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art for faith’s sake series
series editors:
Clayton J. Schmit
J. Frederick Davison
This series of publications is designed to promote the creation of resources for the church at worship. It promotes the creation of two types of material, what we are calling primary and secondary liturgical art.
Like primary liturgical theology, classically understood as the actual prayer and practice of people at worship, primary liturgical art is that which is produced to give voice to God’s people in public prayer or private devotion and art that is created as the expression of prayerful people. Secondary art, like secondary theology, is written reflection on material that is created for the sake of the prayer, praise, and meditation of God’s people.
The series presents both worship art and theological and pedagogical reflection on the arts of worship. The series title, Art for Faith’s Sake,1* indicates that, while some art may be created for its own sake, a higher purpose exists for arts that are created for use in prayer and praise.
other volumes in this series:
Senses of the Soul by William A. Dyrness
Dust and Prayers by Charles L. Bartow
Dust and Ashes by James L. Crenshaw
Preaching Master Class by William H. Willimon
Praying the Hours in Ordinary Life by Clayton J. Schmit and Lauralee Farrer
Mending a Tattered Faith: Devotions with Dickinson by Susan VanZanten
Senses of Devotion: Interfaith Aesthetics in Buddhist and Muslim Communities by William A. Dyrness
forthcoming volumes in this series:
ReVisioning: Critical Methods of Seeing Christianity in the History of Art edited by James Romaine and Linda Stratford
Dance in Scripture: How Biblical Dancers Can Revolutionize Worship Today by Angela M. Yarber
Sanctifying Art: Inviting Conversation between Artists, Theologians,and the Church by Deborah Sokolove
1*Art for Faith’s Sake is a phrase coined by art collector and church musician, Jerry Evenrud, to whom we are indebted.
Blessed
Monologues for Mary
“. . . all generations will call me blessed” Luke 1:48
Jerusha Matsen Neal
foreword by
Anna Carter Florence
BLESSED
Monologues for Mary
Art for Faith’s Sake 8
Copyright © 2013 Jerusha Matsen Neal. All rights reserved. Except for brief quotations in critical publications or reviews, no part of this book may be reproduced in any manner without prior written permission from the publisher. Write: Permissions, Wipf and Stock Publishers, 199 W. 8th Ave., Suite 3, Eugene, OR 97401.
Cascade Books
An Imprint of Wipf and Stock Publishers
199 W. 8th Ave., Suite 3
Eugene, OR 97401
www.wipfandstock.com
isbn 13: 978-1-62032-214-7
eisbn 13: 978-1-62189-606-7
Allessandro Vittoria Italian, 1525-1608, The Annunciation, 1578-1588, Bronze, 38 ½ x 24 ¼ in. (97.8 x 61.6 cm), Edward E. Ayer Endowment in memory of Charles L. Hutchinson, 1942.249, The Art Institute of Chicago.
Photography © The Art Institute of Chicago. Used by permission.
Cataloging-in-Publication data:
Neal, Jerusha Matsen
Blessed : monologues for Mary / Jerusha Matsen Neal
xviii + 72 p.; 23 cm
Art for Faith’s Sake 8
isbn 13: 978-1-62032-214-7
1. Monologues. 2. Monologue Sermons. 3. Mary, Blessed Virgin, Saint. I. Title. II. Series.
BV4307 S7 N35 2013
Manufactured in the USA.
for Wes
Foreword
In the cathedral of Uppsala in Sweden there is a statue of Mary. She stands in the aisle by the apse, where visitors walk, and is so remarkably lifelike that many do not realize that she is a work of art. Nothing about her is meant to stand out. Her height is only average and her clothes nondescript: blue coat, warm scarf, sensible shoes. If you passed her in the street, you might forget her within moments, or she might remind you of a hundred other women you have met. This is precisely what artist Anders Widoff intended to create: a Mary so ordinary that we might identify with her, mistake her completely, or wonder at her commonplace disguise among us. Yet it is her placement in the cathedral and the title of the work—Mary (The Return)—that makes us think twice. Widoff sets her facing the large Vasa Chapel, formerly the Lady Chapel, drawing attention to the fact that after the Reformation, churches in Sweden removed all statues of Mary and renamed her chapels for Swedish kings. Mary all but disappeared from the church. Now she has returned, as both a visitor and a witness. Her intent gaze, looking into the space where she once was, invites us to rethink her place in the Christian story, and in ours.
What you hold in your hand is another work of art, and in this too, Mary returns. She is a chain-smoking single mother, living on the edge. She is a bereft young soldier, raising her dead lover’s baby. She is an estranged daughter returning to bury the father she has not seen in years. She is an exhausted pastor of a tired out, all-but-dead congregation. In each of these women, Mary returns to the church, gazing fiercely into a space where she once might have been or may be still—and we, with her. And like the figure of Mary in the Uppsala Cathedral, it isn’t so much the breathtaking ordinariness of the women that strikes us as their placement, right smack in the middle of our sacred texts and spaces and conversations. Mary in Scripture is one thing; Mary in common life is quite another. It is a peculiarly combustible combination, one that blocks the aisle and interrupts worship. What exactly do they want, these women? Are they visitors to our church, who might go away again? Or are they witnesses with a story to tell? And what does any of this have to do with us and our life with God?
Great art always provokes such questions,
