A place for LGBTQ spirituality and the arts. Home of the gay Jesus and queer saints. Uniting body, mind and spirit. Open to all. Renamed Q Spirit blog and moved to Qspirit.net in 2017.
Vida Dutton Scudder is an American social reformer, professor, prominent lesbian author -- and an officially recognized saint in the Episcopal Church. Her feast day is Oct. 10.
Her ideas on economic inequality are especially relevant amid the financial crises of our times. Born in India to missionary parents in 1861, Scudder studied at Oxford and became a professor at Wellesley College, where she taught English literature for 41 years. All her primary relationships were with women. For 35 years from 1919 until her death in 1954, Scudder lived with author Florence Converse in a lesbian relationship.
Scudder’s spirituality went hand in hand with her social conscience and love of learning. She was active in the Social Gospel movement, co-founding a Boston settlement house to reduce poverty, promoting Christian socialism and backing trade unions. Scudder wrote 16 books, including her autobiography “On Journey,” plus numerous articles on religious, political, and literary subjects.
Converse (1871-1967), a New Orelans native and Wellesley graduate, served on the editorial staff of the Atlantic Monthly and The Churchman magazine. She wrote many novels with titles such as “The Story of Wellesley” and “The Holy Night.”
The two women are buried near each other at Newton Cemetery and Crematory in Newton, Massachusetts. The Internet makes it possible to visit to the graves of Scudder and Converse online.
The Episcopal Church added Scudder to its book of saints several years ago. She expressed her belief in the power of prayer when she wrote, “If prayer is the deep secret creative force that Jesus tells us it is, we should be very busy with it.” Here is the official prayer that the Episcopal Church offers in memory of this lesbian saint:
Most gracious God, you sent your beloved Son to preach peace to those who are far off and to those who are near: Raise up in your church witnesses who, after the example of your servant Vida Dutton Scudder, stand firm in proclaiming the power of the Gospel of Jesus Christ, who lives and reigns with you and the Holy Spirit, one God, now and for ever. Amen.
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This post is part of the LGBTQ Saints series by Kittredge Cherry. Traditional and alternative saints, people in the Bible, LGBTQ martyrs, authors, theologians, religious leaders, artists, deities and other figures of special interest to lesbian, gay, bisexual and transgender and queer (LGBTQ) people and our allies are covered.
Hildegard of Bingen was a medieval German nun, mystic, poet, artist, composer, healer and scientist. She founded several monasteries, fought for women in the church and wrote with passion about the Virgin Mary. Some say she was a lesbian because of her strong emotional attachment to women, especially her personal assistant Richardis von Stade. Hildegard was declared a doctor of the church by Pope Benedict XVI in 2013. Her feast day is Sept. 17 (today).
The title “Doctor of the Church” is a rare honor, bestowed upon only a few saints whose writings have universal value to the church. Their “eminent learning” and “great sanctity” must be affirmed by the Pope. Currently the Roman Catholic Church has only 33 doctors, including three women.
The friendship -- or love story -- between Hildegard and Richardis is included in a 2009 film from German feminist director Margarethe von Trotta called Vision: From the Life of Hildegard von Bingen. Von Trotta is one of the world’s most important feminist filmmakers and a leader of independent German cinema. Von Trotta allows Hildegard to speak for herself by using a script based on Hildegard’s own writings and a soundtrack filled with Hildegard’s music. Watch a trailer at the end of this post.
Richardis von Stade (center, played by Hannah Herzsprung) and Hildegard (left, Barbara Sukowa) in the biopic “Vision” (from zeitgeistfilms.com)
Hildegard also inspired a play by lesbian feminist playwright Carolyn Gage. In the play “Artemisia and Hildegard,” Gage has two of history’s great women artists debate their contrasting survival strategies: Gentileschi battled to achieve in the male-dominated art world while Hildegard created women-only community to support her art by founding a nunnery.
Hildegard of Bingen (1098-1179), the tenth child of a noble family, was offered to the church as a “tithe” when she was very young. She was raised from the age of 8 in the hermitage that later became her Benedictine abbey. She founded two other convents where women performed her music and developed their artistic, intellectual and spiritual gifts. She spent almost all of her life in the company of women.
She had visions throughout her life, starting at age 3 when she says that she first saw “the Shade of the Living Light.” She hesitated to tell others about her visions, sharing them only with her teacher Jutta.
