Loading Video . . . Guitarist and composer Mark Lettieri's "Spark and Echo" explores God's role as the one true judge of man. This work is in response to James 4:12 and the theme of "Destruction." James 4:12 Spark and Echo By Mark Lettieri Credits: Curated by: Mark Lettieri 2014 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link James 4:12 states, “There is only one lawgiver and judge, the one who is able to save and destroy. But you – who are you to judge your neighbor?” (NIV). I came across this verse while researching the biblical theme of destruction. I had planned on composing a piece about the literal destruction of something physical. I wanted the song to be dark and maybe even violent (which led me to Revelations first, of course). But when I found this verse, I ended up writing a song about destroying something emotional; ultimately a song about love. What I took from this verse is this: without God, we’re constantly tempted to judge and chastise others, as if we’ve always lived a life free of sin ourselves. This song is about the idea that as Christians, we must destroy that desire to judge, and replace it with a showing of His love instead. The heavy layered rhythm guitars, drums and strings represent the tearing down of this judgmental attitude, with the bright melody representing a reconstructed view built on love and respect. Spark Notes The Artist's Reflection Mark Lettieri is a guitarist, composer and producer based in Fort Worth, TX. Proficient in a multitude of styles, he records and performs in virtually every genre of popular music with both independent and major-label artists. He also composes and produces original instrumental music under his own name. Born in the San Francisco Bay Area, Lettieri came to Texas via Texas Christian University (TCU), studying advertising and public relations, and competing in track and field. A passionate guitarist since middle school, he began his music career in the Dallas/Fort Worth Metroplex area upon graduating from TCU. Playing in the vibrant Metroplex gospel and R&B scene led Lettieri to join jazz/world group Snarky Puppy in 2008. The now two-time GRAMMY Award-winning band tours and records constantly, having performed on all continents except Antarctica. Aside from Snarky Puppy, Lettieri has spent time on the road with neo-soul icon Erykah Badu, gospel singer/actress Tamela Mann, and American Idol: Season 11 winner Phillip Phillips. He’s also performed with a myriad of other artists, including Anthony Evans, Chrisette Michele, Myron Butler, N’dambi, Bilal, and even Pat Boone. An in-demand session guitarist, recent work includes David Crosby, 50 Cent, Snoop Dogg, Eminem, Adam Levine, Kirk Franklin, Fred Hammond, Lalah Hathaway, Eric Roberson, Lecrae, Lupe Fiasco, Keyshia Cole, Xzibit, as well as numerous radio and television jingles. Lettieri is also a member of Team SKP, a production collective led by GRAMMY Award-winning producer Symbolyc One (Kanye West, Beyonce). Since 2010, he has been a member of the house band for the Marcus & Joni Show, a morning talk/variety show broadcast in 200 countries on Daystar, a Christian cable network. As a composer/bandleader, Lettieri has released three albums, Knows in 2011, Futurefun in 2013, and most recently, Spark and Echo in 2016 (Ropeadope Records). Through tours with Snarky Puppy and social media network shares, these records have created a sizable buzz among fans of instrumental music worldwide. He performs frequently in a trio setting featuring a revolving rhythm section of world-class Dallas musicians, and has begun touring this music in the U.S. and Europe. www.marklettieri.com Website Mark Lettieri About the Artist Mark Lettieri Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . For the third part, we really are trying to capture how scientism is really a sort of magical thinking and how religion — how ontological philosophy — is more causally bound. Find the complete progression of the work linked below. Galatians 4:21-5:1 Artist in Residence 2019: Lancelot Schaubert - Part 3 By Lancelot Schaubert These stories contain strong language and may not be suitable for all audiences. Credits: Curated by: Spark & Echo Arts, Artist in Residence 2019 2019 Fantasy Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link October 7, 2019 For the third part, we really are trying to capture how scientism is really a sort of magical thinking and how religion — how ontological philosophy — is more causally bound. We’re getting at the nature of magic and how, if it’s real, it’s something more like prayer and less like voodoo, more like hope and imagination and less like the sort of snake oil we see in Silicon Valley. All in the same milieu with a bit of discovery of the continuing backstory. Spark Notes The Artist's Reflection Lancelot has sold work to The New Haven Review (The Institute Library), The Anglican Theological Review, TOR (MacMillan), McSweeney's, The Poet's Market, Writer's Digest, and many, many similar markets. (His favorite, a rather risqué piece, illuminated bankroll management by prison inmates in the World Series Edition of Poker Pro). Publisher's Weekly called his debut novel BELL HAMMERS "a hoot." He has lectured on these at academic conferences, graduate classes, and nerd conventions in Nashville, Portland, Baltimore, Tarrytown, NYC, Joplin, and elsewhere. The Missouri Tourism Bureau, WRKR, Flying Treasure, 9art, The Brooklyn Film Festival, NYC Indie Film Fest, Spiva Center for the Arts, The Institute of the North in Alaska, and the Chicago Museum of Photography have all worked with him as a film producer and director in various capacities. Website Lancelot Schaubert About the Artist Artist in Residence 2019: Lancelot Schaubert - Part 2 Artist in Residence 2019: Lancelot Schaubert - Part 1 Posh Girls As Waters Cover Artist in Residence 2019: Lancelot Schaubert Dragonsmaw Daily | 1 Dragonsmaw Daily | 2 Dragonsmaw Daily | 3 Watchtower Stripped to the Bonemeal Metaphysical Insurance Claim 0075A: The Delphic Oracle Philadelphia Bloodlines Lancelot Schaubert Other Works By You can read his prior short stories (and chapters within his overarching story) in his first , second and final phases. Related Information View More Art Make More Art "Toss the Spell for Prayer" View Full Written Work Close Loading Video . . . "Toss the Spell for Prayer" Download Full Written Work

