
Image: "Eddie and Quinn" by Michael J. Bayly.
Thoughts & interests of a queer seeker of the Divine Presence;
of a “soul dancer,” seeking to embody with grace and verve
the mystico-prophetic spiritual tradition
. . . I am sure not getting why Catholicism is becoming all fixated on notions of Satan and spiritual warfare and how helpless and powerless we all are in the face of this personified evil force. It's this kind of teaching that drives me crazy about Benedict. He can be such a biblical literalist in some areas, but in other areas not so much, and I can't tell what his thought process is that makes those determinations. One could say he seems to practice a form biblical relativism.
I do know though that sin, hell, Satan, and all the attendant fear those lines of thought engender have historically packed churches and brought in many, many offerings. As much as I hate to admit it, sin and hell and those kind of fears fill pews far better than women priests, gay marriage or other notions of social justice and human dignity. This makes me wonder if religion, in the psychological sense, isn't a need deficiency proposition and that this fact limits it's appeal in post modern cultures. In cultures that place great emphasis on more optimistic notions of self improvement and self evolution, old paradigms of fear and insurmountable human deficiency just won't fly no matter who is wearing the clerical dresses or pronouncing the clerical words. . . .
Recently on his Washington Post blog Jonathan Capehart (left) reflected on the "historic" findings of the most recent Washington Post-ABC News poll on same-sex marriage.
Like Lakeland, Padovano (pictured at left) is a well-respected Catholic author and theologian. He holds doctorates and professorships in theology and literature, and is the author of twenty-nine books including three award-winning plays. His personal and professional papers are in the permanent archives of the University of Notre Dame.
The Wild Reed series The Dancer and the Dance continues with an excerpt from an inspiring National Catholic Reporter article by novelist and playwright Margaret Stephens, who at age 50 took up ballet. Her piece is entitled "Living from the Core.". . . Most of the Catholics I know who have left have not rejected the Eucharistic aspect of Catholicism. They have rejected the authority structure. They have rejected what passes for Episcopal authority because it's bankrupt in it's integrity, and unaccountable for any of its acts. The stench inside the doors is too much. It covers up that which is hidden within the doors. The only Catholics who seem oblivious to this are either somehow above it all, or whose fear of hell keeps them solidly in denial. The rest of us are stuck somewhere out in the parking lot. Sort of in our own evacuation zone outside the toxic spiritual pollution. If that's the case, maybe we should just have Mass out in the parking lot, celebrated by priests who feel the same way. I'm sure the collections would be large enough to support the priests out there with the rest of us and there would be one other side benefit. We wouldn't have to use the new Mass translation.
In the meantime the desperate true believers and their unaccountable leadership could continue to desperately try to save a clerical system which is beyond salvation until they see they have to bury it for their own good. . . .


When people ask me the last time I used pornography – not as a researcher but as a consumer – my answer is “yesterday.” By that, I don’t mean that I watched a pornographic film yesterday, but that for those of us with a history of “normal” pornography use as children and young adults, quitting pornography doesn’t necessarily mean we are pornography-free. My sexual imagination was in part shaped by the use of pornography. I still have in my head vivid recollections of specific scenes in pornographic films I saw 25 years ago. To the degree possible, I try to eliminate those images when I am engaging in sexual activity today (whether alone or with my partner), and I think I’m pretty successful at it. The longer I’m away from pornography, the easier it gets. But the term is “to the degree possible.”
. . . [I]t’s not easy to be gracious when your basic rights are denied through a combination of misdirection, exaggeration, and – too often – outright misrepresentations.
Or when people like Robert George or Maggie Gallagher [of NOM] say that, whatever happens legally, the union of a same-sex couple just can’t be a marriage. For them, evidence that marriage equality does not lead to the dire outcomes predicted does not – cannot – count.
But these tactics are their only play, and not only because they don’t have actual legal arguments that should persuade any court. Worse for them, the stories of the dedication, hardship, and love – in short, the human stories – of same-sex couples and our families keep piling up.
It’s clear to anyone with a pulse at this point that the continued denial of the dignity and equality that marriage confers has a direct and profound effect on everyone, not just on us. This glaring injustice diminishes those who oppose us, too. The cost of denying the humanity of other people in favor of grand abstractions — the ill-defined “sanctity” of marriage, the superiority of one race over another, the proper role for women — is high, and is often seen in the soul-seared apologies that follow, sometimes years too late.
