representation of itself; I am speaking of the image as it is composed by an artist and then becomes ‘loose in the world’; I am speaking of this image as it is encountered by someone like me, far away, with no knowledge of or attachment to its place of origin; I am speaking to the ability of this artwork, unmoored and loosed into the world, to move others who have no knowledge of or concern about its ‘real’ content; it is to this that I want to speak to here.


Used by permission. Photograph by Rena Effendi. Owner of a shooting Osh park. Kyrgyzstan. From the series House of Happiness, 2007. Courtesy of Grinberg Gallery.

I am including this image because I admit to loving the possibilities and conversation embedded here. I love that this woman has tanner skin than I do. Mary’s skin would have been browner, still. I love the way the light and the wind come into the photograph. Remember in the first image of this discussion, the image by Campin, the windows behind Mary had been blown open. In the Campin image, too, there was smoke wafting from a candle that the incoming wind had blown out. Here too, there is smoke. I find myself wondering, what candle (what spirit, what life?) has been snuffed out by this cigarette? What does it say about what hope exists in this place that the only fire burning is the cigarette ?

There is a crown in this image, too. It is on her shoulder, a tattoo. The crown is usually associated with kingship, divinity, Christendom. Here it is embedded in human skin. What is the significance of this kind of embodiment?

Additionally, there is a clock—what is it time for? What time has come?

This is an image of the type of woman we expect to be surrounded by trouble. Her big round earrings, her hair, the protruding poster of a naked woman behind her all testify that this woman is “no good.” She doesn’t have much and certainly not protection from the world. She is, in fact, in the thickness of the world battling it out day to day to day. If there were Roman soldiers at the time of this photo, this is a woman who would have encountered the threat or actuality of rape, or perhaps been part of the sex industry (unwillingly or with few alternatives) that took care of the soldiers’ ‘needs.’ The position of her hand and cigarette resonates with the vulgarity of two fingers raised and separated. In this case, the two fingers hold the phallic addition of the burning cigarette. Is this passion burning? Perhaps in some broken form?

She is also perhaps nude, and a little sweaty. If she is not nude, whatever she is wearing is very revealing. If she is nude, is the cigarette post-coital? If so, with whom has she just had sex? A lover? A spouse? A customer? Someone she is trying to control or gain advantage from? Someone who is trying to control or gain advantage from her?

Despite all this ‘bleakness’ of social place and sexuality, this is a woman who has retained some strength and has some sense of herself, some ‘intactness.’ The light shines in and the ethereal curtains billow. She, like so many of the Marys from the Annunciation images, peers at something that is outside our visual frame of reference. Something has intruded or interrupted, or appeared, something or someone. She has lifted her chin and held her head back in a gesture of evaluation.

What Makes ‘Mary’ Divine?
This image—as it appeared at the end of my searching—caused within me a sort of revelation. I wondered what it was that creates ‘Mary’ as divine. Obviously the images I have used here are not the actual historical Mary but are instead social and religious constructions of what people through history thought Mary was supposed to be, and I include images that resonate with that discussion.

In thinking, I had a realization that, if we were to imagine Mary as a person of ancient Galilee, it is hard to think of her as divine at all. At what point is her divinity made real? Is it awakened? Is it potential? Did God implant or recognize some essential aspect or capacity in Mary?

On possibility from the earlier depictions in that Mary’s divinity comes when she accepts what God offers her. It is this invitation, then, and even more importantly, Mary’s response to that invitation, that speaks to the degree of Mary’s divinity; she is capable of the ‘yes’ either by her own doing of by God’s.

This capacity to say ‘yes’ may have existed a priori , if we think that ‘in the beginning was the Word’ and Jesus had to be born, then this might suggest that this ‘yes’ must have been in place ‘in the beginning’ as well. She would have had by these theological terms a kind of pre-existent existence if only in destiny or outstretched possibility—she was a predestined choice, by God. Or, is her existence more human and finite than that. With God awaiting the right moment and right woman, offering her then the transformative task of ‘God bearer’ and mother of Jesus. And does it matter, really, if the divinity that ultimately enfolds her is from the beginning or arises in the middle? Because, isn’t it all derived from the font of eternity?

