gospel

The Marien Revelation

admin — Fri, 16 Apr 2010 08:00:00 +0000

Miguel Santana's latest book, The Marien Revelation, which he simultaneously wrote in both English and Spanish, is not your Sunday School version of the Gospels. The reader picks up on that almost immediately when confronted with the two verses preceding the Prologue, regarding the evening before Jesus was arrested: the Secret Gospel of Mark and Mark 14:51-52.

These verses, mind you, precede a chapter wherein a Jesus-in-the-process-of-being-crucified recounts his experiences with a male lover whilst forsaking god: "Oh Father, how I begged you to stay away from me."

Thus does Santana present the reader with the first storyline, that of Mary and her son, Jesus. Jesus' request on the cross resonates throughout the book, especially when interwoven with the parallel story of the modern-day woman, Marien Valbuena, a "radical feminist" theologian who is in an abusive relationship with a former Catholic priest and who was sexually abused by her Mormon father.

It is always bold to revisit "the untouchable paradigms of our western civilization," as Santana refers to them, and infuse them with circumstances that are highly controversial. Undoubtedly, and unfortunately, critics will reject this book without reading it, because of the audacious idea that Jesus might have had a male lover. Yet, Santana's book, far from being a gimmick, is a beautiful combination of intellect, poetry, emotion, and re-contextualized passages of the Bible and other sacred/mythical texts.

From a feminist perspective, the divine feminine is fully present in Santana's Mary and, indeed, many elements of the novel reject an (arguably Judeo-Christian) obtrusive, authoritative god/father who imposes himself on unwilling humans. Mary, as a teacher of the Isis Mysteries, is at least as divine as her son in a world in which multiple mythologies co-exist and influence one another. Indeed, although the disciples venerate Mary for being the vessel from which Jesus was born, her aunt also baptizes her in the name of the Holy Mother, Isis, saying: "I'm Isis, sovereign of the world, the one who set forth laws and set what cannot be changed...I'm the queen of the rivers, the wind, and the sea. I'm the Lady of War, the Lady of Thunder. I have conquered destiny. Destiny obeys me. Blessed is Egypt, for it sustains me." Although, afterward, Mary confesses to having visions of sadness from Isis, perhaps signaling the coming of the male monotheistic god who will "reign over" her.

Within the interwoven Mary/Marien stories are many layers and interpretations. The two protagonists have much in common, despite the roughly 2000 years that separate them. They both want more than the "subjection and motherhood" that their birth religions require of them. And, presenting Mary as a mother who is both aware and accepting of Jesus' sexuality, Santana gives us a progressive model of ancient motherhood. Although, if Jesus took a male lover, what devout mother could be anything but accepting? Perhaps that is part of the conversation Santana was trying to stimulate.

To end, the novel is not linear, parts of it are ambiguous, and the shifts in point of view can be confusing at times. But in Santana's hands, the novel manages to come together in a coherent, lyrical revelation that is, perhaps most importantly, a personal one.

Written by: Fannie @ Fannie's Room, April 16th 2010

Downtown Church

admin — Wed, 14 Apr 2010 00:00:00 +0000

By Patty Griffin

EMI

It's nothing new for an artist to try different genres of music, but not many can pull off multiple styles in an original way — let alone a way that actually sounds good. Count Patty Griffin among those rare musicians.

I've been a fan of Griffin's since I picked up her 1998 release Flaming Red, a compelling mix of punk, pop, and what was then referred to as 'alternative' music. Griffin's newest release, Downtown Church, is wildly different musically, but no less great a listen.

While some critics—and Griffin herself—have deemed Downtown Church a gospel album, it's much more than that. To my ears, it's an eclectic mingling of soul, blues, gospel, and a couple of songs those of us who have spent some time in the southern part of the United States refer to as spirituals. Griffin's voice is equally enchanting on each of the fourteen songs on the album, whether belting out gospel numbers like “Move Up” and “Wade In The Water,” or crooning the hymn that ends the CD, “All Creatures of our God and King.” Griffin's voice fairly caresses you on the album's lone Spanish language track, “Virgen de Guadalupe.” Though Griffin fluctuates between the somber and the lively, the album's flow and pure woman-positive energy is uninterrupted.

Recorded in the historic Downtown Presbyterian Church in Nashville—hence the album title—Downtown Church features backup performances from country and gospel heroines like Emmylou Harris, Shawn Colvin, and Regina and Ann McCrary. Even if this isn't the kind of music you'd normally tune in to, Downtown Church is definitely worth the listen.

Written by: M.L. Madison, April 13th 2010

Children Running Through

admin — Wed, 04 Jul 2007 19:40:00 +0000

By Patty Griffin

ATO Records

Patty Griffin is a storyteller. Rarely confessional or self-indulgent, she tells tales, assumes personas and takes the listener deep into the lives of her characters. Each persona has her or his own musical interpretation, deepening and strengthening the voice. In “Up to the Mountain (MLK Song),” Griffin assumes the voice of Dr. Martin Luther King, Jr. and puts herself into to the head and heart of a man working for a vision and a dream.

Hope seems to be a theme on this latest effort, Children Running Through as is travel. “Stay on the Ride” has a man riding the bus day in and day out because “it’s gonna take me somewhere.” Griffin takes some musical risks and periodically diverges from her comfortable style, as in the jazzier tones of the opening track, “You’ll Remember,” and the gospel-infused strains of “Heavenly Day” and “Up to the Mountain.” “Trapeze” showcases a gorgeous duet with the master of harmonies, Emmylou Harris. Patty Griffin is an artist who has hit her stride and stayed there for years. This album proves her staying power and continued ability to move, inspire and entertain.

Written by: Shana Scudder, July 4th 2007

What Living’s All About

admin — Fri, 01 Jun 2007 23:09:00 +0000

By Alicia Bay Laurel

Indigo With Stars

All would-be writers who have studied how to write know the rule: "show me don’t tell me." Visual artists find this advice easy to do and musicians are, perhaps, the same way. When the creative instrument does not rely solely on words, showing is not too difficult.

Alicia Bay Laurel wrote Living on the Earth, a cult classic and the first paperback on the New York Times Bestseller List (spring 1971), which has sold over 350,000 copies. She has also written five other books. Laurel is a talented, trained musician. She grew up playing classical piano, switched to guitar in her teens and learned open tunings from legendary guitarist John Fahey, a family member. On this latest album, What Living’s All About, she works with some of the best musicians in the field, including avant garde guitar hero Nels Cline. Alicia Bay Laurel tries to show and tell by weaving feelings, melody and an occasional diatribe word. She celebrates the Earth (nature) and embraces her sensuality. She also loudly laments the destruction of the environment, as in her song “America the Blues,” where the listing of our environmental sins drags a bit. At the same time, the song is strangely effective. The entwining hypnotic music ended with a smashing guitar rift, followed by a spine tingling sound of whale songs and a Native American Chant. This is an excellent protest song. Alicia Bay Laurel and Al Gore should be friends.

“Zero Gravity” is a haunting song about a city at night, reminiscent of Ground Zero in New York City where the Twin Towers used to be. Laurel talks about sex in this CD and does it with class, sometimes with gentle humor, like “Floozy Tune.” However, you won’t know what she’s talking about unless you listen closely. This blend of jazz, blues and gospel is a powerful feminist statement. It’s fantastic!

Written by: Patricia Ethelwyn Lang, June 1st 2007