Category: Religion

Posted on by David Hughes

Ars Protestationis

Last month I spent two weeks in the Twin Cities, my annual sojourn to my wife Andrea Carney, who lives in Eagan, a suburb of Saint Paul. We didn’t visit memorials to the recently fallen, although we did drive past the Whipple Building where ICE jails abductees (on the way to celebrate our thirty-second wedding anniversary). Local network newscasts continue to cover roundups and reactions. We learned ICE was moving to the ’burbs, but we hadn’t seen that there. Nonetheless, we counseled our Filipina daughter-in-law to carry her passport.

I didn’t take in any live music while I was in Eagan, but I’ve been thinking it’s time to share a few songs sung in resistance to ICE as well as that exhibited in Gaza and the West Bank.

I just missed a January 30 appearance at Minneapolis’s historic club First Avenue by Tom Morello (ex Rage Against the Machine) and others. as a benefit for the families of Renee Good and Alex Pretti. Morello was joined by Rise Against, Al Di Meola (!), Ike Reilly, and a (Very Special Guest), documented below. The “boo”s you’ll hear are an indication of the political persuasion of many in Morello’s audience.

While The Boss’s sentiment is pretty pedestrian, he does pay tribute to the fact that, following the earlier killings of Philando Castile and George Floyd, “a city aflame” in 2016 and 2020 now “fought fire and ice,” pun intended.

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Posted on by David Hughes

Ways of the Cross

Yucca Plant image

Sometime in the winter of 1995/96 my friend and mentor Milania Austin Henley introduced me to the artwork of Michael Schrauzer who, like Milania, was associated with St. Andrew’s Abbey, a Benedictine Monastery at Valyermo. She did so through the “Journal of the Arts and Religion” called Image. Schrauzer’s work is formal, often housed in rich cabinets, yet inviting, contemplative. The Annunciation consists not of cabinetry but of interlocking frames: a gilt T—the last letter in the Hebrew alphabet—foreshadows the Cross; its setting sun smolders in the base of the letter’s upright, bisecting a white rose. It is almost cruel in its “truth, perfection, completion.”1 It’s the obverse of Oscar Wilde, who describes his wonder at the, well, banality of this consequential moment.

Ave Maria Gratia Plena

Was this His coming! I had hoped to see
A scene of wondrous glory, as was told
Of some great God who in a rain of gold
Broke open bars and fell on Danae:
Or a dread vision as when Semele
Sickening for love and unappeased desire
Prayed to see God’s clear body, and the fire
Caught her brown limbs and slew her utterly:
With such glad dreams I sought this holy place,
And now with wondering eyes and heart I stand
Before this supreme mystery of Love:
Some kneeling girl with passionless pale face,
An angel with a lily in his hand,
And over both the white wings of a Dove.

— Oscar Wilde, Vatican Gallery, Rome, 1877

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Posted on by David Hughes

Dread Rhyme: Womb, Tomb

Andrei Rublev still image

Many years ago my friend and mentor Milania Austin Henley shared with me a poem written by her friend Claudette Drennan Kane upon the death of her son in 1993. Last year, in this season—liturgical, historical—I was drawn to it again. At that time I contacted Claudette’s husband Robert Hilary Kane, without a reply. I recently learned that three weeks later he had died. (My attempt to reach their surviving son has failed. I of course will remove this post upon request.)

Every mother’s faith is pummelled by the death of a child, and this moment in time, like too many others, causes us consciousness. As Claudette writes, we witnesses die too.

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Posted on by David Hughes

Sor Juana: Inquisitional minds want to know

Film still image

I have Octavio Paz’s acclaimed biography of Sor Juana Inés de la Cruz on my shelves, but I never read it. I saw the 1990 film adaptation—if one can compress a 547-page tome into a 105-minute film.2 The IMDB précis is precise:

A 17th-century Mexican nun defies expectations, becoming a renowned intellectual and writer during the Spanish Inquisition. Her progressive ideas attract unwanted attention, forcing her to seek protection from an influential ally.

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Posted on by David Hughes

Thank God you’ve got a Job

Blake, Job's Despair illustration

The music label ECM is well known to fans of jazz, but also of avant-garde classical music. Recordings in the latter camp are by familiar composers like Arvo Pärt, John Adams, Steve Reich, John Cage, Karlheinz Stockhausen—and Meredith Monk, who Rob Berg and I (and friends) caught at the lovely John Anson Ford Theater last month as she celebrated her eightieth birth year in song, movement, and music with the Bang on a Can All-Stars.3

Aside from Monk’s music, which was profound yet playful, I must mention that we arrived early enough to witness a deep-teal-colored cloudless sky framed by the theater’s walls. I had to look away; I didn’t want its perfection to pass. I was reminded of the John McLaughlin title, “What Need Have I for This—What Need Have I for That—I Am Dancing at the Feet of My Lord—All Is Bliss—All Is Bliss.”4

Officium

Definitely not dancing, but rather writhing, complaining—confronting—is Job, whose challenge to his Lord is neatly summed in the Christian devotional cycle, Officium Defunctorum (Office of the Dead). Thirty years ago this month, ECM recorded Job’s Parce mihi domine, from the Office, coupled with kindred motets, by Norwegian saxophonist Jan Garbarek and British quartet The Hilliard Ensemble, under the simple title of Officium. This arranged marriage was contrived by ECM founder Manfred Eicher, inspired by composer Cristóbal Morales’s sixteenth-century setting of the Office, which Eicher (re)heard while filming his Holozän, based on Max Frisch’s novel Man in the Holocene. In the booklet that accompanies the ECM release, Frisch mentions “driving through the jagged lava fields of Iceland” during filming, of his protagonist’s “encroaching isolation,” the landscape “a metaphor for the silencing of mankind whose history has come to an end.”

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Posted on by David Hughes

Jim Morphesis: Conversations in Isolation

Blue Altarpiece by Jim Morphesis

The sun will never disappear
But the world may not have many years

— John Lennon, “Isolation”

In the summer of 2020 I contacted visual artist Jim Morphesis to ask his permission to reprint his private reply to Rudy Perez in response to Part 2 of my Portrait of Rudy Perez series. Jim had reminded Rudy of how the two had met on July 24, 1981, when Rudy appeared on Rona Barrett’s television show.

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