We have to remember, I think, that Mary herself, as well as how she is depicted, has a history. If we look at the doctrines of Christianity, almost all stress the purity of Mary. Based on ancient cosmologies, Mary’s purity becomes important because humans understood her acceptability to God in terms of her suitable ‘cleanness.’ This is problematic from a historical and biblical standpoint, of course, because God uses, saves, and praises many unclean people.

But, in terms of religious dogma, for some reason Mary had to be pure. By the middle ages, the dogma said she was, in fact, so pure in her virginity that her mother Anne was also a lifelong virgin and Mary herself was conceived without sex. The stories of Mary’s purity get dogmatically alarming—she just can’t get pure enough. If there was some cultural standard for purity, Mary couldn’t just meet it, she had to exceed it three hundred fold.

This is ironic, of course, considering the historical Mary—the one supposedly that God chose, was a peasant from Galilee who would have been too poor to follow all the “right rules” and so would not have had an alarming lack of cleanness by priestly standards. It is possible, if we simply look at the biblical story, that God has actually chosen a pregnant-out-of-wedlock poor 15 year old to be Jesus’s mom. It is a striking contrast to the Mary-of-the-church who depicts her as so pure that her purity becomes a kind of athletic feat that puts her above mere human women. If Mary was a super-hero and had a super-power, her super power would be virginity.

So. Why is it so important to the church that Mary be a super powered virgin? The simplest answer may be: Because the social context required Jesus to have impeccable credentials. In the face of the miracle of God to choose a girl like Mary, the church could not abide a savior who was born to an unwed, young mother. In the social contexts of the early church, it was too unthinkable. Anyone born to someone unclean would be tainted by relationship. If he is born to a poor teen-aged Judean woman who had not been able to protect herself (or had others to protect her from) pregnancy, then his origins would have made him “trash” and how on earth could the early church tell that story?

The only way to save Jesus’s honor so that those who read the Gospels could better understand Jesus’s social and divine importance was to make Mary perfectly untouchably virginal, so virginal that—despite her actual circumstances—her pregnancy could have none other than Divine origin. It must be shown with no shadow or doubt that her pregnancy was the work of God.

If that was perhaps the historical solution, why do we persist in stories of Mary’s impeccable virginity today, when we recognize that God works miracles in many different kinds of people? I would say that many of us still condemn unwed teenagers. We demand virginity oaths and declare that unwed mothers are “bad kids” who are sinners. We kick our pregnant daughters out of our homes, and some of us even think that their behavior shows them to be ‘unelect’ and therefore doomed to condemnation for all time. With our teenagers, as with Mary long ago, only absolute purity, super innocence, will allow us to extend our sympathies to her circumstance.

Why do we do this. What is at stake for us, our faith in Jesus? Not mine, my faith can weather pregnant teenagers. I believe God is the power, not 15 year olds. So I put it to you: would your faith in Jesus be dismantled if the historical, pre-pregnancy circumstances of Mary were less than virginal? Collectively as Christians, is our faith in Jesus strong enough that we can consider Mary in her own right, as a girl, terrified, and facing execution for transgressing cultural norms and getting pregnant. Or Mary, a regular kid who knows what is at stake for her if she says ‘yes.’

If we do this, can we recognize that, theoretically anyway, God is ultimately the one who chooses, not us, and God can chose whomever God wants. And if God chooses to bless the womb and bring forth a child of worth from a situation where a girl did what she shouldn’t and got pregnant, isn’t that exactly the kind of thing God is known to do?

We know that even today, in an age we boastfully declare to be free thinking, we still put the blame on the girl when she gets pregnant, it is her moral failing, whether her pregnancy results from foolishness, accident, or rape. If out-of-wedlock pregnancy is a moral failure of the girl, if this is our mindset, if this is the ground of our belief, then we must find some way to absolve Mary or we must find her morally wanting and, in her own day and age, put her to death. Our story in assurance of her purity literally saves her life.

