Madonna Love Quotes

To be brave is to love someone unconditionally, without expecting anything in return. To just give. That takes courage, because we don't want to fall on our faces or leave ourselves open to hurt.

I am my own experiment. I am my own work of art.

Power is being told you're not loved and not being destroyed by it.

I've been popular and unpopular successful and unsuccessful loved and loathed and I know how meaningless it all is. Therefore I feel free to take whatever risks I want.

Deep in my heart I'm concealing things that I'm longing to say. Scared to confess what I'm feeling - frightened you'll slip away.

It's a funny thing about the modern world. You hear girls in the toilets of clubs saying, "Yeah, he fucked off and left me. He didn't love me. He just couldn't deal with love. He was too fucked up to know how to love me." Now, how did that happen? What was it about this unlovable century that convinced us we were, despite everything, eminently lovable as a people, as a species? What made us think that anyone who fails to love us is damaged, lacking, malfunctioning in some way? And particularly if they replace us with a god, or a weeping madonna, or the face of Christ in a ciabatta roll---then we call them crazy. Deluded. Regressive. We are so convinced of the goodness of ourselves, and the goodness of our love, we cannot bear to believe that there might be something more worthy of love than us, more worthy of worship. Greeting cards routinely tell us everybody deserves love. No. Everybody deserves clean water. Not everybody deserves love all the time.

Power without guilt, love without doubt....

It's not easy having a good marriage--but I don't want easy. Easy doesn't make you grow. Easy doesn't make you think. I thank God everyday that I am married to a man who makes me think. That's my definition of true love.

Only love can last.

If Madonna loves me, then you will too.

I am because we are. We all bleed the same color. We all want to love and be loved.

Jesus was not revolutionary because he said we should love God and each other. Moses said that first. So did Buddha, Confucius, and countless other religious leaders we've never heard of. Madonna, Oprah, Dr. Phil, the Dali Lama, and probably a lot of Christian leaders will tell us that the point of religion is to get us to love each other. "God loves you" doesn't stir the world's opposition. However, start talking about God's absolute authority, holiness, ... Christ's substitutionary atonement, justification apart from works, the necessity of new birth, repentance, baptism, Communion, and the future judgment, and the mood in the room changes considerably.

İçinde hakikaten sevmek kabiliyeti olan bir insan hiçbir zaman bu sevgiyi bir kişiye inhisar ettiremez ve kimseden de böyle yapmasını bekleyemez. Ne kadar çok insanı seversek, , asıl sevdiğimiz bir tek kişiyi de o kadar çok ve kuvvetli severiz. Aşk dağıldıkça azalan bir şey değildir

You gave me back the paradise That I thought I lost for good You helped me find the reasons why It took me by surprise that you understood You knew all along What I never wanted to say Until I learned to love myself I was never ever lovin' anybody else.

Power is being told you are not loved... and not being destroyed by it.

Some things we never know we need until we find them.

The Indians are the Italians of Asia", Didier pronounced with a sage and mischievous grin. "It can be said, certainly, with equal justice, that the Italians are the Indians of Europe, but you do understand me, I think. There is so much Italian in the Indians, and so much Indians in the Italians. They are both people of the Madonna - they demand a goddess, even if the religion does not provide one. Every man in both countries is a singer when he is happy, and every woman is a dancer when she walks to the shop at the corner. For them, food is music inside the body, and music is food inside the heart. The Language of India and the language of Italy, they make every man a poet, and make something beautiful from every banalite. They are nations where love - amore, pyaar - makes a cavalier of a Borsalino on a street corner, and makes a princess of a peasant girl, if only for the second that her eyes meet yours.

The two of us praying like this to the Black Madonna Sudenly washes over me, and I'm filled with love for my mother. The best gift she has give me is the constancy of her belief. Whatever I become, she loves me. To her, I am enough.

We tear ourselves inside out for something the world may love, then base our worth on that.

Maria, lonely prostitute on a street of pain, You, at least, hail me and speak to me While a thousand others ignore my face. You offer me an hour of love, And your fees are not as costly as most. You are the madonna of the lonely, The first-born daughter in a world of pain. You do not turn fat men aside, Or trample on the stuttering, shy ones, You are the meadow where desperate men Can find a moment's comfort. Men have paid more to their wives To know a bit of peace And could not walk away without the guilt That masquerades as love. You do not bind them, lovely Maria, you comfort them And bid them return. Your body is more Christian than the Bishop's Whose gloved hand cannot feel the dropping of my blood. Your passion is as genuine as most, Your caring as real! But you, Maria, sacred whore on the endless pavement of pain, You, whose virginity each man may make his own Without paying ought but your fee, You who know nothing of virgin births and immaculate conceptions, You who touch man's flesh and caress a stranger, Who warm his bed to bring his aching skin alive, You make more sense than stock markets and football games Where sad men beg for virility. You offer yourself for a fee--and who offers himself for less? At times you are cruel and demanding--harsh and insensitive, At times you are shrewd and deceptive--grasping and hollow. The wonder is that at times you are gentle and concerned, Warm and loving. You deserve more respect than nuns who hide their sex for eternal love; Your fees are not so high, nor your prejudice so virtuous. You deserve more laurels than the self-pitying mother of many children, And your fee is not as costly as most. Man comes to you when his bed is filled with brass and emptiness, When liquor has dulled his sense enough To know his need of you. He will come in fantasy and despair, Maria, And leave without apologies. He will come in loneliness--and perhaps Leave in loneliness as well. But you give him more than soldiers who win medals and pensions, More than priests who offer absolution And sweet-smelling ritual, More than friends who anticipate his death Or challenge his life, And your fee is not as costly as most. You admit that your love is for a fee, Few women can be as honest. There are monuments to statesmen who gave nothing to anyone Except their hungry ego, Monuments to mothers who turned their children Into starving, anxious bodies, Monuments to Lady Liberty who makes poor men prisoners. I would erect a monument for you-- who give more than most-- And for a meager fee. Among the lonely, you are perhaps the loneliest of all, You come so close to love But it eludes you While proper women march to church and fantasize In the silence of their rooms, While lonely women take their husbands' arms To hold them on life's surface, While chattering women fill their closets with clothes and Their lips with lies, You offer love for a fee--which is not as costly as most-- And remain a lonely prostitute on a street of pain. You are not immoral, little Maria, only tired and afraid, But you are not as hollow as the police who pursue you, The politicians who jail you, the pharisees who scorn you. You give what you promise--take your paltry fee--and Wander on the endless, aching pavements of pain. You know more of universal love than the nations who thrive on war, More than the churches whose dogmas are private vendettas made sacred, More than the tall buildings and sprawling factories Where men wear chains. You are a lonely prostitute who speaks to me as I pass, And I smile at you because I am a lonely man.