When she was 42, Hildegard had a vision in which God instructed her to record her spiritual experiences. Still hesitant, she became physically ill before she was persuaded to begin her first visionary work, the Scivias (Know the Ways of God).
Hildegard was nursed in her illness and encouraged in her writing by Richardis von Stade, a younger woman who was her personal assistant, soul mate and special favorite. Whether or not they were physically intimate, Hildegard’s actions suggest that she was a lesbian in the sense that her primary love interest was in women.
In 1151, Hildegard completed the Scivias and trouble arose between her and her beloved Richardis. An archbishop, the brother of Richardis, arranged for his sister to become abbess of a distant convent. Hildegard urged Richardis to stay, and even asked the Pope to stop the move. But Richardis left anyway, over Hildegard’s objections.
Hildegard wrote intense letters begging Richardis to return: “I loved the nobility of your conduct, your wisdom and your chastity, your soul and the whole of your life, so much that many said: What are you doing?”
Richardis died suddenly in October 1151, when she was only about 28 years old. On her deathbed, she tearfully expressed her longing for Hildegard and her intention to return.
Hildegard’s grief apparently fueled further artistic creation. Many believe that Richardis was the inspiration for Ordo Virtutum (“Play of Virtues”}, a musical morality play about a soul who is tempted away by the devil and then repents. According to Wikipedia, “It is the earliest morality play by more than a century, and the only Medieval musical drama to survive with an attribution for both the text and the music.”
In an era when few women wrote, Hildegard went on to create two more major visionary works, a collection of songs, and several scientific treatises. She was especially interested in women’s health. Her medical writings even include what may be the first description of a female orgasm.
“Hildegard of Bingen: Vision of Music” by Tricia Danby
As a church leader, Hildegard had to support its policy against homosexual behavior. But she often wrote about the divine feminine and the dignity of women, presenting sexuality in a generally positive way. She wrote, “Creation looks on its Creator like the beloved looks on the lover.” Many readers today delight in her erotic descriptions of marriage as a metaphor for the union of a soul with God. Hildegard writes:
The soul is kissed by God in its innermost regions.
With interior yearning, grace and blessing are bestowed.
It is a yearning to take on God's gentle yoke,
It is a yearning to give one's self to God's Way.
In the Symphonia, a collection of liturgical songs to Mary, Hildegard writes with ecstatic passion of her love and devotion to the Virgin Mary. She extols Mary as “greenest twig” and sings the praises of her womb, which “illuminated all creatures.”
Her songs to Mary are available for listening in the following video and on the Sequentia recording, “Hildegard von Bingen: Canticles of Ecstasy.” Her music is still just as beautiful today.
Hildegard died on Sept. 17, 1179 at age 81. The sisters at her convent said they saw two streams of colorful lights cross in the sky above her room. She became a saint by popular acclamation.
The icon of Hildegard and Richardis at the top of this post was painted by Colorado artist Lewis Williams of the Secular Franciscan Order (SFO). He studied with master iconographer Robert Lentz and has made social justice a theme of his icons. This post also features images of Hildegard by artists Tricia Danby and Plamen Petrov.
Hildegard appears as a young woman in new portraits by Tricia Danby, a spiritual artist based in Germany and a cleric in the Old Catholic Apostolic Church. Her images reveal a sensuous side to Hildegard’s rapturous connection with God.
Stained-glass artist Plamen Petrov of Chicago is known for his window showing the male paired saints Sergius and Bacchus at St. Martha Church in Morton Grove, Illinois. His Hildegard window shows her illuminated with beautiful aquamarine colors.
Hildegard was sketched in blue with intense blue eyes by Tobias Haller, an iconographer, author, composer, and vicar of Saint James Episcopal Church in the Bronx. He is the author of “Reasonable and Holy: Engaging Same-Sexuality.” Haller enjoys expanding the diversity of icons available by creating icons of LGBTQ people and other progressive holy figures as well as traditional saints. He and his spouse were united in a church wedding more than 30 years ago and a civil ceremony after same-sex marriage became legal in New York.
Robert Lentz, a Franciscan friar known for his innovative and LGBT-positive icons, portrays Hildegard with a wild rose. She used to dip a rose in the Rhine River and use it to sprinkle water on people as a blessing when she traveled between monasteries. Lentz is stationed at Holy Name College in Silver Spring, Maryland.