Loading Video . . . Dancer Helen Hale created this beautiful and contemplative dance piece in response to the theme of eavesdropping and Genesis 18:9-15. Genesis 18:9-15 One Long Adagio with Antenna Up By Helen Hale Credits: Artist Location: Philadelphia, Pennsylvania Curated by: Elizabeth Dishman 2014 Dance, film Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link I imagine Abraham and the three men/the Lord picnicking at a distance. Maybe their vantage point is the opening image of this video, of the tree, far away. I imagine the Lord asking, “Where is your wife Sarah?” and Abraham saying, “There, in the tree.” I am curious about the way in which the Lord announces the promise of a son to Abraham, and not to Sarah. Rather than getting the news directly, she overhears it as she’s listening outside. God even asks Abraham, “Why did Sarah laugh?” And only addresses Sarah when she denies her laughter, saying, “Yes, you did laugh.” For a long time I read into this passage a lack of intimacy, a kind of chiding, from the Lord to Sarah, but as I’ve paddled in the pool of this scripture I’ve come to imagine the Lord engaging in a romance with Sarah from a distance—an exchange of knowing looks from across the room. He doesn’t really need to ask anyone why Sarah laughed. He full well knows. He’s been anticipating her response to this absurdly unexpected news. In my interpretation, Sarah, in her moment of surprise and incredulity says, “What? After I am worn out from miles and miles and miles and years and years and years of dancing this adagio in the hot sun will I now have the pleasure of this mist on my face?” Furthermore, as it turns out, the Liszt composition I chose for the sound is entitled “Consolation.” I am certain Sarah needed much consoling along the road to ninety. My first name is Sarah, after this Sarah. Wildly enough, while working on this piece, I have received absurdly unexpected news that a door in my life that I thought was closed forever has been re-opened. Coincidence? Fulfillment of a promise that I’ve been moving toward while so often thinking it had disappeared, mirage-like, in the sweltering Heat of Life? Throughout Sarah’s long slow dance, the Lord so patiently awaits her arrival, and she so patiently moves towards Him with great longsuffering. He prompts her to laugh, and as she laughs, He joins her! –Sharing an undeniable joy from which new life is born. Spark Notes The Artist's Reflection Helen Hale is a choreographer and performer, and the director of Helen Hale Dance. Her work has been presented by The High Museum of Art, The Museum of Contemporary Art of Georgia, The Galleries at Moore, The Hambidge Center, Dance Truck, Dashboard Co-op, The Lucky Penny, BurnAway Magazine, MINT Gallery, Art on the Atlanta BeltLine, and WonderRoot Community Arts Center, among others. Helen received a BFA from Temple University (PA) in 2009 and has performed with companies and choreographers around the country including Kun-Yang Lin/Dancers, Staibdance, Dishman + Co., PushPush Theater, Tahni Holt, Team Sunshine Performance Corporation, Duende Dance Theater, Meg Foley/Moving Parts, Troupe Hellas, and Ground Delivery Dance Theater. After a long period of research and collaboration with musicians and visual artists in Atlanta, Helen has returned to Philadelphia where she is currently reworking her one-woman show, Sanity Ceremonies, performing with Kun- Yang Lin/Dancers, and seriously committing to creative playtime in developing a new body of work with collaborator, Maggie Ginestra. Website Helen Hale About the Artist Helen Hale Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . The Spark+Echo Band brings to life the wild imagery of Isaiah 6 in their lively song Ruined, featuring nimble flute and piano underscoring Isaiah's text. Isaiah 6 Ruined By The Spark & Echo Band Credits: Curated by: Spark+Echo Arts 2010 Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Six winged angels flying to your lips with a live coal, ravaged fields and ruined cities‚ÄìIsaiah 6 is full of dramatic imagery. It's a vivid story filled with uncertainty and atonement that takes some time to sink in. This is the text that inspired "Ruined." The recording is from the Spark+Echo Band's debut album. Spark Notes The Artist's Reflection The Spark & Echo Band is a family outfit of songwriting-storytellers led by husband and wife duo Jonathon Roberts and Emily Clare Zempel. Their music brings forgotten poetry and wild stories from the Bible to life: visions of sparkling wheels in the sky, hunger and thirst, and legends of love as strong as death weave with memorable melodies and captivating rhythms. Drawing from a classical background, influenced by the pianism of Rufus Wainwright and Ben Folds, and emulating Paul Simon’s narratival techniques, Spark & Echo sings epic tales of love and adventure. The duo has collaborated on three full lengths albums (Spark&Echo, Inheritance, Cities Project), one video album (In the Clocktower), in addition to many theatrical collaborations, this very nonprofit, and two children. They live in beautiful Beacon, New York, with all of the above. Website The Spark & Echo Band About the Artist White Robe What a Day Deep Calls to Deep Yo Sé Do You Love Me? Where Can I Go? How to Be Free Flesh Lifeblood Artist in Residence 2015: Spark & Echo Band Take to Heart The Wheels Frogs Inheritance The Spark & Echo Band Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

bookends_karen-swenholt.jpg Bookends_Wide-3-books_karen-swenholt.JPG Bookends_Wide-shot__karen-swenholt.JPG Bookends, "Radiohead" (detail) Bookends, "Not Listening" (detail) Loading Video . . . Sculptor Karen Swenholt brings her personal faith journey and an appreciation of the life and work of Edvard Munch to her reading of Zechariah 7:11 to produce this emotive work, "Bookends." Zechariah 7:11 Bookends By Karen Swenholt Credits: Curated by: Laurel Justice 2018 14 x 17 x 9 inches Terracotta, Bibles Sculpture Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For me, life was a cacophony before I believed in God. It did not make sense. It was noise. I could not hear the melody lines, the beat, the structure—the point of it all—until I met God. Then harmony and peace were possible for me. With Bookends , I analogize God and His word to music. Radiohead hears God, responding to His music rapturously, snapping his fingers and gesturing with his right arm in response to beat and melody. Not Listening stops his ears and turns away. One would think the joy of Radiohead’s response to the music might intrigue his brother, but not so. Ironically Not Listening stops his own ears, claiming Radiohead also hears nothing and accuses Radiohead of delusion for apprehending the existence of God. In the world of Not Listening , Radiohead is mad. As I worked on Not Listening , I was struck that his facial structure resembles that of the figure in The Scream by Edvard Munch . Munch’s parents were committed Christians. His mother died young of tuberculosis, leaving him a beautiful plea/prayer in writing that her child find God. Munch’s early adulthood was