Travel releases spontaneity. You become a godlike creature full or choice, free to visit the stately pleasure domes, make love in the morning, sketch a bell tower, read a history of Byzantium, stare for one hour at the face of Leonardo da Vinci's 'Madonna dei fusi.' You open, as in childhood, and--for a time--receive this world. There's visceral aspect, too--the huntress who is free. Free to go, free to return home bringing memories to lay on the hearth.

Just as warm sunlight can, by passing through a lens, turn to fire, so too can love. It's wrong to see it as something that swoops in from the outside. It's because it arises from the feelings we carry inside us that it strikes with such violence, at the moment we least expect.

Be the woman who falls so deeply in love with herself that nothing can stop her from loving all of life!

There is something comforting about being tied up. Like when you were a baby and your mother strapped you in the car seat. She wanted you to be safe. It was an act of love.

Madonna Kolbenschlag suggest that if an awakened woman forgoes innocence and denial, if she refuses to make compromises with herself and defect to patriarchy, then her only option becomes deviance. I chose deviance. I chose to be a loving dissident. To dance the dance of dissidence. This stance can be assumed from the inside or the outside. Whichever place we choose, the important thing is having the sustained will to be, act, and speak from the ground of our feminine souls.

You never loved me, nobody never loved me. I wanted to be loved, I wanted somebody to be kind to me - I wanted-" She wanted tenderness. So did I; but not from her. She was no part of high fantasy and worship and hopeless jealousy. She was the accessible thing.

When you travel you become invisible if you want. I do want. I like to be the observer. What makes these people who they are Could I feel at home here No one expects you to have the stack of papers back by Tuesday or to check messages or to fertilize the geraniums or to sit full of dread in the waiting room at the protologist’s office. When travelling you have the delectable possibility of not understanding a word of what is said to you. Language becomes simply a musical background for watching bicycles zoom along a canal calling for nothing from you. Even better if you speak the language you catch nuances and make more contact with people. Travel releases spontaneity. You become a godlike creature full of choice free to visit the stately pleasure domes make love in the morning sketch a bell tower read a history of Byzantium stare for one hour at the face of Leonardo da Vinci’s Madonna dei fusi. You open as in childhood and – for a time – receive this world. There’s the visceral aspect too – the huntress who is free. Free to go Free to return home bringing memories to lay on the hearth.

New York bakes in a cess of gritty fug all summer, and congeals into gray slush all winter. There are a couple of days in the spring and autumn when the sky is madonna blue, the air crisp, and the light bright and sparkling, and that’s when they take the pictures and make the romantic comedies.

While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity. From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic.

Words turn to anagrams; Temples get burnt; Songs contain threats; What is happening in the world? World War III is in the air; Have we realized it yet? Madonna came to pray; Have we woken up?

What I'm trying to get you to understand is that I get it that you think of women as fitting into two categories--whores and the Madonna. But I'm neither. I'm just Jessica, somewhere in between, and I love you and want you to accept me.

Trouble" That is what the Odyssey means. Love can leave you nowhere in New Mexico raising peacocks for the rest of your life. The seriously happy heart is a problem. Not the easy excitement, but summer in the Mediterranean mixed with the rain and bitter cold of February on the Riviera, everything on fire in the violent winds. The pregnant heart is driven to hopes that are the wrong size for this world. Love is always disturbing in the heavenly kingdom. Eden cannot manage so much ambition. The kids ran from all over the piazza yelling and pointing and jeering at the young Saint Chrysostom standing dazed in the church doorway with the shining around his mouth where the Madonna had kissed him.

And the clubs everywhere, only just getting started, where even middle-aged married folk are sniffing lines of ketamine off black bathroom tile, and teenagers are dosing each other’s drinks. In the club, as he later recalls, a woman gets onto the dance floor and really lets go during a Madonna song, really takes over the floor, and people are clapping, hooting, she’s losing her mind out there, and her friends are calling her name: “Peter Pan! Peter Pan!” Actually, it isn’t a woman; it’s Arthur Less. Yes, even old American writers are dancing like it is still the eighties in San Francisco, like the sexual revolution has been won, like the war is over and Berlin has been liberated, one’s own self has been liberated; and what the Bavarian in his arms is whispering is true, and everyone, everyone—even Arthur Less—is loved.

