Elizabeth

“Hear these words, “My God, My God, Why have you forsaken me?” and know that the Son of God has taken our place, become for us the abandonment our sin produces, so that we may live confident that the world has been redeemed by this cross. So”
― Stanley Hauerwas, Cross-Shattered Christ: Meditations on the Seven Last Words

“Contemporary theologians are not accustomed to think of poetry, literature, and plays as theological discourse. In the contemporary era, where faith is often counter-posed with reason, theological discourse seeks to stand on academic ground. As a result, it has lost much of its original flavor, seeking to prove its validity rather than assume it. In Sor Juana's era, at a time on the brink of modernity (yet not there) such concerns were not operating. Sor Juana is part of a tradition that not only speaks to her context and the theology of her time, but one that continues to exist today, though often marginalized from academic centers of reflection. Like Seneca, Russell, and Sartre, Sor Juana uses drama and poetry as a form of philosophical reflection.61 She stands among those thinkers who offer alternative constructions of philosophical method.”
― Michelle A. Gonzalez, Sor Juana: Beauty and Justice in the Americas

“We think it is really very simple: Jesus had to die because we needed and need to be forgiven. But, ironically, such a focus shifts attention from Jesus to us. This is a fatal turn, I fear, because as soon as we begin to think this is all about us, about our need for forgiveness, bathos drapes the cross, hiding from us the reality that here we first and foremost see God. Moreover,”
― Stanley Hauerwas, Cross-Shattered Christ: Meditations on the Seven Last Words

“But for me, Room is a peculiar (and no doubt heretical) battle between Mary and the Devil for young Jesus. If God sounds absent from that triangle, that’s because I think that for a small child, God’s love is represented, and proved, by mother-love.”
― Emma Donoghue, Room