Best Books of 2019: Six through Ten

Continuing my list from yesterday: My ways of determining which books made this list were: 1) How much I enjoyed reading the book; 2) How much I learned from reading the book, especially as it added to knowledge I already had; 3) the author's skill in using sources and making an argument I could engage with; and 4) how well the book connected with other books I was reading or other events I was attending.

From May 2019:

Sweeney chose an appropriate motto for the book:

"To live at peace among . . . those who oppose us, is a great grace, and a most commendable and manly achievement." (from Thomas a Kempis, The Imitation of Christ, translated and introduction by Leo Sherley-Price (Harmondsworth: Penguin, 1952, repr. 1979), p. 71)

Southwell's formation as a Jesuit, his experience living in Counter-Reformation Rome, his vocation as priest and avocation as poet, graced him with that peace even in the midst of torture and imprisonment, as reports of his trial and execution attest.

One of the parts of the book that impressed me the most was Sweeney's exploration of the effects of art in Rome on Southwell while he was studying there in combination with his formation with the Spiritual Exercises of St. Ignatius of Loyola--referencing Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 by Gauvin Alexander Bailey (University of Toronto Press, 2003). She elucidates how Southwell's formation influenced the brilliant imagery of his poetry, translating ideas into pictures, describing images to symbolize concepts, expressing the transcendent through earthly things in the imagination.

I highly recommend Snow in Arcadia to anyone interested in the era, Southwell, the English mission, Southwell's poetry, the situation of Catholics in England during Elizabeth I's reign, an understanding of the Jesuits in Rome, etc. 

Note, that at the same time I was reading Snow in Arcadia, I was awaiting the publication of a book review I had submitted to the Saint Austin Review of Southwell's Sphere: The Influence of England's Secret Poet  by Gary Bouchard:

As Gary M. Bouchard said, it is sad that Anne R. Sweeney died before she could continue developing her insights into St. Robert Southwell's poetry and his place in English literature. May she rest in the peace of Christ.

From August 2019:

On a not so recent visit to Eighth Day Books, I noticed stacks of books by Patrick Leigh Fermor and picked up this one about his visits to monasteries, especially to the Abbey of Saint Wandrille de Fontenelle, and La Trappe Abbey (aka La Grande Trappe). Fermor is renowned as a travel writer and the New York Review of Books publishes excellent editions of his works . . .

In the chapters on the Benedictine Abbey of  Saint Wandrille de Fontenelle, and the Trappist La Trappe Abbey in France, Fermor demonstrates great sympathy and admiration of the monks. He stays as a guest in both houses for some time and gets used to the rhythm of the Rule through his observation and limited participation. While he is astonished by the strictness of the Trappist rule, he accepts the consolations that those monks allowed to converse with him describe. He enjoys the silence and the freedom he experiences in Saint Wandrille and Solesmes (which he barely describes because he found staying there so much like staying at Saint Wandrille); after having a hard time at the beginning getting used to the silence and the solitude, when he leaves and rejoins the busy modern world of Paris, he misses the monastery peace.

He manages to seem something more than a visitor or a mere observer. Through his contacts with the monks who interact with guests he goes beyond curiosity to acceptance. Therefore he defends the monks against the charges of uselessness and seeking escape from the world. In fact, Fermor almost seems to contradict the statement that Chesterton made in his essay "Why I am a Catholic"; at least in the monastic orders the Catholic Church has developed and approved, Fermor is "just to the Catholic Church" without feeling "a tug toward it":

"It is impossible to be just to the Catholic Church. The moment men cease to pull against it, they feel a tug toward it. The moment they cease to shout it down, they begin to listen to it with pleasure. The moment they try to be fair to it, they begin to be fond of it."

He admires those who personify the monastic ideal and honors them through his admiration, but he does not imitate them. He goes to Paris and checks into the Hotel La Louisiane on the Rue de la Seine and soon gets used to the noise and distractions.

In March:

The first two parts of the book, "The Sacraments" and "Intercession" are the most successful demonstration of the premise of the book: that the images and architecture of Counter-Reformation Rome, starting with the reign of Pope Sixtus V helped the Church defend and revive the doctrines and religious devotions codified at the Council of Trent. The Real Presence, the Sacrament of Penance, Holy Orders, Baptism, the Communion of Saints, the Blessed Virgin Mary, prayer for the Poor Souls in Purgatory, miracles, repentance, etc: Lev matches the restated doctrine to certain paintings exactly.