The fact is, women aren’t having cosmetic surgery to stay beautiful. As Naomi Wolf wrote in The Beauty Myth more than twenty years ago, many women who undergo surgery are fighting to stay loved, relevant, employed, admired; they’re fighting against time running out. If they simply age naturally, don’t diet or dye their hair, we feel they’ve “let themselves go.” But if they continue to dress youthfully we feel they’re “trying too hard” or brand them as “slappers.” Poor Madonna, who has dared to be in her fifties. In order not to look like a woman in her sixth decade of life she exercises furiously, and is sniggered at by trashy magazines for having overly muscular arms and boytoy lovers. When Demi Moore’s marriage to Ashton Kutcher, fifteen years her junior, recently broke down, the media reaction was almost gleeful. Of course, it was what they had been waiting for all along: how long could a forty-eight-year-old woman expect to keep a thirty-three-year-old man? As allegations of his infidelity emerged, the Internet was flooded with images of Demi looking gaunt and unhappy—and extremely thin. Sometimes you want to say: just leave them alone. Then again, it’s mostly women who buy these magazines, and women who write the editorials and online comments and gossip columns, so you could say we’re our own worst enemies. There is already plenty of ageism and sexism out there—why do we add to the body hatred?

To Jesus she already is somebody. Like the loving father of the prodigal son, Jesus is frantically scanning the horizon, watching for Madonna to return to him. He's absolutely convinced that she's so valuable that she's worth dying for. 'Greater love has no one than this,' said Jesus in John 15:13, 'that one lay down his life for his friends.' That's what He did for her on the cross!

Any animal can fuck. But only humans can experience sexual passion, something wholly different from the biological urge to mate. And sexual passion’s endured for millennia as a vital psychic force in human life — not despite impediments but because of them. Plain old coitus becomes erotically charged and spiritually potent at just those points where impediments, conflicts, taboos, and consequences lend it a double-edged character — meaningful sex is both an overcoming and a succumbing, a transcendence and a transgression, triumphant and terrible and ecstatic and sad. Turtles and gnats can mate, but only the human will can defy, transgress, overcome, love: choose. History-wise, both nature and culture have been ingenious at erecting impediments that give the choice of passion its price and value: religious proscriptions; penalties for adultery and divorce; chivalric chastity and courtly decorum; the stigma of illegitimate birth; chaperonage; madonna/whore complexes; syphilis; back-alley abortions; a set of “moral” codes that put sensuality on a taboo-level with defecation and apostasy… from the Victorians’ dread of the body to early TV’s one-foot-on-the-floor-at-all-times rule; from the automatic ruin of “fallen” women to back-seat tussles in which girlfriends struggled to deny boyfriends what they begged for in order to preserve their respect. Granted, from 1996’s perspective, most of the old sexual dragons look stupid and cruel. But we need to realize that they had something big in their favor: as long as the dragons reigned, sex wasn’t casual, not ever. Historically, human sexuality has been a deadly serious business — and the fiercer its dragons, the seriouser sex got; and the higher the price of choice, the higher the erotic voltage surrounding what people chose." -from "Back in New Fire

and St. Bernard, the monastery’s patron, bearing both a crosier and a sword, his role as an apologist for the failed second crusade unforgotten even among his fans. (I confess I had rather hoped to see a portrayal of the Lactation of St. Bernard, the oft-depicted scene from a legend in which the saint kneeled before a nursing Madonna and was hit with a squirt of milk from her breasts, curing him of an eye infection. The image always makes me smile.) It

Well I'll be damned Here comes your ghost again But that's not unusual It's just that the moon is full And you happened to call And here I sit Hand on the telephone Hearing a voice I'd known A couple of light years ago Heading straight for a fall As I remember your eyes Were bluer than robin's eggs My poetry was lousy you said Where are you calling from? A booth in the midwest Ten years ago I bought you some cufflinks You brought me something We both know what memories can bring They bring diamonds and rust Well you burst on the scene Already a legend The unwashed phenomenon The original vagabond You strayed into my arms And there you stayed Temporarily lost at sea The Madonna was yours for free Yes the girl on the half-shell Could keep you unharmed Now I see you standing With brown leaves falling all around And snow in your hair Now you're smiling out the window Of that crummy hotel Over Washington Square Our breath comes out white clouds Mingles and hangs in the air Speaking strictly for me We both could have died then and there Now you're telling me You're not nostalgic Then give me another word for it You who are so good with words And at keeping things vague 'Cause I need some of that vagueness now It's all come back too clearly Yes I loved you dearly And if you're offering me diamonds and rust I've already paid

Today I saw the most beautiful girl in the world... She is the most beautiful girl in the world, Bartolomeo Scappi thought. Never have I seen a woman so perfect, so angelic, so impossible for me to attain. "Bella," he breathed when air filled his lungs once again. Even Ippolito d'Este's presence at the dining table could not mar his giddiness. The girl was so beautiful she glowed like a painting of the Madonna, making everyone around her seem colorless in comparison. She was clearly a principessa of a grand house, sitting between Ippolito's father, the Duke of Ferrara, on one side, and a woman most likely to be her mother on the right. Bartolomeo sought to memorize every feature of this goddess with golden hair that shone with glints of red in the last rays of the day's sunlight. Her eyes were dark chestnut, rich and deep, while her lips were pink, like the inside of a seashell. Her hair was braided, but much of it flowed loose over shoulders, teasing her pale skin. She wore a dress of red, with sleeves billowing white. Rubies and pearls spilled across her delicate collarbone toward her beautiful breasts. Scappi painted her picture in his mind and stored it deep within the frame of his heart. That evening, while staring at the sky, his thoughts lost in the memory of the signorina, a shooting star passed across his vision. "Stella," he said under his breath. I will call her Stella. My shining star.