. . . Opponents often express the worry that same-sex marriages will lead to the devaluation of marriage. (Funny that they don’t seem nearly as worried about it when marriage is shredded by opposite-sex couples, but never mind.) They should instead worry that denying the basic humanity and dignity of an often-despised minority diminishes all of us — the “queer” and the “normal,” alike.
Here's how The Los Angeles Times describes the much-anticipated moment:Tuesday night's Glee brought Kurt and Blaine fans – by which I guess I mean pretty much every single Glee watcher – the moment they'd been waiting for.
"Kurt, there is a moment when you say to yourself, 'Oh, there you are. I've been looking for you forever,'" Blaine says, scooting his chair a little closer, putting his hand on Kurt's hand, before continuing. "Watching you do 'Blackbird' this week, that was a moment for me. About you. You move me, Kurt. And this duet would just be an excuse to spend more time with you."
And with that, my patient friends, Blaine and Kurt kissed. Tenderly. Passionately. More than once.

My friend David recently shared with me the Lenten booklet of reflections being used within his parish community. Entitled Renewed for Life, this resource draws from the writings of Henri J.M. Nouwen (pictured at right).
A Facebook friend recently shared the following video of a young Dutch entertainer named Terence Uphoff (right) singing about his two fathers on the popular TV show Kinderen voor Kinderen (Children for Children). It's quite a brave performance, and one that gives me much hope for the future.
Brian Cahill (pictured at right with San Francisco Archbishop George H. Niederauer) is the former executive director of Catholic Charities in San Francisco. He has an op-ed in today's San Francisco Chronicle, from which the following is excerpted.I am a Catholic who . . . is sustained by regular Mass, scripture and prayer. I am also the father of a gay son, from whom I was slow to learn how painful, debilitating and denigrating are the constant legal and social reminders that he and those like him are not fully accepted members of the human community.
In their statement supporting Prop. 8, the California Catholic Bishops declared that marriage is "intrinsic to stable, flourishing and hospitable societies." Ironically, this is one of the compelling reasons gay and lesbian couples wish to be joined in civil marriages. They are seeking a structure and context for their love, commitment, fidelity and mutual support.
. . . I know that my son and his partner are made in the image and likeness of God. They are not perfect, but they are brilliant, creative, personable and moral. They are certainly not objectively disordered. I know, as do many fathers, mothers, grandparents, sisters, brothers, friends, neighbors, co-workers and fellow parishioners of gay and lesbian individuals and couples, that the relationship, the love, the friendship, the personal association, the proximity, put a human face on this issue and let us see that in the context of the human spirit, none of us are different and none of us should be anything less than fully accepted members of our human community.
But seriously, "Music Night" this evening at The Wild Reed highlights "Luxury: Cococure," a track from neo soul singer-songwriter Maxwell's album Embrya – described by one critic as "incredibly romantic, unusual, and a hidden gem."Released June 30, 1998 on Columbia Records, Embyra is the second studio album by R&B and neo soul musician Maxwell. As with his previous album, Maxwell's Urban Hang Suite, Maxwell collaborated with Stuart Matthewman, a long-time cohort of Sade. With a lesser jazz emphasis, Embrya continues the trend towards heavy basslines and string arrangements, and it focuses on themes such as love and spirituality. However, the album features more of an emphasis on groove than melodies. Its production sound contains bassy, electronic and slight syncopated beats. Maxwell has defined the album's title as "an approaching growing transition thought to be contained but destined for broader perception."
During the 90s, the “Neo-Soul” movement hit the music scene, heralded by Erykah Badu's excellent album Baduizm. Like-minded artists followed in her footsteps – D'Angelo, Angie Stone, and Jill Scott, to name just a few. One such artist, Maxwell, earned critical acclaim with his semi-concept album Maxwell's Urban Hang Suite, which chronicles a relationship from beginning to (presumably) happy ending.
Perhaps one reason Embrya was overlooked was its unfortunate choice for lead single, “Luxury: Cococure,” a strange track which included abstract lyrics, a baffling title, and a weird video of Maxwell taking a bath while making faces. No wonder the album was misinterpreted as avant-garde or an unsuccessful experiment.