The third part, "Cooperation" did not explore the thesis of how Catholic Art Saved the Faith but how the Church continued our mission to preach the Gospel to the whole world. The hall of maps and Bernini's Fountain of the Four Rivers are at a remove from the work of the Church in the later sixteenth and early seventeenth century. The chapter on "Faith and Empiricism" also deviates from the thesis as Lev explores the relationship between faith and reason; the Church and science. I don't think she clarified effectively the difference between Aristotelian/Scholastic Empiricism and the modern Empiricism of Locke and Hume.

The later chapters, on the martyrs, the dignity of women, and the war on sin get back on track, and Lev ends her analysis of faith and art with a discussion of Michelangelo's Last Judgement in the Sistine Chapel. She also provides some good hints for making great Catholic art part of our lives; brief biographies of the major artists, photo credits, and a bibliography.

I did not actually review my ninth book on this list, but read it for the Christendom Academy class I attended at the Spiritual Life Center. It was the second work we read and discussed: everything after it seemed to reflect some of the tenets of Stoicism. From Oxford World Classics:

The Meditations of Marcus Aurelius is one of the best-known and most popular works of ancient philosophy, offering spiritual reflections on how best to understand the universe and one's place within it. In short, highly charged comments, Marcus draws on Stoic philosophy to confront challenges that he felt acutely, but which are also shared by all human beings--facing the constant presence of death, making sense of one's social role, grasping the moral significance of the universe. They bring us closer to the personality of the emperor, who is often disillusioned with his own status and with human activities in general; they are both an historical document and a remarkable spiritual diary. This translation by Robin Hard brings out the eloquence and universality of Marcus' thoughts. The introduction and notes by Christopher Gill take account of the most recent work on Marcus and place the Meditations firmly in the ancient philosophical context. A newly translated selection of Marcus' correspondence with his tutor Fronto broadens the picture of the emperor as a person and thinker.

My last book on the list is also my recommendation for Lenten reading to anyone who wants to supplement Sunday and daily Mass participation. I reviewed for Homiletic & Pastoral Review:

Among my annual preparations for Lent, amidst planning menus for Fridays, searching out schedules for Stations of the Cross (preferably with Exposition, Adoration, and Benediction) and other devotional opportunities, and deciding what charitable causes to support, selecting spiritual reading for the season is essential. Catholic publishers provide a wide array of choices from classic to contemporary, for different age groups or other demographics, with reflections, prayers, activities, and suggested penances, etc.

Father Thomas Hoisington’s new Reflections on the Sacred Liturgy from In Hoc Est Caritas Press offers readers an excellent alternative not just because of its focus on the lectionary readings for every day of Lent, but also because he includes all three Sunday reading cycles (A, B, and C). This one book will be beneficial for reflection and meditation from 2019 through 2032: I should live so long! It’s also a useful volume for priests preparing Sunday homilies or daily feverinos and for RCIA catechists in preparing catechumens and candidates for the Scrutinies and Holy Week.

With passing references to outside authorities (St. Thomas Aquinas, St. Thomas More, Bl. John Henry Newman, the Catechism of the Catholic Church) Father Hoisington heeds his own counsel that “we should never underestimate the depth of Sacred Scripture” (45) when seeing how the readings at Mass connect with each other and with our lives as Catholic Christians. Each reflection makes connections within the lectionary readings for the day, or between those readings and common Lenten devotions like the Stations of the Cross, the Sorrowful Mysteries of the Rosary, or between the readings and the Sacraments, especially of Baptism, Confession, and Holy Communion. The entire book is suffused with Catholic doctrine, devotion, and morality. For example, when describing how God can bring great good out of evil, he tells us, “If you find it hard to acknowledge this, pray an entire rosary without taking your eyes of the crucifix” (39), thus reminding us that God responded to the “happy fault of Adam” with the Incarnation and the Paschal Mystery. . . .

I invite you to comment on your favorite books read in 2019!

