Word: leonardos
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...that is why what he thinks is so important. For the Bible is not a tool to be used by left or right. First must come the belief, and then the action, for truly radical change is internal and individual, and only then is it infectious. Christ, says Leonardo Boff in his Latin American classic Jesus Christ, Liberator, is "the one who disconcerts," the "one who provokes a radical crisis." In white America, though, where oppression at least seems to be somewhere else, it will be much tougher to argue the necessity of a theology of liberation, only when personal...
...lifetime as it slips back into the poet's mind-and anything is fair game here, from Wright's recollections of his childhood, or a vulgarity he sees scrawled on a gravestone, to his later experiences with the super-natural and the exotic to what he has learned about Leonardo da Vinci during his life. Often ethereal, sometimes convoluted and tortured, the images crawl or sour quietly off the page, so that Wright doesn't just make you taste a grape--he makes you taste a purple grape, with the world "purple" taking on tinges of sunset, foreign lands, juice...
...wind, which one would expect to triumph at the end, fades out like a dream scene. The reverse is central to the poem, and Wright makes it universal simply by allowing it to grow larger than the words. Similarly, in "Wherever Home Is," he allows a statue of Leonardo da Vinci to filter into his mind and emerge uncontrollable on paper. He relishes the flavor of da Vinci's life and the historical impression he is left with: affectionately he calls Leonardo a "madman" and wanders off in the sun with the artist. The last stanza is memorable...
Goodbye to Leonardo, good riddance...
Ruisdael's work bears traces of many older attitudes. The impossible God's-eye view of a remote earth from above, as done by 16th century artists from Altdorfer to Leonardo, was echoed by Ruisdael in a small panorama of Amsterdam seen from the scaffolding of the unfinished New Town Hall. He also made his homages to the landscape of symbols. The most spectacular paysage moralisé in his work was the motif for two versions of The Jewish Cemetery, circa 1655. This gloomy landscape pullulates with symbols: the broken tree over the dark brook, suggesting a bridge...