It is a sort of quasi-monastic diabolical vision. In a landscape populated with larvae - flowing and undulating larvae called forth like a cascade of leeches by tolling bells - three female figures rise up phantasmally, enshrouded with gauze like Spanish madonnas. They are the 'three brides': the bride of Heaven, the bride of the Earth and the bride of Hell... The bride of Hell, with her two serpents writhing about her temples to hold her veil in place, has the most attractive mask: the most profound eyes, the most vertiginous smile that one could ever see. If she existed, how I would love that woman! I feel that if that smile and those eyes were in my life they would be all the cure I need! I could never tire of the study and contemplation of that hallucinatory visage. "The Three Brides" is very peculiar in its detail and composition. It is the whimsy of a dream rendered with astonishing fastidiousness: the delusion of an opium-smoker composed in the style of Holbein.

I have no illusions that I, by myself, pose any threat to the current status quo. They, who have effectively neutered and marginalized the population so greatly, that a coffee-table book of Madonna’s twat constitutes a greater threat in Americans’ minds than does a 150-billion-dollar defense budget during peacetime (more on Madonna’s twat later.)... ...For all the lip service being paid by our candidates for the need to change, it looks like Business As Usual here in America. So, who am I supporting? Which candidate best represents my interests? As for me, I’m voting for Madonna’s twat.

Primer of Love [Lesson 19] Be strong, believe in freedom and in God, love yourself, understand your sexuality, have a sense of humor, masturbate, don't judge people by their religion, color or sexual habits, love life and your family. ~ Madonna Lesson 19) Love yourself with all your flaws then you can learn to love another deeply. You cannot love another unless you love yourself first. But, while you're prepping yourself for the greatest adventure, don't fall too in love with yourself. Narcissism can often lead to a solipsistic self-absorption which only admits others as entertainment, not as agents of transformation.

In men, there is the familiar distinction between the Madonna on a pedestal and the lowlife whore, in the sense that they elevate the love object to unknown—and, above all, unattainable—heights. These are the super-conventional husbands who respect their wives. They often respect them so much that they become psychologically impotent. The shadow of the for-bidden mother covers the beloved in this cloak of respect, so that any sexual approach becomes impossible. However, this impotence wholly melts away, together with the respect, when such a man goes to a whore, either in his imagination or in reality. The pendulum swings the other way, because in this case the woman, in the figure of the whore, is humiliated just as much as the wife-mother is extolled. The dimension of lust appears here, inevitably accompanied by feelings of guilt. It is in this context that we come across the typical male fantasy, well known to every prostitute, of 'saving' a woman. A large number of her clients want to 'save' her from her ruin. They want to restore to her the status of being an object of love. In other words, they want her to become a wife-mother, which brings them back to respect, and completes the circle. Interestingly, in either case, whether he saves her or humiliates her, the power lies with the man. This in itself is a rewrite of the original mother-child scenario. His position has shifted from passive to active.

Once the purging has taken place, the woman often dreams of a black goddess who becomes her bridge between spirit and body. As one aspect of Sophia, such an image can open her to the mystery of life being enacted in her own body. Her "mysterious and exotic darkness" inspires a particular depth of wonderment and love. For a woman without a positive mother, this "dark" side of the Virgin can bring freedom, the security of freedom, because she is a natural home for the rejected child. The child born from the rejected side of the mother can bring her own rebel to rest in the outcast state of Mary. In loving the abandoned child within herself, a woman becomes pregnant with herself. The child her mother did not nourish, she will now nourish, not as the pure white biblical Virgin who knew no Joseph, but as the dark Montserrat Virgin who presides over "marriage and sex, pregnancy and childbirth." The Black Madonna is nature impregnated by spirit, accepting the human body as the chalice of the spirit. She is the redemption of matter, the intersection of sexuality and spirituality. Connecting to this archetypal image may result in dreams of a huge serpent, mysterious, cold­blooded, inaccessible to human feeling. Seen as an appendage of the negative mother, it is the phallus stolen from the father and used to guard inviolate purity. Yet this same snake, when seen in relation to the moon, symbolizes the dark, impersonal side of femininity and at the same time its capacity to renew itself. The daughter who can come out from under the skin of the negative mother will not perpetuate her but redeem her. The Black Madonna is the patron saint of abandoned daughters who rejoice in their outcast state and can use it to renew the world.

He doesn't realise how much it hurts me when he's so curt," his mother said sorrowfully. "He doesn't mean it," I said. "It's just calving. I expect every dairy farmer in the country is being rude to his mother just now." "It's Rose, too," she told me. "He's such a dear boy Josie; it's tearing him apart to see her so unwell. Perhaps-" she paused and looked at me with a Madonna-like expression of patient and loving reproach - "perhaps it might help if you didn't expect him to dance attendance very spare minute, hmmm ?" My hand clenched on the handle of my fork as I considered throwing it at her like a spear. I've got pretty good aim - I'd probably be able to get her in the side of the head from here. But the consequences wouldn't be worth the fleeting satisfaction. I dropped my eyes to my plate and nodded. "You're a sweet girl. I know you don't mean to be selfish.

