#sacred objects

[rosieandthemoon]

Portable Reliquary, 1861

[dreaminginthedeepsouth]

Craigdarroch Castle

Craigdarroch Castle in Victoria, British Columbia, is a historic, Victorian-era Châteauesque mansion. :: [Edmund Lowe]

* * * *

"…After a life of prayer, blisters from the long walk, scratches from the thorn bushes that over- lean the narrow path, a soul should accumulate as much mass as an apple, or a pocket New Testament, gravity you can feel in your hands…" from “Weight of the soul” in When an atheist says bless you by Paul Jolly, p. 69 [revmeg]

[osplanetasdasabelhas]

Portuguese Cathedrals Details

photos cjmn

[iolitewitchcraft]

Something I don't see talked about much on here: How do you dispose of items that no longer serve your craft?

For example, say you have a shrine to a deity and have dedicated a few items to them. Your relationship with that deity ends for one reason or another and it doesn't make sense for you to continue to maintain a shrine to them. What do you do with those dedicated items?

What about charms, talismans, etc? When you've moved on from needing a particular talisman you've created/purchased/whatever, and no longer want the item, what do you do with it?

What do you do to dispose of natural/biodegradable objects? What do you do with items that aren't biodegradable, so you can't just bury them or leave them for nature to reclaim?

[pagansquare]

Photographing Sacred Objects: The Right Way to Do It

Sacred objects—hallows, sacra, call them what you will—constitute a category of being all of their own.

When interacting with them, always remember: These are not mere “things.” They must be treated as if they were persons.

Read more...

[nbeau]

[crystal-lore]

Animism EXPLAINED: Sacred Objects (Episode 2)

Gordon is back with the second installment of his Animism 101 series. This time he explores how agency and personhood relate to objects.

[dreaminginthedeepsouth]

How to Practice

I wanted to get rid of my possessions, because possessions stood between me and death.

[From a longer (and very rich and lovely) article]::

And so we went upstairs, the four of us. As Megan was walking by my office, she stopped. “Oh, Charlotte,” she said. “Come look at this. Come see what she has.”

The child walked into my office and immediately clapped her hands over her masked mouth to keep from screaming. I switched on the light. She was staring at my typewriter, a cheap electric Brother I used for envelopes and short notes.

“You have a typewriter! ” Charlotte started hopping up and down.

“What she really wants is a manual,” Megan said. “We’ve looked at a bunch of them but they never work. Once they get old, the keys stick.”

There were two manual typewriters in the closet right behind us. One was my grandmother’s little Adler, a Tippa 7 that typed in cursive. She’d used it for everything, so much so that if I were to type a note on it now I’d feel as if I were reading her handwriting. I wasn’t giving the Adler away. I also owned a Hermes 3000 that my mother and my stepfather had bought for me when I was in college, the most gorgeous typewriter I could have imagined. I wrote every college paper on it, every story. In graduate school, I typed at my kitchen table in a straight-backed chair that my friend Lucy had bought at the Tuesday-night auction in Iowa City. Draft after draft, I banged away until my back seized, then I would lie flat on the living-room rug for days. A luggage tag was still attached to the Hermes’s handle—Piedmont Airlines. I’d brought the typewriter home with me every Christmas, even though it weighed seventeen pounds. Such was my love for that machine that I hadn’t been able to imagine being separated from it for an entire holiday vacation. The stories my mother and my sister had returned to me: they were all typed on the Hermes.

My mother and my stepfather, my darling Lucy, college, graduate school, all those stories—they made up the history of that typewriter. It waited on a shelf in the very closet where the dolls had been kept. When I was cleaning out the closet, I didn’t consider giving either of the typewriters away, but I don’t think I’d used them once since I got my first computer, when I was twenty-three. I took Megan aside. “I’ve got a manual,” I whispered to her.

She looked slightly horrified. “You don’t want to give that away.”

I told her that I’d sleep on it, that she shouldn’t say anything to Charlotte. I told her to come back in the morning.

I didn’t need the glasses or the silver, those things that represented who I thought I would become but never did, and I didn’t need the dolls, which represented who I had been and no longer was. The typewriter, on the other hand, represented both the person I had wanted to be and the person I am. Finding the typewriter was like finding the axe I’d used to chop the wood to build the house I lived in. It had been my essential tool. After all it had given me, didn’t it deserve something better than to sit on a shelf?

(Yes, I accept that this is who I am. I was thinking about what a typewriter deserved for its years of loyal service.)

In any practice, there will be tests. That’s why we call it a practice—so we’ll be ready to meet our challenges when the time comes. I had loved a typewriter. I had believed that every good sentence I wrote in my youth had come from the typewriter itself. I had neglected that typewriter all the same.

Kent, the cosmic monk, had laminated his prayers. He’d laminated pictures of his daughters, his granddaughter, his dog. He’d laminated good reviews of my novels. After he died, Tavia found two laminated cards. One said:

I Have Everything I Need

And the other:

All that is not Ladder Falls away

He needed both prayers in order to remember. We had tried the world on for size, Kent and I, and, one way or another, we would figure out how to let it go.

I took the Hermes down from the closet shelf, unsnapped the cover, and typed I love you iloveyou. The keys didn’t stick. I looked online to see if replacement ribbons were available.

They were. I watched a video of Tom Hanks, that famous champion of manual typewriters, replacing a ribbon on a Hermes 3000. “No typewriter has ever been made that is better than a Hermes,” he said in a salesman’s voice.

Well, that was the truth.

That night, while Karl and I were walking the dog, I told him about Charlotte. I told him what I was thinking. “As much as I loved it, it would be wonderful if someone could use it. How many little girls are out there pining for manual typewriters?”

“So give her mine,” he said.

I stopped. The dog stopped. “You have a manual typewriter?” There were three manual typewriters in the house?

Karl nodded. “You gave it to me.”

I had forgotten. I had given Karl an Olivetti for his birthday when we were first dating, because I was used to dating writers, not doctors. Because I didn’t know him then. Because I saw myself as the kind of woman who dated men with manual typewriters. I had bought it new. Twenty-six years later, it was still new.

Abraham looked up and there in a thicket he saw a ram caught by its horns. He went over and took the ram and sacrificed it as a burnt offering instead of his son.

O.K., it wasn’t like that. But I had been ready to let the Hermes go, and now I didn’t have to let it go. There was another typewriter caught in the thicket.

When I gave the Olivetti to Charlotte the next morning, she thought I’d given her the moon. She had imagined herself as a girl with a typewriter. And now she was. 

♦

Published in the print edition of the

March 8, 2021, issue.

Ann Patchett

will publish “These Precious Days” in November. She is a co-owner of Parnassus Books, in Nashville, Tennessee.