Et In Arcadia Ego: Sweeney's Southwell

As Gary Bouchard comments in his recently published study of St. Robert Southwell, SJ, it is sad that Anne R. Sweeney died too soon (of cancer) to continue her work on Southwell's life and poetry. She alludes to her illness in the Introduction of this book, Robert Southwell: Snow in Arcadia: redrawing the English lyric landscape, 1586-1595, published by Manchester University Press but distributed by Oxford University Press, which describes Sweeney's achievement in this book thus:

It has traditionally been held that Robert Southwell's poetry offers a curious view of Elizabethan England, one that is from the restricted perspective of a priest-hole. This book dismantles that idea by examining the poetry, word by word, discovering layers of new meanings, hidden emblems, and sharp critiques of Elizabeth's courtiers, and even of the ageing queen herself.

Using both the most recent edition of Southwell's poetry and manuscript materials, it addresses both poetry and private writings including letters and diary material to give dramatic context to the radicalisation of a generation of Southwell's countrymen and women, showing how the young Jesuit harnessed both drama and literature to give new poetic poignancy to their experience.

Bringing a rigorously forensic approach to Southwell's 'lighter' pieces, Sweeney can now show to what extent Southwell engaged exclusively through them in direct artistic debate with Spenser, Sidney, and Shakespeare, placing the poetry firmly in the English landscape familiar to Southwell's generation. Those interested in early modern and Elizabethan culture will find much of interest, including new insights into the function of the arts in the private Catholic milieu touched by Southwell in so many ways and places.

The contents of the book:

Preface and acknowledgements

Introduction: Ben Jonson's admiration for Southwell's 'Burning Babe'
1. Rome: the discernment of angels
2. The 'Spiritual Exercises': the 'inward eie'
3. Hidden ways and secret veins: into England
4. The flight of angels: England's altered confidence
5. Snow in Arcadia: rewriting the English lyric landscape
6. Southwell's war of words
7. The 'performing Word': Southwell's sacralised poetic
8. Conclusion

Bibliography 

Index

Sweeney comments in her preface on her limitations and those who helped her overcome them:

Stonyhurst College kindly made its Library available to my studies, its late librarian, Father Turner, S.J., and the late Bishop Foley, contributing much at the outset to a project that I was so very less qualified than they to embark upon. I am also very grateful that Father Thomas McCoog, S.J., of Mount Street, took the time to look over and comment on aspects of the work, which has, in any case, called much upon his expertise in this area. If I have committed any solecisms against the belief systems of the bodies represented by these gentlemen, it is unintentional, and regretted. I have been acutely aware from the outset that, in discussing a saint from outside the boundaries of religious studies, I was on the thinnest of ice. I hope it is evident that I am addressing discoursal and literary issues only: St. Robert Southwell is beyond all comment spiritually, but as a poet and an Englishman he earned his garlands, I believe. 'Muse not,' as he said, 'to see some mud in cleerest brooke / They once were brittle mould, that now are Saintes.'

Notwithstanding her statement, as I read her study of Southwell I appreciated his religious faith and spirituality more and more. His great efforts to comfort Catholics, reach out to those who had fallen away, confront the state authorities, and challenge other poets to greater things, as Sweeney explicates them, made his love for Jesus and His Church so clear. Because she consults and references his journals and letters as well as his poetry, the reader can see Southwell's struggles in his formation in Rome and his frustrations during his mission in England, sometimes with his Jesuit authorities on the Continent and their decisions. Although this may have been beyond her intent, Sweeney's study made him real to me, not just his poetry, his martyrdom, or his garlands.

Sweeney chose an appropriate motto for the book:

"To live at peace among . . . those who oppose us, is a great grace, and a most commendable and manly achievement." (from Thomas a Kempis, The Imitation of Christ, translated and introduction by Leo Sherley-Price (Harmondsworth: Penguin, 1952, repr. 1979), p. 71)

Southwell's formation as a Jesuit, his experience living in Counter-Reformation Rome, his vocation as priest and avocation as poet, graced him with that peace even in the midst of torture and imprisonment, as reports of his trial and execution attest.

One of the parts of the book that impressed me the most was Sweeney's exploration of the effects of art in Rome on Southwell while he was studying there in combination with his formation with the Spiritual Exercises of St. Ignatius of Loyola--referencing Between Renaissance and Baroque: Jesuit Art in Rome, 1565-1610 by Gauvin Alexander Bailey (University of Toronto Press, 2003). She elucidates how Southwell's formation influenced the brilliant imagery of his poetry, translating ideas into pictures, describing images to symbolize concepts, expressing the transcendent through earthly things in the imagination.

I highly recommend Snow in Arcadia to anyone interested in the era, Southwell, the English mission, Southwell's poetry, the situation of Catholics in England during Elizabeth I's reign, an understanding of the Jesuits in Rome, etc. 

