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IMAGEIMAGE

IMAGE Issue 100

Now one of the leading literary journals published in English, IMAGE is read all over the world—and forms the nexus of a warm and active community. The publication seeks out and brings to its readers work of high artistic quality that engages with the historic faith traditions on a profound level, without easy answers or false uplift, and with a serious respect for beauty and truth.

Paese:
United States
Lingua:
English
Editore:
Image Journal
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access_time1 minuti
take these words

To be a poet you must writemore than you know, hoping it to be true that the words will have a life beyond the moment,taking the shape of their meaning, like rain filling a bowl—drops gathering into a fullnessthat is wholly fresh and drinkable. I remember the urge, last week, to describe to the poet in you(for your birthday) how a spear of fireweed delivered her pale fluff to the wind.And how birdsongs tangled in the vine maples and fell to the dry grass like lace. And the cricket,faithful in his endless summer thrum, sang simply what he was born to sing, knowing nothingof the calm it brings us. I’d wanted words to tell you how, as long shadowstook over the campground and sank into our bodies, swifts and swallows, stitching the air, tooktheir fill of gnats while…

access_time9 minuti
the best of rivals

PERHAPS FRIENDSHIP IS NOT THE FIRST THEME that comes to mind when we think about the arts. As Richard Lingeman observes in Double Lives, his engaging account of American writers’ friendships, “Writing is a solitary act. No friend can do it for you.” We buy into the longstanding myth of the romantic genius laboring alone in his garret because we know something about it from observation: the price of making art seems to be shutting out others. Even the Christian artist will at times be surprised by her sympathy with Sartre’s dictum that hell is other people. In this issue, poet Shane McCrae suggests—rightly, I think—that “writers are inclined towards a degree of lonesomeness.” This lonesomeness that seems almost congenital for artists can make going to church difficult. McCrae identifies a…

access_time31 minuti
burn

SEVENTH DAUGHTER OF A SEVENTH DAUGHTER, born with a caul over her face, Ulla Evers knew the strength of the sun in any season by the crispness of the shadow it cast. And though her family lived in the woods, up the Indian trail and well away from the flats of Warrenton and its network of sloughs, she could detect the exact moment the sloughs took on the smell of rotten fish, that moment signaling the change of tides. She could see what others couldn’t: shades and spirits, though she knew well enough not to talk about it. In the lines and creases of her people’s palms she could read stories, likely outcomes, interruptions. Once, when Ulla was fifteen, she and Lisl, Pastor Hettinga’s daughter, slipped out of the Easter Sunday…

access_time25 minuti
the master of salt

THEY WERE WHITE-ROBED, the monks, and they worked the white salt on the green island bordered by the white foam of the Atlantic. That was how Brother Gérard knew their toils were holy and divinely ordered, and how blessed he was to find himself among them, even though he himself was a lay brother only and his robe matched the dark earth under his sandals. He served the white crystals that lay gleaming in the salt pans under the summer sun, and the crystals in turn served the white monks, who foreswore salt themselves but sold it to the noble houses of Europe so that it might sustain the monastery. The abbot himself had explained to Brother Gérard how the white of the salt matched the white of the lily…

access_time1 minuti
what we learned

IMAGE TURNS THIRTY YEARS OLD this April. As we reflect on what’s ahead, we asked fifteen visual artists and two singer-songwriters to tell us what they learned and how they changed after turning thirty. For some that happened recently; for others it was long ago. Each artist chose a recent work that reflects that change; the singer-songwriters sent pages from their notebooks. We saw several recurring themes and have clustered the reflections around them: vocation (beginning here); collaboration and community (page 82); time and change (page 118).…

access_time2 minuti
olga lah

I became an artist when I turned thirty, much to my surprise. I had never seen myself doing that, not as a child who loved to draw and not as an undergraduate studying studio art. My twenties were spent moving from one office job to the next, depressed that I had not figured out a career. Eventually, I chose to take courses in art and theology at Fuller Theological Seminary, because I had felt a pull to visual art—and also towards understanding how God works in the world. My classes were eye-opening. Until then, I had struggled with the nagging idea that art was frivolous. But I discovered the unique place art can have in faith. Most significantly, I saw how art divinely shapes our reality and ourselves, through small and…

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