maternal love, the most successful object of the religious imagination of romantic art. For the most part real and human, it is yet entirely spiritual, without the interest and exigency of desire, not sensuous and yet present: absolutely satisfied and blissful spiritual depth. It is a love without craving, but it is not friendship; for be friendship never so rich in emotion, it yet demands a content, something essential, as a mutual end and aim. Whereas, without any reciprocity of aim and interests, maternal love has an immediate support in the natural bond of connection. But in this instance the mother’s love is not at all restricted to the natural side. In the child which she conceived and then bore in travail, Mary has the complete knowledge and feeling of herself; and the same child, blood of her blood, stands all the same high above her, and nevertheless this higher being belongs to her and is the object in which she forgets and maintains herself. The natural depth of feeling in the mother’s love is altogether spiritualized; it has the Divine as its proper content, but this spirituality remains lowly and unaware, marvellously penetrated by natural oneness and human feeling. It is the blissful maternal love, the love of the one mother alone who was the first recipient of this joy. Of course this love too is not without grief, but the grief is only the sorrow of loss, lamentation for her suffering, dying, and dead son, and does not, as we shall see at a later stage,[9] result from injustice and torment from without, or from the infinite battle against sins, or from the agony and pain brought about by the self. Such deep feeling is here spiritual beauty, the Ideal, human identification of man with God, with the spirit and with truth: a pure forgetfulness and complete self-surrender which still in this forgetfulness is from the beginning one with that into which it is merged and now with blissful satisfaction has a sense of this oneness. In such a beautiful way maternal love, the picture as it were of the Spirit, enters romantic art in place of the Spirit itself because only in the form of feeling is the Spirit made prehensible by art, and the feeling of the unity between the individual and God is present in the most original, real, and living way only in the Madonna’s maternal love. This love must enter art necessarily if, in the portrayal of this sphere, the Ideal, the affirmative satisfied reconciliation is not to be lacking. There was therefore a time when the maternal love of the blessed Virgin belonged in general to the highest and holiest [part of religion] and was worshipped and represented as this supreme fact. But when the Spirit brings itself into consciousness of itself in its own element, separated from the whole natural grounding which feeling supplies, then too it is only the spiritual mediation, free from such a grounding, that can be regarded as the free route to the truth; and so, after all, in Protestantism, in contrast to mariolatry in art and in faith, the Holy Spirit and the inner mediation of the Spirit has become the higher truth.

Madonna's- Justify My Love, follows us into the lounge, where several men, seated at the tables, eye us like hungry lions as we walk through. Tiger asked, "So, this is a WHOREhouse?" "Actually, a gay BATHhouse. I hope you don't mind that I'm a little bit of a SLUT-puppy." "MIND? NO. You're MY HERO.

Despite an icy northeast wind huffing across the bay I sneak out after dark, after my mother falls asleep clutching her leather Bible, and I hike up the rutted road to the frosted meadow to stand in mist, my shoes in muck, and toss my echo against the moss-covered fieldstone corners of the burned-out church where Sunday nights in summer for years Father Thomas, that mad handsome priest, would gather us girls in the basement to dye the rose cotton linen cut-outs that the deacon’s daughter, a thin beauty with short white hair and long trim nails, would stitch by hand each folded edge then steam-iron flat so full of starch, stiffening fabric petals, which we silly Sunday school girls curled with quick sharp pulls of a scissor blade, forming clusters of curved petals the younger children assembled with Krazy glue and fuzzy green wire, sometimes adding tissue paper leaves, all of us gladly laboring like factory workers rather than have to color with crayon stubs the robe of Christ again, Christ with his empty hands inviting us to dine, Christ with a shepherd's staff signaling to another flock of puffy lambs, or naked Christ with a drooping head crowned with blackened thorns, and Lord how we laughed later when we went door to door in groups, visiting the old parishioners, the sick and bittersweet, all the near dead, and we dropped our bikes on the perfect lawns of dull neighbors, agnostics we suspected, hawking our handmade linen roses for a donation, bragging how each petal was hand-cut from a pattern drawn by Father Thomas himself, that mad handsome priest, who personally told the Monsignor to go fornicate himself, saying he was a disgruntled altar boy calling home from a phone booth outside a pub in North Dublin, while I sat half-dressed, sniffing incense, giddy and drunk with sacrament wine stains on my panties, whispering my oath of unholy love while wiggling uncomfortably on the mad priest's lap, but God he was beautiful with a fine chiseled chin and perfect teeth and a smile that would melt the Madonna, and God he was kind with a slow gentle touch, never harsh or too quick, and Christ how that crafty devil could draw, imitate a rose petal in perfect outline, his sharp pencil slanted just so, the tip barely touching so that he could sketch and drink, and cough without jerking, without ruining the work, or tearing the tissue paper, thin as a membrane, which like a clean skin arrived fresh each Saturday delivered by the dry cleaners, tucked into the crisp black vestment, wrapped around shirt cardboard, pinned to protect the high collar.

The reflexive sense of wonder, of crying over a medal of the Madonna del Granduca and not knowing why, will be mostly replaced by survival and knowing perfectly well why. And survival will mean replacing the love of the beautiful with the love of what is funny, humor being the last resort of the besieged Jew, especially when he is placed among his own kind.

Before you either turn away in disgust or wink knowingly at one another, you should know that the artist insists that this is a picture about love. Filial love. The old man has been condemned by the Roman senate to die of hunger, and his daughter has come to his prison cell and offered her breast to feed him. This has nothing to do with with the decorous love or amorous passions one is more accustomed to seeing in a painting. It is raw and wretched and demeaning. In the end, we are physical bodies and every abstract notion about love sinks beneath this fact.