But, can I ask this: does an elaborate story that changes the actual circumstances of conception not, ironically, also put her to death? Is not a ‘Mary’ dead from stoning or a ‘Mary’ disappeared into a lie about virginal superpower just as silencing as to what God has actually done? We read the Magnificat every Christmas, do we listen to what it tells us about God lifting up the lowly? Has our need to ‘explain’ Mary’s pregnancy by human rules served to cloak God’s miracle of Jesus Christ in a myth of purity fully contrary to the actual conditions of Mary’s life?

What happens, then, if we are a culture who does not need to kick unwed teenagers out of our homes or sentence them to death? What if we can consider Mary in her own right? What if we can look to the countless stories of young women who transgressed, got pregnant, and in that pregnancy found the hope, love, and joy that proved the catalyst for them to transform their lives? Can we recognize that baby as a gift from God? For, from this perspective, each child is utterly divine. I have met women who are strong, compassionate women of strength and honor, who you would never guess were pregnant and terrified at 15. Some of these women made the radical life choice to put their whole lives in the hands of God. And it seems to me, in looking at the life of Jesus of Nazareth, that God might well have chosen such a woman to be the mother of our Emmanuel.

To return to the Rena Effrendi image and the images of the Annunciation, what I love most about them is how they represent a moment of chance, of interruption, or opportunity. Something new and unexpected is happening, something accompanied by in-rushing light and wind. What possibility does the moment bring? If the woman in Rena Effrendi’s image were human like our ‘Mary’ is human, what would it speak to regarding who God loves and who God reaches out to and who God heals? How does it speak to the possibilities of transformation that are offered to all of us, the deserving and undeserving alike, who hold within us the capacity to say ‘yes’? What does it say about the real power of God and the real possibilities in relationship to God, a relationship with possibilities we could never conceive of—except that we can.

Luke tells us “…the angel came to her, he said, “Rejoice, favored one! The Lord is with you!” “She was confused by these words and wondered…” (Luke 1:28-29)

And I think, again, who was this Mary whom God chose. Did she need room for doubt, did she need time to trust? Did she need healing? What did it take to reach deep inside herself and say yes, “let it be with me as you have said,” and then raise her voice to the Magnificat?

“With all my heart I glorify the Lord!
In the depths of who I am I rejoice in God my savior.
He has looked with favor on the low status of his servant.
Look! From now on, everyone will consider me highly favored
because the mighty one has done great things for me.
Holy is his name.
He shows mercy to everyone,
from one generation to the next,
who honors him as God.
He has shown strength with his arm.
He has scattered those with arrogant thoughts and proud inclinations.
He has pulled the powerful down from their thrones
and lifted up the lowly.
He has filled the hungry with good things
and sent the rich away empty-handed.
He has come to the aid of his servant Israel,
remembering his mercy,
just as he promised to our ancestors,
to Abraham and to Abraham’s people forever.”

Biblical Quotations from the Common English Bible.
Thank you to Enuma Okoro who came to Drew Theological School and spoke about her work with images. This article was inspired by that presentation.

Spider Season

Posted by: Richenda at Tuesday August 17, 2010 in

The Pacific Northwest is not particularly known for spiders. Those honors belong to equatorial countries where the beasts are swollen to great sizes by water and heat, or they belong to deserts where heat and dust seem to have the same result on them. Believe me I have respect for the spiders of the desert.

I still remember my lonely drive along a deserted strip of road in Arizona. In front of me, the road reflected the moonlight and I could see a quarter of a mile ahead a dark animal was in the road. With nothing else to think about, I watched the animal and as I got closer my brain sorted through animal categories as I tried to figure out what it was. A coyote? No, too small. A mouse? No, too large. A rat? No. A mole. No. Wait…are there moles in Arizona? I don’t think so. Not like they have in Washington, anyway, with the rubbery little noses.


Mole photo by Michael David Hill, 2005, from Wiki Commons. (For a little fun, do a google image search for ‘star nosed mole.’ Trust me, it’s worth it.)

Okay then. So there was a mysterious creature in the road visible from some impressive distance. What was it? A rabbit? They don’t have cute bunnies in Arizona, they have those long-nosed hares. A hare? The closer I got, the more I was sure it was a hare of some sort. For bunnies were fluffy but this one had a kind of boney hunch.