very painful with bouts of drinking that verged on madness. He painted The Scream during that time. What is The Scream afraid to hear? That a God that controls the universe let his mother die? Isn’t it safer then, not to believe in God at all? That is why the torso of Not Listening is slashed. It reveals the man is hollow of life. He has been wounded. May God have mercy and reveal himself to the Not Listenings in the world and heal their wounds. Spark Notes The Artist's Reflection Karen Swenholt is a figurative sculptor who lives and works in Northern Virginia. After attending MICA and California College of the Arts, she continued studies at New York City’s New York Studio School and the Art League in Virginia. Influences from the West Coast’s Bay Area Figurative Movement combined with the emotional power of abstract expressionism from her East Coast studies and origins to form the foundation of Swenholt’s work today. The rough painterly surfaces of her sculptures contrast with their grace, conveying emotion and movement. Karen Swenholt is presently the artist in residence at Convergence in Alexandria, Virginia. Her work can be found in many public and private collections including Cairn University in Philadelphia, Wesley Theological Seminary in Washington, D.C and churches across the U.S. and abroad. www.karenswenholt.com www.facebook.com/karenswenholtart Website Karen Swenholt About the Artist Heart for a Stone Karen Swenholt Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Emily Rose Hazel's work reflects on her experiences in Ghana while responding to the theme of "Harvest" and the passages of Exodus 16:2-4, 11-16, 31; Numbers 11:7-9; 1 Kings 17:1-16; Matt. 6:11-13, 25-27; and John 6:1-13 as she builds a poetry collection responding to every theme from the year as a 2013 Spark+Echo Artist in Residence. Exodus 16:2-4 Exodus16:11-16 Exodus 16:31 Numbers 11:7-9 1 Kings 17:1-16 Matt 6:11-13 Matt 6: 25-27 John 6:1-13 Give Us This Day By Emily Ruth Hazel Credits: Curated by: Spark+Echo Arts, 2013 Artist in Residence 2013 Poetry/Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link The initial inspiration for this poem came to me more than eight years ago, when I was traveling in Ghana. While there, I had the opportunity to attend performances of several classic plays I had seen in the United States (including The Sound of Music and Grease). I loved seeing the different ways these stories were translated through another culture. That got me thinking about ways of reframing the familiar, looking at the same concepts through different cultural lenses. At the time, I was trying to eat vegetarian, which proved to be a challenge in Ghana. My nearly-daily diet consisted of rice and beans, sweet plantains, and life-changing pineapples and mangoes. My friends insisted that I try traditional Ghanaian fufu. In West and Central Africa (as well as parts of the Caribbean), fufu is a staple food, prepared by boiling starchy vegetables such as cassava root, yams, and/or plantains, which are then pounded until they have the consistency of dough. The traditional way to eat fufu is to pinch off a small portion with one's right hand, dip it into an accompanying soup or stew, and swallow it without chewing. It's a filling dish, and I was glad I tried it, although I returned to my standbys. Around then, I had a conversation with a Ghanaian friend about the phrase "Give us this day our daily bread," a line from the New Testament passage commonly called The Lord's Prayer. We were talking about how this verse wouldn't hit home in the same way for people for whom bread is not a staple food. Half-jokingly, my friend said that the Ghanaian cultural translation should be "Give us this day our daily fufu." That was the germ of the idea for this poem. I was reminded of that conversation when my exploration of biblical passages on the theme of Harvest led me to words about bread.Recently, my career transition to freelancing fulltime as a writer has had me thinking about miraculous provision, as in the biblical accounts of God providing manna—a mysterious, edible substance that covered the ground like frost each night when the Israelites were wandering in the desert. This was their "daily bread." While most of us would prefer to be promised a lifetime supply of bread upfront, often we aren't promised a year or even a month's worth, but simply a day's worth. That measure of uncertainty presses us to trust beyond what we can see and to be expectantly present in each day we are given. Spark Notes The Artist's Reflection Emily Ruth Hazel is a poet, writer, and cross-pollinator who is passionate about diversifying the audience for poetry and giving voice to people who have been marginalized. Selected as the Honorary Poet for the 25th Annual Langston Hughes Community Poetry Reading in Providence, Rhode Island, she presented a commissioned tribute to the Poet Laureate of Harlem in February of 2020. She is a two-time recipient of national Dorothy Sargent Rosenberg Poetry Prizes and was awarded a National Endowment for the Arts Fellowship for a residency at The Hambidge Center in 2014. Her chapbook, Body & Soul (Finishing Line Press, 2005) , was a New Women’s Voices finalist. Emily’s work has appeared in numerous anthologies, magazines, literary journals, and digital projects, including Kinfolks: A Journal of Black Expression and Magnolia: A Journal of Women’s Socially Engaged Literature. Her poetry has also been featured on music albums, in a hair salon art installation, and in a science museum exhibition. Emily has written more than twenty commissioned works for organizations, arts productions, social justice projects, and private clients. Currently, she is developing several poetry book manuscripts and writing lyrics for an original musical inspired by the life of the extraordinary singer and Civil Rights icon Marian Anderson. A graduate of Oberlin College’s Creative Writing Program and a former New Yorker, she is now based in the Los Angeles area. EmilyRuthHazel.com Instagram: @EmilyRuthHazel Facebook.com/EmilyRuthHazel Website Emily Ruth Hazel About the Artist Artist in Residence 2013, Emily Ruth Hazel Word of Mouth In the Wake of the Storm Circling the Waist of Wisdom Give Me a Name Homecoming Runaway Undressing Prayer Emily Ruth Hazel Other Works By Explore the other works composed throughout the year in Emily's poetry collection, created as a 2013 Artist in Residence. Explore her works created throughout the year: “In the Wake of the Storm” LIGHT AND DARKNESS (JANUARY 21, 2013) “Circling the Waist of Wisdom” FOOLS (APRIL 26, 2013) “Homecoming” DANCING (JUNE 27, 2013) “Runaway” LIES (AUGUST 8, 2013) “Give Us This Day” HARVEST (NOVEMBER 14, 2013) “Undressing Prayer” MEMORY (JANUARY 6, 2013) Artists in Residence Spark+Echo Artists in Residence spend a year developing and creating a major work in response to Scripture. Click on their names to view their projects. Current Artists in Residence Spark+Echo Arts seeks to develop and support communities of artists who engage with and create in response to the Bible. Due to the impacts of COVID-19 and some internal changes, we decided to pause the Artist in Residency for a year so that we could regroup our resources. Our hope is to continue offering this opportunity in 2021. Previous Artists in Residence 2020 Sapient Soul, Marlanda Dekine (Poetry + Spoken Word) 2019 Lancelot Schaubert (Short Story) 2018 Elias Popa (Installation Art) 2017 Aaron Beaumont (Music), Lily Maase (Music) 2016 Ebitenyefa Baralaye (Visual Art), Chris Knight (Film), Lauren Ferebee (Theatre), Stephanie Miracle (Dance) 2015 Benje Daneman (Music), Jason DaSilva (Film), Melissa Beck (Visual Art), Don Nguyen (Theatre), Christine Suarez (Dance), The Spark & Echo Band (Music) 2013 Nicora Gangi (Visual Art), Emily Ruth Hazel (Poetry) Related Information View More Art Make More Art Give us this day, however you slice it, thick or thin—let this be enough, at least until the sun, golden as an egg-brushed Chinese bun, rises again. View Full Written Work Give Us This Day by Emily Ruth Hazel Give us this day, however you slice it, thick or thin—let this be enough, at least until the sun, golden as an egg-brushed Chinese bun, rises again. Bring us the Monday-Tuesday-Wednesday bread of life, the ordinary comfort that we crave: the constancy of cooking rice, the routine of rolling tortillas. Give the French their measure of heaven alongside every meal. Give Italians their pasta, Ethiopians injera, and Jamaicans coco bread. Give Pakistanis their chapatti and Southerners their biscuits. Give us couscous to satisfy the ache in our bellies, naan to mediate the fire in our mouths. Sustain us one calendar square at a time, through days that boil us down and pound us like cassava root until whatever stew we are in, we are like dough in your hand, as soft and stretchable as fufu. The days and years we wander in the wilderness, dependent on a promise, moving toward what seems to be a mirage of milk and honey, speak over us a grace that is more than words. Let even the winter sky be generous: let us wake to frosted flakes on the ground outside our windows, like the cereal you sent your children in the desert, the answer to their stomachs’ complaints itself named after a question— What is it?—Manna, silently arriving as faithfully as morning dew, in between dinners delivered as a hard rain of quail. Stories tell of divine provisions appearing in pairs: rolls and sardines, one boy’s lunch, feeding thousands of listeners on a hillside; ravens carrying bread and meat to a ravenous prophet riding out the drought in a rocky ravine; a widow’s last portion of flour and oil lasting as long as her mysterious houseguest stays. Listeners, prophets, and widows, we are hungry for surprises. Give us eyes to see potential in the smallest offerings, the driest seasons, the almost-empty jars. In the urban oven, when summer’s heat hovers and we are desperate for relief, may we be grateful whenever we breathe in— instead of the odor of ripening garbage— the scent of something holy: a bakery’s aroma reaching several city blocks. After praying for hope we can harvest, may we not be too preoccupied to notice, as we pass the community garden, the sunbursts of zucchini blossoms and the lazy, yellow squash lolling on the ground, primed for the picking. May we consider the sparrows that swoop across sidewalks, their fearless pace unchanging as they fly through chain link fences. These tiny birds gather what they must to build their nests, eat the seeds of found fruit and disperse them, need no silos for storing tomorrow’s concerns. They put no stock in corporate politics, are not consumed with working toward the next promotion. Sparrows have no pension plans. They simply trust there is always a picnic ending somewhere, a blanket of blessing ready to be shaken out. Give us that much faith, a thin space we can squeeze between our fingers. Give us, too, a taste of Wonder, baskets of leftovers, crumbs of miracles scattered like new constellations. Fill our empty pita pockets. Multiply our multigrain. Braid our lives together like a loaf of challah bread, and lead us not into temptation to rush the delicious. Help us be present with each other here in this day you have given us. When we gather, let us linger; let us learn to chew more slowly so as not to miss the flavor in the moments we share. Let us do this in remembrance of you, the carpenter boy next door turned man of sorrows, fisher of souls— like us, always waiting for the next bite. Close Loading Video . . . Give us this day, however you slice it, thick or thin—let this be enough, at least until the sun, golden as an egg-brushed Chinese bun, rises again. Download Full Written Work

Loading Video . . . Aliki Barnstone's bold poem challenges the roles and portrayals of women in response to 2 Kings 9:30-37. 2 Kings 9:30-37 So That They Shall Not Say, This Is Jezebel By Aliki Barnstone Please note: this work contains strong language and some graphic violence. Credits: Curated by: Spark & Echo Arts 2016 Poetry Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link As the child of a Greek mother, all my life I heard the stories of the gods and goddesses and was captivated. When I discovered the work of H.D. as a young poet, I found a poetic expression of my own understanding of continuity of faith. I wrote the introduction and notes for the readers’ edition of H.D.’s Trilogy , and that work made me particularly conscious of the ways that the stories and iconography of the gods and goddesses prefigure, coincide with, and live on in the Judeo-Christian tradition. In the second section of the first book of Trilogy , “The Walls Do Not Fall,” H.D. reveals: …gods always face two-ways so let us search the old highways for the true-rune, the right-spell, recover old values nor listen if they shout out your beauty, Isis, Aset or Astarte is a harlot; you are retrogressive, zealot, hankering after old flesh-pots… In my research, I discovered that Jezebel was probably a priestess of Astarte (and Baal), and was struck again by these lines of H.D.’s about the feminine element, the goddesses becoming “flesh-pots” in patriarchal monotheism. The portrayal of Jezebel in the bible is consistent with the demonization and erasure of women and feminine godheads. Astarte’s divinity encompasses fertility, wisdom, health, magic, healing, death, rebirth, marriage, and more. She is associated with wisdom or Sophia. Her sacred