Frida is a detour and a distraction. It was her genius as an artist, and her neurotic narcissism, to turn her whole self into art—her love, her suffering, her accident-prone life—and in the process make herself an icon, for the Mexican tradition is full of icons, especially of madonnas.

(Describing a stop at a village cafe in Italy while filming Taming of the Shrew) It was a perfect choice, the kind of place where chickens brood under the table, though there were none here There was the usual arbour of vines. Two men there intrigued Elizabeth. One was a distinguished oldish man, well dressed, who sat alone at a terraced table and neither ate nor drank nor moved. The other looked like a mendicant monk of some obscure order. He read from a parchment and ate bread. He didn't look up at all. He had a large beard. At seven-thirty just at dusk a Mass began at the church on the hill the other side of the road The Church of the Madonna of the Divine Love. The voices of the choir drifted on the air like an invisible mist, like unseen tumbleweed, like a dream. we stopped eating our fave (raw kidney beans) and rough cheese and we stopped drinking the vin de pays to listen. It was one of those moments which are nostalgic before they're over. The two men had gone, the tramp monk maybe to the Mass and the other who knows where. we drove home feeling holy and clean while the moon bright as I've ever seen her and with a wisp of chiffon cloud around her throat (E's image not mine) shone on us from the cloudless night.

As I reviewed the social terrain of the right-leaning people I had come to know—the companies, the state government, the church, Fox News—I reflected on my keyhole issue. Everyone I was talking to was enduring a great deal of pollution and despite the silence from companies, politicians, and state officials, nearly everyone clearly knew it. To some, such as Lee Sherman and Harold and Annette Areno, exposure had become the defining experience of their lives. To others, it was a passing matter. While many, like Madonna Massey, spoke of their love of capitalism, the dominant industry in their economy presented a decidedly mixed story. Oil was highly automated and accounted for some 15 percent of jobs—and even some of those were going to foreign workers at lower pay. The state had made huge cuts to local jobs and social services in order to bring in companies and, instead of money trickling down, a third of it was leaking out. To some degree, the community had become the site of local production without being the site of local producers. They were victims without a language of victimhood.

But the lovely Madonna, mother of his precious Jesus, couldn’t hold a candle to the madonna before him. They

I was amazing,” Dwayne squealed triumphantly as he landed gracefully in the middle of the room. “I did the meld and they bubbled and turned a lovely bluish-orange-green and then BOOM! The sound was incredible. Absolutely fabulous—like fornicating cats and Madonna.

CONTENTS Preface CHAPTER I PAGE V How Diana gave Birth to Arabia (Herodias) Of the sufferings of Mankind, and how Diana sent Aradia on earth to relieve them by teaching resistance and Sorcery—Poem addressed to Mankind—How to invoke Diana or Aradia, CHAPTER II The Sabbat—Treguenda or Witch-Meeting . 8 How to consecrate the supper—Conjuration of the meal and of Salt—Invocation to Cain—Conjuration of Diana and to Aradia, CHAPTER III How Diana made the Stars and the Rain i8 CHAPTER IV The Charm of the Stones consecrated to Diana—The Incantation of Perforated Stones—The Spell or Conjuration of the Round Stone . 21 PAGE CHAPTER V The Conjuration of the Lemon and Pins—Incantation TO Diana 29 CHAPTER VI A Spell to Win Love 35 CHAPTER VII To Find or Buy anything, or to have Good Fortune thereby 38 CHAPTER VIII To HAVE A Good Vintage and very Good Wine BY THE Aid of Diana 44 CHAPTER IX Tana and Endamone, or Diana and Endymion 51 CHAPTER X Madonna Diana 61 A Legend of Cettardo, and how Diana appeared with ten Bridesmaids to give away a Bride—Incantation to Diana for a Wedding. CHAPTER XI The House of the Wind 65 Showing how Diana rescued a Lady from Death at the Honse of the Wind in Volterra. PAGE CHAPTER XII Tana or Diana, the Moon-Goddess ... 72 CHAPTER XIII Diana and the Children 78 CHAPTER XIV The Goblin Messengers of Diana and Mercury 86 CHAPTER XV Laverna 89 APPENDIX loi ARADIA OR THE GOSPEL OF THE WITCHES CHAPTER

Lillian Meecham was a stunningly beautiful woman of thirty-seven. Time had encircled her softly, enriched and deepened her beauty as the years tiptoed past her. Her hair was long, a dark luxuriant red, swept to one side of her head and half covering her right eye, a haughty, insouciant mane that added a touch of ingenuous naughtiness to a face that otherwise had the innocence of a Madonna. Her face was a reflection of many things; a sum of many transfiguring, even violent events. Her smile was joyous, but the joy was fringed with grief. Her lips were full and passionate, her nose, mischievous and arrogant. In her face, hardening experiences were registered in soft places. Pain was exiled to the nearly invisible lines shooting out from the eyes. Grief radiated in tight stars from both sides of her mouth. These wrinkles were the only indications that the face had suffered and that time had left at least a few footprints in passage. It was a kind face; a face that sons could love, husbands worship, and daughters envy. Her body was firm, ripe, and full. It had rich curves that invited the secret scholarship of men’s eyes. She had borne four children and suffered three miscarriages, but her stomach was as hard and flat as her hand.

How could I long so for someone whose existence I’d only just become aware of? But wasn’t it always like this? Some things we never know we need until we find them.

