Her painting is of a young
matron in a long green gown; the room is in deep shadow with two tall candles on stands as if decorating an altar, their pale halos of light barely dispersing the gloom,
and at her knees worshipfully a small
wondering why she taught him, |
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2 | But where did this song come from? From the tunnels of her early century childhood? One would not think she could live in those shadows. She had a big menagerie, sang she, and toys and
This was her frequent lullaby. And
And she sang this song before my |
3 | Her husband, the pastor, was not of the song or the prayer. Those are hers. He, a painter of many paintings, once made an altar piece, a crucifixion scene, somewhere still shocking a North Dakota church. Mama is in it. She is the Virgin Mary. She weaves footprints of lilies where she walks. Her father, a great scholar, a Christomatos, is Saint John of Patmos, apocalypse in his hands, and his seminary professors are Peter and James and Thomas, all at the foot of the cross, their faces turned worshipfully upward; and on the tree hangs a triumphant Christ, arrayed in a white robe and a golden crown and a sash of royal purple, the aegis of Christus Salvatore Mundi. His hands reach out as if to embrace a universe, in his palms not wounds, but bright rubies. The Jesus of this crowned diadem radiating a gold leaf halo, wears the face of my father. In those desolated Dakota Churches, piled high with fine snow and bitter cold and the thirties dust of depression drought, congregations desperate with harsh need facing the painting and hearing God's Word, knew not who they worshipped. |
4 | And yet, this must be a part of her song too. His '27 painting: a moonlit, wooded scene, a deeply grieving forest on all sides, pointed firs stabbing softly up around a lake. There are white highlights of moonshine on the dark water and swimming in light and liquid in a birchbark canoe a single figure: a young woman--she is dark and Indian, alone, in buckskin, her arms and right shoulder bare, a plain fillet filled with an eagle feather, her head bowed, a faint smile on her lips, her eyes intent on some mystery in the water, the dark cave of the canoe, the hidden rooms of her own soul- gliding quietly through the night. Did mamma know it was not she who was loved, but this other? Did this Emperor Jesus stare sternly from his rood into that dark wood? Did she in her candlelit room desire the worship of her son, jealous of her husband's Christ and his wandering heart? Who was that dark lady he drew with such evening romance?
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Steven Fortney
August, 1997
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