symbol is the dove. She is thought to be Yahweh’s feminine aspect or Shekinah, which becomes the Holy Spirit in Christianity. Isis is the Hellenized form of “Aset” or “Astarte,” the goddess who prefigures the Virgin Mary. I call her the Mother God and use Isis’s name in my poem instead of Astarte’s because, as H.D. shows, the depictions of Isis suckling her son Horus carry forward in the Christian iconography of Mary and the baby Jesus. Another connection between the stories is that Jezebel’s son was murdered, as Christ was. Just as H.D. found solace in the feminine divine, so, too, did Emily Dickinson, as in the following poem: Sweet Mountains – Ye tell Me no lie – Never deny Me – Never fly – Those same unvarying Eyes Turn on Me – when I fail – or feign, Or take the Royal names in vain – Their far – slow – Violet Gaze – My Strong Madonnas – Cherish still – The Wayward Nun – beneath the Hill – Whose service – is to You – Her latest Worship – When the Day Fades from the Firmament away – To lift Her Brows on You – Dickinson frequently alludes to Greek mythology as a more gentle spirituality than the Calvinist Christianity of nineteenth century New England with which she was raised. Here is the poem in full that I quote in my poem: The Bible is antique volume Written by faded men At the suggestion of the Holy Spectres – Subjects – Bethlehem – Eden – the ancient Homestead – Satan – the brigadier – Judas – the great Defaulter – David – the Troubadour – Sin – a distinguished Precipice Others must resist – Boys that “believe” are very lonesome – Other boys are “lost” – Had but the tale a warbling Teller – All the boys would come – Orpheus’ sermon captivated – It did not condemn. I have been profoundly distressed about this election in which white supremacists are supporting a fascist with vulgar hate speech. The work I did for my edition of H.D.’s Trilogy heightens my awareness of the use and misuse of names, particularly the names of female deities. When politicians (not President Obama) and those in the media call the terrorist group ISIS, I, along with others, consider such an appellation misogynistic and racist, as offensive as if people called Daesh “MOSES” or “JESUS.” Since 2000, Isis has been in the top 1000 girl names. Girls and women named Isis are being objectified and bullied because of their name. Just as calling a woman “a Jezebel” is a way of demeaning her as a whore, a schemer, and evil, so too, now, the name of brown-skinned goddess of love and nurturance has been cruelly transformed into an epithet of hate and terror. (Since my poem deals with a woman and women, I’m mostly focusing here on iterations of misogynistic tropes against the feminine aspect of the divine and women in general, but this language extends to all kinds of bigotry.) As I’ve indicated, this hate worship has its roots, sadly, in the scriptures and in patriarchal interpretations. Jezebel is fully erased, so that women are socialized to believe that if they take power and if they speak out, they will be labeled “harlot” and will be punished, even in death, without the dignity of a burial. The mob calls for Secretary Clinton’s imprisonment and assassination. She has committed no crime except being a woman, who happens to be one of the most accomplished persons in the world, seeking the most powerful position on Earth. The hate speech directed at Clinton has its sources in the characterization of such outspoken and intelligent biblical women as Jezebel. The intent of these stories is to effectively terrorize girls and women into submission and silence, so I thought I’d tell a different story. I am a Christian (as Emily Dickinson and H.D. were in their own ways). Like Dickinson and H.D., I do not take the sum-total of the Judeo-Christian tradition to be a merely binary theology made up of good and evil, saved and damned, faithful and infidel. Instead, I share with my foremothers a more inclusive vision that venerates all expressions of the divine, including the wisdom, justice, kindness, peace, grace, and love in feminine divinity and power. Spark Notes The Artist's Reflection Aliki Barnstone , is a poet, translator, critic, editor, and visual artist. She is the author of eight books of poetry: The Real Tin Flower (Crowel-Collier, 1968), Windows in Providence (Curbstone, 1981), Madly in Love (Carnegie-Mellon, 1997), Wild With It (2002), Blue Earth (Iris Press, 2004), Dear God Dear, Dr. Heartbreak: New and Selected Poems (Sheep Meadow, 2009), Bright Body (White Pine, 2011), and Dwelling (Sheep Meadow, 2016). She translated The Collected Poems of C.P. Cavafy: A New Translation (W.W. Norton, 2006). Her first book of poems, The Real Tin Flower (Crowell-Collier, 1968), was published when she was 12 years old, with a forward by Anne Sexton. In 2014, Carnegie-Mellon University Press reissued her book, Madly in Love , as a Carnegie-Mellon Classic Contemporary. She has edited A Book of Women Poets from Antiquity to Now (Schocken, 1980; 2nd edition, 1992) and the Shambhala Anthology of Women’s Spiritual Poetry (Shambhala, 2002). Her literary critical work includes writing the introductions and readers’ notes for H.D.’s Trilogy , co-editing The Calvinist Roots of the Modern Era , and her study, Changing Rapture: The Development of Emily Dickinson’s Poetry (University Press of New England, 2007). With musician Frank Haney, she recorded a CD, Wild Wind . Her visual art has appeared in New Letters and Tiferet , and illustrates and is the cover art for Elizabeth Cohen’s Bird Light (St. Julian Press, 2016). Among her awards are a Senior Fulbright Fellowship in Greece, the Silver Pen Award from the Nevada Writers Hall of Fame, a Pennsylvania Council on the Arts Literature Fellowship in Poetry, and a residency at the Anderson Center at Tower View. She is Professor of English and Creative Writing at the University of Missouri and serves as poet laureate of Missouri. Website Aliki Barnstone About the Artist Aliki Barnstone Other Works By Related Information View More Art Make More Art The one who tells the story has power to erase a story, a nation, a faith “so that they shall not say, This is Jezebel, ”Phoenician princess who became Queen of Israel. View Full Written Work So That They Shall Not Say, This Is Jezebel by Aliki Barnstone 1 The one who tells the story has power to erase a story, a nation, a faith, “so that they shall not say, This is Jezebel,” Phoenician princess who became Queen of Israel. So that a woman shall not speak, a woman shall not have power to tell the story. 2 Emily Dickinson wrote “The Bible is an antique Volume Written by faded men.” Skilled at the artful smear such men make a Queen faithful to her own a harlot, a fleshpot, a despot. 