The famous painting of a Hare looking suitably boney from Albert Durer, 1502. Thanks to Wiki Commons.

The closer I got, the darker and more shadowy it looked, and the more strangely shaped. But it wasn’t until I was almost over the creature with the tires that I realized… It’s a spider! I am pretty sure my eyes bugged out as I watched it hurriedly scuttle out of the way and I zoomed on by.

Creepy spiderlegs crawled up my spine as I shuddered to think of a spider that big and what it might mean if my car broke down and I had to do something as dusty as camp on the ground for the night. How many of them could be lurking? And that made me wonder where, exactly, a spider that size could lurk? For I’m pretty sure the thing would be visible to satellites.

Anyway. Enough about the horrors of Arizona. What I really wanted to do is share the arachnoid horrors of Washington state.

Like I said, spiders aren’t exactly associated with western Washington. Here on the wet side of the state we mostly get little forest spiders and a few larger wolfs that make it into the house to frighten you at midnight. But most of them run away as fast as they can and are too small to worry about too much except if you come across them in quantity.

With one exception.

There is a type of garden spider here that is very disconcerting. You see them beginning in spring, but they are small, then. But by the beginning of fall they have been busy eating each other (and everything else) and some of them have grown large enough to give you the willies.

Now everyone on the planet seems to think that if there is a creepy garden spider in the yard it must be the yellow and black Argiope aurantia (or Corn Spider or Writing Spider), which, believe me is plenty creepy in its own right. But though we do get those here, it’s not all that often that I see one. I’ve seen maybe three in the last ten years.


This is a yellow and black garden spider. This is emphatically not the kind of spider I am talking about. Photograph by Deisy Mendoza, from wiki commons.

What we do see, and see lots and lots of, is the European Garden Spider, Araneus diadematus. The European Garden Spider (which just happens to be in my non-European garden) is not yellow and black like the Argiope or Corn Spider. And it does not lie with its forelegs and hindlegs clasped together as if it were a four legged creature.

The European Garden Spider is instead brown and white with numerous markings including a white cross on its abdomen from which it gets the name ‘diadem.’ And it hangs not with its legs together, but resting apart.


This is the spider I am talking about. Photograph by Andre Karwath, from Wiki Commons.

Its web is extremely firm and sticky. You cannot pass through the web of the European Garden Spider or through strands of the anchoring silk without hearing snapping noises as the web breaks and branches of shrubbery previously roped into submission are suddenly released and spring backwards. What I’m trying to say is that the European Garden Spider does not build a fluffy dust-bunny kind of web. Its web is like spun glass, and it sticks to everything.


Look how the end of this fern frond is curled back. It is attached to the anchoring thread of a spider web. Photo by me.

Worse, the spiders can be quite large, to my eye they can reach two and a half inches long. The other main problem is that this spider is…well…meaty looking. I think I prefer my spiders small and wiry, rather than appearing like a portion of meaty pork cutlet too large to chew all at once. The meatiness lends a kind of fleshy vicerality to the whole business of encountering one—and significantly ups the creep factor.

The other trouble with the European Garden Spider is that around here there are a lot of them. They really, really, love it here. The climate must be absolutely perfect and the meals plentiful because a single bush might harbor eight or more of them. A few bushes together are a minefield.

And if they stayed in the bushes, that would be better. But another characteristic of this spider is that it likes to spread its net out across open spaces. In other words, it would rather spread a web across a walkway than stick to the bushes. (A few more years of evolution and this thing will be netting and eating small birds and maybe antelope.)

I have to stop for a moment and acknowledge the beauty and giftedness of this spider. They are the most gifted webmakers I have ever encountered. Their webs are picture perfect, high, round, arched, like meticulously woven sails tacked by slender anchoring ropes. In the dew they glisten. In the sun they sparkle. And otherwise they are almost completely invisible. A perfect net for to catch a meal.