A pool game mixes ritual with geometry. The slow spaciousness of the green felt mirrors some internal state you get to after a few beers. Back at school, I’d been trying to read the philosophy of art, which I was grotesquely unequipped to do but nonetheless stuck on. I loved the idea that looking at a painting or listening to a concerto could make you somehow “transcend” the day-in, day-out bullshit that grinds you down; how in one instant of pure attention you could draw something inside that made you forever larger. In those days the drug culture was pimping “expanded consciousness,” a lie that partly descended from the old postindustrial lie of progress: any change in how your head normally worked must count as an improvement. Maybe my faith in that lie slid me toward an altered state that day. Or maybe it was just the beer, which I rarely drank. In any case, walking around the pool table, I felt borne forward by some internal force or fire. My first shot sank a ball. Then I made the most unlikely bank shot in history to drop two balls at once after a wild V trajectory. Daddy whistled. The sky through the window had gone the exact blue of the chalk I was digging my cue stick in, a shade solid and luminous at once, like the sheer turquoise used for the Madonna’s robe in Renaissance paintings. Slides from art history class flashed through my head. For a second, I lent that color some credit, as if it meant something that made my mind more buoyant. But that was crazy.

If we maintain the open-mindedness of children, we challenge fixed ideas and established structures, including our own. We listen to people in other denominations and religions. We don't find demons in those with whom we disagree. We don't cozy up to people who mouth our jargon. If we are open, we rarely resort to either/or—either creation or evolution, liberty or law, sacred or secular, Beethoven or Madonna. We focus on both/and, fully aware that God's truth cannot be imprisoned in a small definition. Of course, the open mind does not accept everything indiscriminately—Marxism and capitalism, Christianity and atheism, love and lust, Moët Chandon and vinegar. It does not absorb all propositions equally like a sponge, nor is it as soft. But the open mind realizes that reality, truth, and Jesus Christ are incredibly open-ended.

months the sunshine would warm the sap in those trees into liquid gold. Like blood inside of veins, it would transform the corpses into living Madonnas, pregnant with tiny green buds, crowned in pink, adorned with leafy skirts, and perfumed with blossoms. The bees would buzz around them like groupies.

The Black Madonna is the female embodiment of God because God is a woman, and She is black. She embraces everyone with Her unconditional love as the Universal Mother. She, the Black Madonna, will listen and come to you as She has done for thousands of years to guide us out of the dark tunnel into the light. I firmly believe that the healing power of the Black Madonna is not something of the past; She is as alive today as She was thousands of years ago.

With Ghirlandaio and Fillipino Luppi dead, and Botticelli in a permanent state of depression, Raphael found an affluent audience starved for works of the highest quality. Florentine mercantile society fell in love with his potrayals of the Madonna and Child and the Holy Family-and with him, personally, for his gentle character. The provincialism of his master Perugino had heretofore kept Raphael’s genius under wraps. Leonardo taught him the power of unified, lucid compositions based on geometry, particularly the triangle and the circle. During Michelangelo’s absence, Raphael’s company was sought by everyone, including Michelangelo’s valued friends Taddeo Taddei and Agnolo Doni. In fact, he was such a frequent guest at Taddei’s home, where he would have had plenty of opportunities to study Michelangelo’s tondo, that Raphael gave his patron two paintings as thanks for his many kindnesses, and painted the Madonna deil Cardellino as a wedding gift for his friend Lorenzo Nasi, Taddei’s cousin. In 1505, the Carrera year, Raphael painted the portraits of Doni and his wife, Maddalena. The out-of-towner whom Michelangelo had dismissed as a mere nuisance had grown up.

We chose Madonna, Courtney Love, and Tina Turner for the cover. The shoot took twelve hours and involved seventy hairdressers, stylists, makeup people, and personal assistants

THE INDIANS are the Italians of Asia,’ Didier pronounced with a sage and mischievous grin. ‘It can be said, certainly, with equal justice, that the Italians are the Indians of Europe, but you do understand me, I think. There is so much Italian in the Indians, and so much Indian in the Italians. They are both people of the Madonna—they demand a goddess, even if the religion does not provide one. Every man in both countries is a singer when he is happy, and every woman is a dancer when she walks to the shop at the corner. For them, food is music inside the body, and music is food inside the heart. The language of India and the language of Italy, they make every man a poet, and make something beautiful from every banalité. These are nations where love—amore, pyaar—makes a cavalier of a Borsalino on a street corner, and makes a princess of a peasant girl, if only for the second that her eyes meet yours. It is the secret of my love for India, Lin, that my first great love was Italian.

Questions and topics for discussion 1) What do you think it means to be a Bossypants? Do you know anyone personally that you would describe as a Bossypants and did the society you live in ever try to drown her? 2) The lessons Tina has learned from her work as a writer, a boss, a performer, and a producer are lessons that can be carried across a wide array of disciplines. (For instance, from her instructions about improv: Always speak in statements.) Which moments resonated the most for you? 3) In Chapter 4, Tina realizes that she has been guilty of holding her gay friends to a double standard—enjoying their company but still expecting them to stay in a “half-closet.” Have you ever had a moment like this? In a related question, do you think young pop stars today experience too much pressure to pretend to be a lesbian with Madonna? 4) While working at the YMCA in Chicago, Tina experienced some personal low points. But it also propelled her into pursuing her improv career. Have you ever experienced a similarly transformative period? During your transformation, did you ever spin around and pretend to be Wonder Woman? 5) What are some of your favorite SNL sketches or 30 Rock episodes? Should we just act them out? 6) Which other celebrities, besides Kim Kardashian, do you think may have been engineered by Russian scientists to sabotage our athletes? 7) Are there more specifics you would add to “The Mother’s Prayer for Its Daughter”? 8) Tina writes a love letter to Amy Poehler. Do you have friends who inspire you in the same way that Amy inspires Tina? ACTIVITY: Write a love letter to Amy Poehler and mail it to her home address (p. 291).