3 He looms behind her as she speaks, taunts her for daring to lead. 4 The King of Greed rants she is pushy, brags he grabs pussy, rapes a child, lies every 196 seconds, fact-checkers reckon. 5 The teachings say she was a dominating wife, with “force of intellect and will,” and none of the “nobler feminine qualities” of selflessness. 6 Faded men with faded skin, evolved from migrating North, away from sunlight and warmth, away from the Mother God brown-skinned Isis, whose name they disgrace, make a terror curse— Isis, friend of slaves and artisans, icon of the icon of Mother and Child. 7 After her son was murdered, knowing she, too, would be killed, Queen Jezebel dressed, arranged her hair, and lined her eyes with kohl, prepared herself for the grave where she would never be lain. Her last question: “Does he have peace, who slays his Lord?” 8 His answer: “Throw her down!” Pushed out the high window, adorned in a gold embroidered and tasseled hyacinth gown, her blood splashed on her palace wall and on her assassins’ horses. “He trode her under foot” till he was king and he left his Queen’s corpse to be eaten by dogs, except the skull, feet, and palms. 9 “And her carcass shall be as dung on the field… so that they shall not say, This is Jezebel,” write the faded men who deem their story the Word of the Lord. Close Loading Video . . . The one who tells the story has power to erase a story, a nation, a faith “so that they shall not say, This is Jezebel, ”Phoenician princess who became Queen of Israel. Download Full Written Work

Loading Video . . . I am sharing a working in progress video that shows my process of playing and pondering with some of the material we have been experimenting with over the past two months. I am not sure things are going in the direction I was expecting. That is part of the fun of it, I suppose. Being surprised by what is revealed. Find the complete progression of the work linked below. Ecclesiastes 1:8-18 Ecclesiastes 2:17-26 Ecclesiastes 3:11 Ecclesiastes 6:7-12 Ecclesiastes 8:6-17 Artist in Residence 2016: Stephanie Miracle Part 2 By Stephanie Miracle Credits: Photo taken by Jimmy Miracle Curated by: Spark+Echo Arts, Artist in Residence 2016 2016 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link June 27, 2016 I am sharing a working in progress video that shows my process of playing and pondering with some of the material we have been experimenting with over the past two months. I am not sure things are going in the direction I was expecting. That is part of the fun of it, I suppose. Being surprised by what is revealed. I am also including a picture from this project. It is a documentation of a live performance. The man on the right hand side of the photo, a dear friend and supporter of my work, died unexpectedly just two weeks ago. This tragic event plunged me much deeper into Ecclesiastics. In my wild tumbling through questions of life and death I feel comforted by the text. (Photo taken by Jimmy Miracle) Spark Notes The Artist's Reflection Stephanie Miracle is an American born independent choreographer and performer currently based in Essen, Germany with her husband visual artist Jimmy Miracle. She earned her MFA in Dance at the University of Maryland and a BA in Dance from Belhaven University. She is also a teacher of Klein Technique™ and holds prestigious honor of being a 2014/15 German Fulbright Fellow in the Performing Arts. In 2015 she joined as a full-time dancer with the Folkwang Tanzstudio/FTS. In addition to performing with the company she often works in collaboration with Henrietta Horn (DE), Carla Jordao (PT), Ana Farfan (MX), Paola Ponti, (IT) and Anna Shchkleina (RU). She is the director of Fakers Club, a site-specific performance experiment based on film and serial television. Stephanie's choreography has been described as “iconic and nuanced…with an irreverence that makes you smile unconsciously”(Rick Westerkamp, 2014). Often in vivid technicolor, Miracle’s works are crafted with a cinematic sensibility and follow subtle narrative threads. In addition to creating choreographies for traditional proscenium theaters her unique aesthetic finds special significance in common spaces for example, parking lots, bus stops, woman's prisons, hallways, staircases, and rooftops. in Germany, Hungary, Mexico, Russia, New York City, and Washington DC by various institutions including MetLife Foundation, Exchange Festival, Dance Place, Supernoval Festival, Open Look Festival, Performatica, Belhaven University, ES WIRD SOGAR SCHÖN, Barnes Crossing, The Clarice Smith Performing Arts Center. Other awards include the Smith Scholarship Grant to attend ImPulsTanz in 2012, dance artist-in-residence at OMI International Residency 2012, DC Innovation grant in 2013, Bates Dance Festival Merit Scholarship 2013, Goldhaber Travel Scholarship 2014, and NextNOW new work grant 2014. Her collaborative piece “Drafting Plan” was awarded Best Duo at Barnes Crossing Festival 2015 in Cologne and at the 2016 SzoloDuo Festival in Budapest. She is honored to be a 2016 Artist in Residence at Spark and Echo Arts. Website Stephanie Miracle About the Artist Artist in Residence 2016: Stephanie Miracle Part 1 Artist in Residence 2016: Stephanie Miracle Part 3 Treasure Heart Artist in Residence 2016: Stephanie Miracle Stephanie Miracle Other Works By Follow the developmental journey of Stephanie's project by reading her first , third and final post as a 2016 Artist in Residence. All things are wearisome, more than one can say. The eye never has enough of seeing, nor the ear its fill of hearing. What has been will be again, what has been done will be done again; there is nothing new under the sun. (Ecclesiastes 1:8-9) He has made everything beautiful in its time. (Ecclesiastes 3:11) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . Kicking off the 2014 year with the theme of "Light and Darkness," choreographer Anna Hillengas Troester presents a dance piece in response to 2 Corinthians 4:16-18. 