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• W255298715 abstract "Abstract: The Gnostics of the first and second centuries were persecuted even more thoroughly and successfully for their heretical views than the Anabaptists of the Reformation. The rediscovery of lost Gnostic texts and their popularizing by scholars such as Elaine Pagels and Harold Bloom provides a chance reexamine what these seekers of divine knowledge have offer contemporary spiritual seekers, especially artists and poets. Attention the diverse Gnostic texts and approaches, both ancient and contemporary, can offer useful examples and inspiration for those who seek an embodied knowledge of the divine presence of in and through the world. ********** That is what the highest criticism really is, the record of one's own soul. is more fascinating than history, as it is concerned simply with oneself. is more delightful than philosophy, as its subject is concrete not abstract, real and not vague. is the only civilized form of autobiography, as it deals not with the events, but with the thoughts of one's life; not with life's physical accidents of deed or circumstance, but with the spiritual moods and imaginative passions of the mind.... ---Oscar Wilde, The Critic as Artist Jesus said, It is I who am the light which is above them all. is I who am the all. From me did the all come forth, and unto me did the all extend. Split a piece of wood, and I am Lift up the stone, and you will find me there. --The Gospel of Thomas Public events are subjective experiences, shaped by the cohesion or tension between what is ceremoniously prescribed and enacted and what goes on within those who take part. (1) This essay intends explore the interplay between tradition and experience, doctrine and intuition, orthodoxy and heterodoxy, the many parts of our beings; I mean speak for a way of knowing that is very old but ever renewed--something captured in Andrew Hudgins's poem Sit Still: The preacher said, know God's word is Amen, somebody called. How do we know? We know because the Bible says it's He waved the fraying book. God says it's true. And, brother, that's good enough for me. Amen! My father's eyes were calm, my mother's face composed. I craned around, but everyone seemed rapt as Brother Vernon spun circles of illogic. A that I could not resist swept through, and I resisted it. I tried again sing the word behind the word we I prayed. Then I gave up and picked a scab till Daddy popped my thigh and hissed, Sit Up front, the preacher waved his thick black book. He fanned the pages, smacked it with his palm, And I sincerely wished that I were stupid. (2) The scene of this poem is a low-church ritual--the script may not be written out, but both Brother Vernon's tight circles of illogic and the congregation's response are clearly codified and familiar all, even the young Hudgins, who tries desperately feel the appropriate response but cannot quite manage it. The last line offers a marvelous sting of recognition, surely, but perhaps even more intriguing are the mysterious little interior events in the middle of the poem: the change the boy feels sweeping through him, and his effort to sing the word behind the word we sang. Clearly he is changed by this experience, for all his resistance--but how? His wish be stupid is not granted, nor does he forget; years later, he is still reenacting the scene in the space of the poem. Some readers may resonate as I do with young Andrew's discomfort. Whatever the particulars, we restless children, too smart for our own good, seem doomed struggle with our local Brother Vernons, and with other authority figures who, like Andrew's father, demand that we shut up and sit still. When young we have only a few choices--sullen interior opposition, feigned enthusiasm, flights of fantasy, effortful compliance. …" @default.
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• W255298715 date "2005-01-01" @default.
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• W255298715 title "What Is It I Know?: Notes toward an Embodied Gnosis" @default.
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