The Finchale Saint


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The Hermit of Finchale


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Godric


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Frederick Buechner's Godric "retells the life of Godric of Finchale, a twelfth-century English holy man whose projects late in life included that of purifying his moral ambition of pride...Sin, spiritual yearning, rebirth, fierce asceticism--these hagiographic staples aren't easy to revitalize but Frederick Buechner goes at the task with intelligent intensity and a fine readiness to invent what history doesn't supply. He contrives a style of speech for his narrator--Godric himself--that's brisk and tough-sinewed...He avoids metaphysical fiddle, embedding his narrative in domestic reality--familiar affection, responsibilities, disasters...All on his own, Mr. Buechner has managed to reinvent projects of self-purification and of faith as piquant matter for contemporary fiction [in a book] notable for literary finish...Frederick Buechner is a very good writer indeed." -- Benjamin DeMott, The New York Times Book Review "From the book's opening sentence...and sensible reader will be caught in Godric's grip...Godric glimmers brightly." -- Peter S. Prescott, Newsweek "Godric is a memorable book...a marvelous gem of a book...destined to become a classic of its kind." -- Michael Heskett, Houston Chronicle "In the extraordinary figure of Godric, both stubborn outsider and true child of God, both worldly and unworldly, Frederick Buechner has found an ideal means of exploring the nature of spirituality. Godric is a living battleground where God fights it out with the world, the Flesh, and the Devil." -- London Times Literary Supplement "Wityh a poet's sensibly and a high reverent fancy, Frederick Buechner paints a memorable portrait." -- Edmund Fuller, The Wall Street Journal




IRON SAINT


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Reginald of Durham


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Godric of Finchdale was a hermit, merchant, and medieval saint. His life was recorded by Benedictine monk Reginald of Durham, but the work has hitherto only been available in manuscripts and in one nineteenth century edition. This translation uses the original manuscript to open up Reginald of Durham's work to a wider audience.







Pygmalion’s Power


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Pushed to the height of its illusionistic powers during the first centuries of the Roman Empire, sculpture was largely abandoned with the ascendancy of Christianity, as the apparent animation of the material image and practices associated with sculpture were considered both superstitious and idolatrous. In Pygmalion’s Power, Thomas E. A. Dale argues that the reintroduction of architectural sculpture after a hiatus of some seven hundred years arose with the particular goal of engaging the senses in a Christian religious experience. Since the term “Romanesque” was coined in the nineteenth century, the reintroduction of stone sculpture around the mid-eleventh century has been explained as a revivalist phenomenon, one predicated on the desire to claim the authority of ancient Rome. In this study, Dale proposes an alternative theory. Covering a broad range of sculpture types—including autonomous cult statuary in wood and metal, funerary sculpture, architectural sculpture, and portraiture—Dale shows how the revitalized art form was part of a broader shift in emphasis toward spiritual embodiment and affective piety during the late eleventh and twelfth centuries. Adding fresh insight to scholarship on the Romanesque, Pygmalion’s Power borrows from trends in cultural anthropology to demonstrate the power and potential of these sculptures to produce emotional effects that made them an important sensory part of the religious culture of the era.




The Afterlife of St Cuthbert


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This book surveys the textual representation of Cuthbert, the premier northern English saint, from the seventh to fifteenth centuries.




Finchale Priory


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