The web isn’t just ornately pretty—spectacular, even. The web is large. Anchoring strands of rope-like web can extend many feet. I’ve seen a web-rope extend from the eaves of the barn to the nearest Japanese maple tree branch—that’s 24 feet. Yesterday while I was out watering the new rhodie I encountered a web stretched between the trunks of two small trees, a span of 16 feet with the web in the middle. And I want to know: how the heck does a spider between 1 and 3 inches long stretch and anchor a strand of web-rope sixteen feet and use it as a suspension bridge to build a web?


Here are the two trees. That black plastic stick on the ground is what I used yesterday to destroy the web. (One point to the human.) Photo by me.

I knocked down that web yesterday, because I am tired of being netted like a bug by meaty creatures with too many eyes. But this morning I thought of writing this article so out I went with the camera to see if she rebuilt it (the females make the webs). I didn’t find her at first, but there was a new web up near the deck over the bushes, so I got a couple of photographs of that for you. You can see how intricate it is. I took a few different angles so that you could get a sense of how suspended it is up there… How do they do that?


I used Photopaint to add an opaque circle so you could see the web better.


Same web, different angle.


Same web, different angle. All three photos by me.

There was another web in that bush, as well. The webs can be so invisible that you literally do not see them until you walk through them. I had taken a number of pictures of the top web before I even saw the one right beneath it.


This web was slightly lower and clearly well anchored in the bush. The spider was at the center of the web, which is typical. If you mess with them, though, they will rear up with their front legs, or run. Or sometimes they make a weird little noise—again, creepy. My son uses the big ones for Airsoft target practice, which I’m not sure I like very much. But to be fair they are big, and creepy, and hang over you… Photo by me.

I also found this other web as I was moving around—again it was invisible until the light hit it. I believe this web belongs to the spider whose house I trashed yesterday. Notice how the web is anchored well off the ground and spread out across an open space.

It is this spreading across open spaces that really makes them so creepy. See this nice walkway in the garden?


Thank you to our cat Figaro who helps bring the cuteness factor to the photo.

By late summer and through fall it is like an episode of ‘Fear factor’ every time you go up or down those steps (or anywhere around the house). The spiders build webs right across the walkways, and they build fast. In the morning it might be clear, but by the afternoon a previously clear section is now booby-trapped. And you will not see the web until you either brush against it or you are nose to nose with the spider herself. It’s awful, I promise.

And if you don’t see it you will walk right through it and the web will stick to you, spider and all. The spider will hang on you, that web is strong. And if you run, it will only bounce along behind you. (And here is where the meatiness really freaks you out because you can feel it hanging and bouncing back there.) After a while you get Post Traumatic Spider Disorder and flinch often and you learn to carry a big stick.


Another spider, this one near the front walk. Notice how difficult it is to see the web. Photo by me.

Around our house we have a name for these spiders, we call them the Booglies. This name is especially perfect at Halloween, when all things creepy seem to press out of the shadows. By October 31, if there hasn’t been a good frost, these things are as big and plentiful as they get. In some years there will be ten or twenty to a large bush, and, as hard as they are to see in bright daylight, in the dark you won’t see them at all. There could be one stretched right across the porch. So close your mouth when you run.

I need not say, then, that it is better if there is a frost before trick or treating, because the first good frost kills them all.

One last story for you. A day or two a week, I get to drive along a beautiful narrow private driveway to a lovely place of rest on the Columbia River. The drive is lined with cascading ferns and small bobbing saplings, and the vegetation is always threatening to overgrow the road. It’s like Jurassic Park, and breathtakingly beautiful. In the middle of the drive, you might be seduced into rolling down your windows and taking in a breath of that magnificently lush, oxygenated air. Don’t.

By late summer there are thousands of spiders and that drive has become a river flowing with spider webs. Those talented Diadematuses will have stretched web after web after web across the road. And by late August and September the spiders will be big. Trust me, keep your windows up. (And your doors locked.) Listen as you drive along the road and you can hear them. It sounds like thwap, thwap, thwap, as your car breaks through the webs and meaty spider bodies hit the front and sides of your car. You will see the forest move as when the webs break the ferns and saplings spring back, catapulting diadem-decorated spider bodies this-a-way and that, and flinging up leaves and dust and a few startled squirrels in the process.

As your car shudders along, thwap, thwap, thwap, thwap, pray for frost.

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