Not a good answer, love.” “But – madonna forgive me, but – it was a woman.

Civilized human beings wear clothes, therefore there can be no portraiture, no mythological or historical storytelling without representations of folded textiles. But though it may account for the origins, mere tailoring can never explain the luxuriant development of drapery as a major theme of all the plastic arts. Artists, it is obvious, have always loved drapery for its own sake—or, rather, for their own. When you paint or carve drapery, you are painting or carving forms which, for all practical purposes, are non-representational-the kind of unconditioned forms on which artists even in the most naturalistic tradition like to let themselves go. In the average Madonna or Apostle the strictly human, fully representational element accounts for about ten per cent of the whole. All the rest consists of many coloured variations on the inexhaustible theme of crumpled wool or linen. And these non-representational nine-tenths of a Madonna or an Apostle may be just as important qualitatively as they are in quantity. Very often they set the tone of the whole work of art, they state the key in which the theme is being rendered, they express the mood, the temperament, the attitude to life of the artist.

The accompanying woodcut is from Pompeii; but the following extract, from John Bell's criticism on the antiques in the Picture Gallery of Florence, will show that the boyish divinity had been represented elsewhere also in ancient times in the same manner. Speaking of a statue of Cupid, he says it is "a fair, full, fleshy, round boy, in fine and sportive action, tossing back a heart." Thus the boy-god came to be regarded as the "god of the heart," in other words, as Cupid, or the god of love. To identify this infant divinity, with his father "the mighty hunter" he was equipped with "bow and arrows;" and in the hands of the poets, for the amusement of the profane vulgar, this sportive boy-god was celebrated as taking aim with his gold-tipped shafts at the hearts of mankind. His real character, however, as the above statement shows, and as we have seen reason already to conclude, was far higher and of a very different kind. He was the woman's seed. Venus and her son Cupid, then, were none other than the Madonna and the child.

I definitely need to love a man. But a real man. A man who could sweep me off my feet without resorting to brute strength. Without asking anything of me, without controlling me, or degrading me, a man who could love me and walk by my side. In other words, a truly powerful man, a real man.

, Bartolomeo Scappi thought. Never have I seen a woman so perfect, so angelic, so impossible for me to attain. "Bella," he breathed when air filled his lungs once again. Even Ippolito d'Este's presence at the dining table could not mar his giddiness. The girl was so beautiful she glowed like a painting of the Madonna, making everyone around her seem colorless in comparison. She was clearly a principessa of a grand house, sitting between Ippolito's father, the Duke of Ferrara, on one side, and a woman most likely to be her mother on the right. Bartolomeo sought to memorize every feature of this goddess with golden hair that shone with glints of red in the last rays of the day's sunlight. Her eyes were dark chestnut, rich and deep, while her lips were pink, like the inside of a seashell. Her hair was braided, but much of it flowed loose over shoulders, teasing her pale skin. She wore a dress of red, with sleeves billowing white. Rubies and pearls spilled across her delicate collarbone toward her beautiful breasts. Scappi painted her picture in his mind and stored it deep within the frame of his heart. That evening, while staring at the sky, his thoughts lost in the memory of the signorina, a shooting star passed across his vision. "Stella," he said under his breath. I will call her Stella. My shining star.

They saw Schilling take it all in. But he had more to say and exploded. “Listen, to the money talk! I just want you to know that I wasn’t in it to prove I could paint. Sure I wanted the cash. But you know what it was really all about. I was sticking it to the collectors who are so puffed up they would die to get a masterpiece on the cheap. They’re begging to be deceived. They deserve what they get because they’re the biggest fakes of all. I may not be a culture hero. But they’re nothing more than pretentious snobs with terrible taste just begging to be cheated. I loved putting it to them.

She ended her talk, once again showing both the Bigelow Cassatt and the Raphael Granduca Madonna. “By transforming Helen, first into a mother and then into the Madonna model,” she concluded, “Cassatt captured the religious belief system of the Renaissance in an Impressionist context. Her work shows that the living bond between every mother and child is no less than Mary’s with the infant Jesus. Unconditional human love is holy.

Weininger’s theory is that women cannot love … have made no ideal of man to correspond with the male conception of the Madonna … The German conception of women is lower than that of the Zulus in Tschaaka’s day’, he summarised, conflating racism and xenophobia for readers whose knowledge of South Africa was defined by reports of the British victory in the Anglo-Boer War.

Marcia would love this—sometimes people see visions of her in the churchyard. Marcia’s always having visions. Usually of white Madonnas, though, with blond hair and nice blouses from M & S. . . .

If a person truly has the ability to love, then he can never monopolize his beloved. And neither can his beloved monopolize him.

Daniel Glass, the CEO of the EMI Records Group, was not shy about hyping the deal to Billboard. “I don’t like to compare artists, but Selena is the closest artist I’ve got to Madonna. She has that same control, and I love artists that know where they want to go and how to get there. She’s definitely a pop star.

When I was tiny, my grandmother used to beg me not to go with boys, to love Jesus, and be a good girl. I grew up with two images of a woman: the Virgin and the whore.