2 Corinthians 4:16-18 what flickers will yet remain By Anna Hillengas Troester Credits: Created and Choreographed by Anna Hillengas Troester Dancers: Brittany Testone, Emily SoRelle Adams Videography by Nathan Troester Music by Zoe Hillengas (original composition), Josh Garrels (“Words Remain”) Curated by: Emily SoRelle Adams 2013 Dance Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link This passage from 2 Corinthians fascinates me, especially the juxtaposition of the reality that we experience in our daily lives, and the reality that lies beneath those circumstances. For me, the verses present a perpetual tension between the temporal and the eternal, deterioration and regeneration, frustration and hope. That our lives comprise all of these facets simultaneously overwhelms me, but this scripture is also a comfort. It echoes our difficulties, while assuring us of the infallible hope that remains. "what flickers will yet remains" is a meditation on the fluidity of struggle, rest, stability, change, the everyday and the imagined. The work also explores the collaboration of dance, music and film perspectives. It could not have been made in its present form without the contributions of videographer, musicians and dancers, to whom I am very grateful. Spark Notes The Artist's Reflection Anna Hillengas Troester was born in Kingston, Jamaica and raised in the Philadelphia area where she began her dance training with Gwendolyn Bye. She moved to New York City to attend Barnard College, where she earned a B.A. in Urban Studies. She later earned an M.F.A. in Dance at Tisch School of the Arts, New York University, where she worked with choreographers Deborah Jowitt, Sean Curran and Cherylyn Lavagnino, as well as creating her own work. As a dancer, Anna has also performed with Errol Grimes Dance Group, Nicholas Andre Dance, Redshift Dance, Lori Belilove & Co., and Mary Seidman and Dancers. As a choreographer, Anna’s work has been presented at DanceNow’s RAW Festival, Amalgamate Artists’ Series, WAXworks Series at Triskelion Arts, and Green Space Blooms, among other venues. Anna is also a Certified Pilates Teacher and Instructor-Trainer (Pilates Academy International), as well as a Certified Yoga Teacher (Mind Body Dancer, Hatha Vinyasa Style). Anna teaches on faculty in the Dance Department of Hofstra University. She explores multi-media collaborations of dance, music and film through her choreographic projects, and she continually strives to bring movement, wellness and the arts to a wider population. Website Anna Hillengas Troester About the Artist Anna Hillengas Troester Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Nicora Gangi 2013 AIR 3 Dance Loading Video . . . Resident Artist Nicora Gangi's third work for 2013 deals with the theme of "Dancing" and responds to Psalm 149 as part of a collection inspired by each of the six themes for the year. Psalms 149 Dance By Nicora Gangi Credits: Curated by: Spark+Echo Arts, 2013 Artist in Residence 2013 11 x 14 inches Paper Collage on Strathmore Paper & Adobe Photoshop Mixed Media Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Who are called upon to praise God? The children of Israel! They are nearer to God than other Israelites, those who have the word and ordinances of God. We give honor to God when we take pleasure in Him. We should sing new songs: newly composed upon every special occasion. Singing them with a new affection. Making the song new though the words have been used before. Keeping them growing threadbare. Those who are so musically employed in religious worship must, by the same rule, introduce dancing; for they went together as in David's dancing before the ark. The righteous shall be beautified in that day when they shine forth as the sun. In the hopes of this let them now, in the darkest day, sing a new song and dance with a new heart to Our God and Our King. Spark Notes The Artist's Reflection Nicora Gangi was educated at Syracuse University, Syracuse, New York, USA (BFA 1974 and MFA 1976). She was a Professor of Art at Syracuse University for 29 years. Gangi has been awarded many Grand Prize and First Place awards and grants. She has been and continues to be published in numerous artist’s books on pastel paintings. She has lectured regionally and nationally as a visiting artist at universities and artist’s guilds. She is represented by: Edgewood Gallery (Syracuse, NY), and Gangi Studio (Winter Garden, FL ). Website Nicora Gangi About the Artist The Mountain of the House of The Lord I See Him but Not Now So Shall Your Descendants Be This One The Body without the Spirit | 1 The Body without the Spirit | 2 The Body without the Spirit | 3 The Sealed Ones Peace with God The Everlasting Protective Love of God Our Father When the Lord Gives Us The Land I See Him but Not Now The Mountain of the House of The Lord Paneled and Ruins Series The Harvest Spirit of God-The Spirit Hovering Memories Lies Fool Your Truth from the Great Congregation Psalm 18 Sound of Their Wings Psalm 16 Kiss the Son EAST, WEST, NORTH & SOUTH AT HIS TABLE Nicora Gangi Other Works By Visual artist Nicora Gangi created a collection of mixed media works in response to scripture and the six themes of the year as a 2013 Artist in Residence. Explore her works created throughout the year: Spirit of God – The Spirit Hovering Light and Darkness (February 4, 2013) Fool Fools (April 13, 2013) Dance (This piece) Dancing (June 13, 2013) Lies Lies (August 22, 2013) The Harvest Harvest (October 17, 2013) Memories Memory (December 12, 2013) Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

LAURIE LEA, SACRED LIGHT (DETAIL 1) LAURIE LEA, SACRED LIGHT (DETAIL 2) LAURIE LEA, SACRED LIGHT (DETAIL 3) LAURIE LEA, SACRED LIGHT (DETAIL 4) LAURIE LEA, SACRED LIGHT (DETAIL 5) LAURIE LEA, SACRED LIGHT (DETAIL 6) LAURIE LEA, SACRED LIGHT (DETAIL 7) LAURIE LEA, SACRED LIGHT (DETAIL 8) Loading Video . . . Sculptural Artist Laurie Lea has created an impressive, large suspended glass fixture that explores the play between light and form in response to several passages of Scripture. Isaiah 61:1 Judges 7:20 Isaiah 9:2 1 Corinthians 11:24 Isaiah 30:26 Mark 14:3 Isaiah 60:19-20 Exodus 13:21 Psalms 104:2 2 Corinthians 4:6-7 Sacred Light By Laurie Lea Credits: Curated by: Michael Markham 2019 9' x 15" Glass, Resin, LED Lighting, Monofilament Sculpture Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link For many years my sculpture has explored the relationship between light and form: how light affects form and form affects light, primarily in visual, psychological and symbolic ways. My forms originated with the single human form and slowly evolved over time into simple geometric shapes of circles, spheres and cylinders representing the human condition. The light comes from artificial sources and represents God and the invisible reality underlying appearance. The interaction of light and form gives me a way of examining human existence both in the physical dimension of observable phenomena and in the spiritual (invisible, intangible) dimension. Broken and translucent materials such as glass cover but do not obscure the light, referring to states of fragility, fragmentation, transformation, and redemption. SACRED LIGHT comprises a body of work consisting of long cylindrical transparent forms covered by broken glass and illuminated from within by white light (LED). Cast from tree forms, these forms are suspended by monofilament so that they slowly move and turn, casting reflections on walls, ceiling and surrounding