Kilian McDonnell
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Yahwehs Other Shoe
$14.95Add to cart“Only eternal life is worthy of the name,” writes Kilian McDonnell, O.S.B., in an elegy for a brother monk, and in his poetry one feels the working out of this life that begins with Adam and proceeds beyond our own span of time on earth. These poems breathe human air, but are always conscious of the larger picture of life in Christ.
“I wrestle with God ‘flesh to flesh, sweat to mystery,’ and I limp away.” This is how Father McDonnell describes his poetic project, and in these poems the reader attends a wrestling match of the highest order. He takes on the great themes of poetry: desire, mortality, love and age, brotherhood and God. Beginning with the figures of the Old and New Testament, he is aware of the human flailings, failings, and laughter in the stories as of what they say about God with us. Engaging with the events of our day, the great physical world around us, the intricate world of human relationships, and the spiritual journey of a monk, the poems continuously reveal what it means to be human.
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Other Hand Of God
$24.95Add to cartIf the Spirit is not equal to the Father and the Son, can the Trinity survive? Is the role of the Spirit in salvation as important as that of the Son? Why was the divinity of the Spirit problematic in the early Church? If the Son, Jesus Christ, is “the way the truth and the life,” what role does the Spirit have in God’s reaching out to touch the Church and the world? Is there any contact with, any experience of God, apart from the Spirit? In what sense is the Spirit the goal of the Christian life? The Other Hand of God addresses these theological queries.
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Swift Lord You Are Not
$21.95Add to cartSome poets begin very early to write great poetry. Arthur Rimbaud wrote one of his best poems at 15, Percy Shelley published his first book of poetry at 18. But Kilian McDonnell, O.S.B., did not start until he was 75, after decades of writing as a professional theologian. Now 82 he gives us Swift, Lord, You Are Not, poems of the struggle to find God-waiting for the silence of God to break. He does not write pious verse, or inspirational poetry, but of wrestling with the illusive God. His themes are mostly biblical and monastic. He closes with an essay Poet: Can You Start at Seventy-Five? in which he describes the literary decisions he makes within the monastic context-decisions he needs to make with some dispatch. At 75 he does not have decades to mature. He writes with a new language.