As Gary M. Bouchard said, it is sad that Anne R. Sweeney died before she could continue developing her insights into St. Robert Southwell's poetry and his place in English literature. May she rest in the peace of Christ.

My review of Bouchard's Southwell's Sphere: The Influence of England's Secret Poet is forthcoming.

UPDATE: note that I purchased my copy of Snow in Arcadia.

Sweeney on St. Robert Southwell, Poet

I'm reading this book because of another book I've received to review; the author of that other book referred to the late Anne Sweeney's work on St. Robert Southwell's poetry and its place in the English poetic milieu of the sixteenth century. According to Oxford University Press which distributes the book published by Manchester University Press:

It has traditionally been held that Robert Southwell's poetry offers a curious view of Elizabethan England, one that is from the restricted perspective of a priest-hole. This book dismantles that idea by examining the poetry, word by word, discovering layers of new meanings, hidden emblems, and sharp critiques of Elizabeth's courtiers, and even of the ageing queen herself.

Using both the most recent edition of Southwell's poetry and manuscript materials, it addresses both poetry and private writings including letters and diary material to give dramatic context to the radicalisation of a generation of Southwell's countrymen and women, showing how the young Jesuit harnessed both drama and literature to give new poetic poignancy to their experience.

Bringing a rigorously forensic approach to Southwell's 'lighter' pieces, Sweeney can now show to what extent Southwell engaged exclusively through them in direct artistic debate with Spenser, Sidney, and Shakespeare, placing the poetry firmly in the English landscape familiar to Southwell's generation. Those interested in early modern and Elizabethan culture will find much of interest, including new insights into the function of the arts in the private Catholic milieu touched by Southwell in so many ways and places.

I'm just a couple of chapters in and Sweeney provides an insight connected to Elizabeth Lev's book about Catholic Restoration art: the poetry Southwell wrote was inspired by the art he was seeing in the churches of Rome during his studies. Sweeney even notes the painting that may have inspired his best known poem, "The Burning Babe": The Vision of St. Ignatius at La Storta.

Part of her thesis on St. Robert Southwell's poetic method is that his shorter poems are filled with visual imagery, not Petrarchan repetition and elaboration. Therefore, the art that he lived with in Counter-Reformation Rome, especially the art in the Jesuit churches of Il Gesu, Sant'Andrea al Quirinale, and others influenced his poetry.  He transferred the impact of clear and expressive visual representations of sacred and spiritual things on the viewer to descriptive, concrete language.

As Sweeney notes, her book began because she wondered why Ben Jonson admired "The Burning Babe" so much. She believes it's the imagery, the sense of seeing something as you read the poem that elicited Jonson's admiration:

As I in hoary winter’s night stood shivering in the snow,
Surpris’d I was with sudden heat which made my heart to glow;
And lifting up a fearful eye to view what fire was near,
A pretty Babe all burning bright did in the air appear;
Who, scorched with excessive heat, such floods of tears did shed
As though his floods should quench his flames which with his tears were fed.
“Alas!” quoth he, “but newly born, in fiery heats I fry,
Yet none approach to warm their hearts or feel my fire but I!
My faultless breast the furnace is, the fuel wounding thorns,
Love is the fire, and sighs the smoke, the ashes shame and scorns;
The fuel Justice layeth on, and Mercy blows the coals,
The metal in this furnace wrought are men’s defiled souls,
For which, as now on fire I am to work them to their good,
So will I melt into a bath to wash them in my blood.”
With this he vanish’d out of sight and swiftly shrunk away,
And straight I called unto mind that it was Christmas day.

It's not just the image that comes to mind of a man standing in the cold and dark, the sudden appearance of a burning baby suspended in the air, the tears, the message of the baby (with its images of furnace, fire, smoke, ashes, coals, metal, etc), and his sudden disappearance, but also the feeling of shivering cold and blazing heat, and then the sudden realization of the date. The viewer has seen a vision of the infant Jesus already experiencing the suffering of His Passion and it is Christmas Day. This revelation came about not just by repetition and elaboration of abstract ideas, but by seeing something, describing it, and making the connection between the Incarnation and those abstract ideas of Love, Justice, and Mercy: the Paschal Mystery of the Passion, Crucifixion, and Resurrection: Jesus Christ Himself, whether Babe or Man.