space. The fusion of broken forms and light is a visual metaphor for hope and redemption. The theme of how our brokenness alliterates and even hides the light of the Father is found throughout the scriptures, even though it leaves with the hope of a light to be captured. From Gideon's pitchers breaking to reveal light, to Mary's alabaster box shattered as a memorial for Christ's death, to the very Eucharist itself, the broken bread and body of Christ, we stare at glimpses of the eternal light we were supposed to reflect. Jesus proclaimed Himself the "Light of the world." The gospel of John says "the Light shines in the darkness and the darkness cannot extinguish it;" Isaiah speaks of this Light shining in the darkness and His glory rising on us. Thus, this fusion of light and broken forms is meant to be a picture of Christ in us, the Hope of glory, in both our human frames and in this dark and broken world. Spark Notes The Artist's Reflection Laurie Lea is a New York-based visual artist exploring the integration of light and form (matter) through the media of sculpture, installation and poured works. Her interest in science and the nature of reality has guided her investigation of the intersection of the physical, visible dimension of observable phenomena with the invisible, intangible dimension of quantum physics. In addition to sculpture and poured works, she is creating light-forms to place on the coast of different countries where land meets water and day meets night. She is developing a language of light to express her ideas. Lea has presented work in galleries, museums and alternative venues in the US and countries around the globe: Canada, Mexico, Sweden, Japan, Africa and Europe. She initiated and wrote the original Public Arts Ordinance for Atlanta, Ga when serving on the city's Fulton County Arts Council. She is recipient of numerous awards, grants and residencies which include the Georgia Arts Council Purchase Award, grants from The Brooklyn Arts Council; Artists Grants/Artists Space; the New York Council on the Arts; Southern Arts, England and the Arts Council of Great Britain. During her time in England she was awarded a one-person exhibition and Artist Residency at the Russell-Cotes Art Gallery & Museum, Bournemouth, England. She also won a commission for a sculpture installation at the Walsall Museum & Art Gallery in Walsall, England. She was keynote speaker at the International Symposium of Art and Light at the University of the Creative Arts in Farnham, England. Recently, Lea has been awarded Artists Residencies in Greece and New York City. She has received the Gottlieb Foundation Individual Art Support Grant and was awarded the Professional Artist in Residency at the Pilchuck School of Glass near Seattle, WA. She is a McDowell Colony Fellow and currently Artist in Residence at the YWCA Brooklyn, in Brooklyn, NY. Website Laurie Lea About the Artist Laurie Lea Other Works By Related Information View More Art Make More Art View Full Written Work Close Loading Video . . . Download Full Written Work

Loading Video . . . This work comes from poet and performer Warren Jackson in response to the theme of "Joy" and Proverbs 3:5-6. Proverbs 3:5-6 Trust By Warren Jackson Credits: Curated by: Andrew Nemr 2012 Poetry / Spoken Word Primary Scripture Loading primary passage... Loading Passage Reference... Share This Art: Facebook X (Twitter) WhatsApp LinkedIn Pinterest Copy Link Grounded in Proverbs 3:5-6, with other inspiration by the latter parts of Ephesians 6, TRUST is a reflection of my experience as an artist, and my struggle to wrestle with the reality of a precarious, but promising life, through faith. Spark Notes The Artist's Reflection Warren Jackson , known lovingly to many simply as, Ren, hails from Indianapolis. This Midwest kid was reared in the Baptist church rooted in the tradition of home-folks from South Carolina and Alabama, and sprinkled with a bit of A.M.E. He grew up in the church with strong examples from his family members who served in several ways. Fostered by an enriching Sunday school experience, coupled with the supportive environment of attending a small primary and secondary school, led to opportunities to publish poems in University publications, a text book, and engage in spoken-word forums. Since arriving in New York via Chicago, Ren has focused on his theater career, becoming a company member of Brave New World Repertory. He is currently in an original piece at Premiere Stages and will also be seen in a revival of Thornton Wilder’s THE LONG CHRISTMAS DINNER this winter. He received nominations for his work from the Black Theater of Alliance of Chicago for Best Featured Actor, in Victory Garden’s world premiere of SHOES, and from the regional Emmy board for his ensemble work on Chicago children’s television show, GREEN SCREEN ADVENTURES. He earned his MFA at the University of Arizona. Website Warren Jackson About the Artist Warren Jackson Other Works By Related Information View More Art Make More Art I am going to trust in the Lord; for the slings and arrows of this outrageous life will be doused, and careen off my armament of faith. View Full Written Work Trust by Warren Jackson I am going to trust in the Lord. I am going to tru-ust in the Lord. I am going to trust in the Lord… for the slings and arrows of this outrageous life will be doused, and careen off my armament of faith. I shall not be moved! Waters will rise; Winds will blow; My neighbor’s talk lashes a yoke upon me before I can run. And still, I trod on in preparation of peace. I am goin’ to trust… See, trust, is a five letter word that leads to a five word sentence: I will trust in Him. Not with a half heart, but a whole heart; not with lip service but with a chorus of gratitude that starts with: Thank you, Jesus. For, it is His understanding upon which I must lean. He laid in a grave, took a short nap, but got up to descend from that cave on Death’s door. With keys swingin’ He got to jinglin’ and He popped that lock – pulled out all the stops and was back top-side by the break of dawn. I am going to tru-ust In the Lord that the helmet of salvation He has given me will guard my thirsty thoughts and guide my jealous tongue; that the weapon of the Word I wield will cleave vices and counter the coldness, that my admission will be taken as submission and He will make a way somehow. For, at the end of days, the S on my breast won’t read from the comic novel nor slander me in the dust but mark me as His righteous own. I am goin’ to trust, in the Lord till I die… Close Loading Video . . . I am going to trust in the Lord; for the slings and arrows of this outrageous life will be doused, and careen off my armament of faith. Download Full Written Work