Hildegard was the subject of a major sermon by Episcopal Presiding Bishop Katharine Jefferts Schori when the House of Bishops met in Taiwan on Sept. 17, 2014. “Hildegard speaks scientifically and theologically of divine creativity as viriditas, reflecting both greenness and truth… Hildegard’s vision motivates all healers of creation who understand the green web of connection that ties creation together in Wisdom’s body,” she said. (Thanks to Ann Fontaine at Episcopal Café for the news tip.)
Top image credit: “St. Hildegard of Bingen and Her Assistant Richardis” by Lewis Williams, TrinityStores.com
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This post is part of the LGBTQ Saints series by Kittredge Cherry. Traditional and alternative saints, people in the Bible, LGBTQ martyrs, authors, theologians, religious leaders, artists, deities and other figures of special interest to lesbian, gay, bisexual and transgender and queer (LGBTQ) people and our allies are covered.
The Black Madonna of Czestochowa, one of the most famous Catholic icons, is the model for a Haitian Vodou goddess who protects lesbians.
Traditional images of Erzulie Dantor, the Vodou defender of lesbians, are based on the Black Madonna of Czestochowa, whose feast day is today (Aug. 26). They even share the same two scars on the dark skin of the right cheek.
Aug. 26 also happens to be Women’s Equality Day -- the date when women got the right to vote in the United States back in 1920.
Every year more than 100,000 people view the original Black Madonna of Czestochowa icon in Poland at one of the most popular Catholic shrines on the planet. John Paul II, the Polish pope, was devoted to her. Few suspect that the revered icon of the Blessed Virgin Mary has a lesbian connection.
Our Lady of Czestochowa is among dozens of Black Madonna icons remaining from medieval Europe. The reason for their dark skin is unknown, but people speculate that the images may have been created black to match the color of indigenous people or they turned black due to smoke and aging. Some see her dark skin as a metaphor for the earth or a reference to the lover in Song of Songs who declared, “I am black but beautiful.”
Black Madonnas are said to embody the shadow side of the Divine Feminine, the unconscious and unpredictable aspects that are usually buried or kept in darkness. Erzulie Dantor reveals Mary’s hidden bonds with lesbians.
Legend says that the Czestochowa portrait of Mary was painted by Saint Luke the Evangelist while she told him the stories about Jesus that he later wrote in his gospel. The icon traveled from Jerusalem through Turkey and Ukraine, ending up in Poland in 1382. The painting is considered so important that it even has its own feast day: Aug. 26, the date that it was installed at its current home. In the 15th century looters pried two jewels off her cheek, leaving a characteristic pair of marks.
Events in Haiti soon took Our Lady of Czestochowa in a new direction. In the 18th century hundreds of thousands of slaves were brought from Africa to Haiti, where they were forced to do heavy labor and convert to Christianity. Through the process of syncretism, they developed a hybrid form of Christianity mixed with Vodou, an ancestral folk religion from West Africa.
Copies of the Black Madonna of Czestochowa were brought to Haiti by about 5,000 Polish soldiers who fought on both sides of the Haitian Revolution starting in 1802. She was transformed into Erzulie Dantor when Haitians merged her with Vodou.
Erzulie Dantor is a loa or lwa (Vodou spirit) who is recognized as a patron of lesbians. Her name has many alternate spellings such as Ezili Danto. She fiercely loves and defends women and children, especially lesbians, independent businesswomen, unwed mothers, and those who experience domestic violence. She has a reputation for taking revenge on abusive husbands and unfaithful lovers. Scar-faced warrior Erzulie Dantor liberated slaves by helping to start and win the Haitian Revolution. She is fond of knives, rum and unfiltered cigarettes.
Like Our Lady of Czestochowa, she holds a child with a book. But instead of the infant Jesus with the gospels, the baby on her lap is her daughter Anais. The Catholic Church in Haiti identifies these images as neither Erzulie Dantor nor Mary, but “Saint Barbara Africana.” Erzulie Dantor is a single mother who has given birth, but some believe she is bisexual or lesbian herself.
The two scars on her cheek are explained either as tribal scarification or wounds from a fight with Erzulie Freda, her light-skinned and coquettishly feminine sister. Erzulie Freda, the goddess of love and sexuality, is the patron of gay men, especially drag queens and those who are effeminate. She is associated with images of the grieving Mary as Our Lady of Sorrows.
These queer Vodou deities include La Sirene, a pansexual mermaid who rules the seas; La Balen, her mysterious butch lesbian intimate companion who is often depicted as a whale; transgender divinity Mawu-Lisa, patron of artists and craftspeople; androgynous Legba, a Christ figure who mediates between the living and the dead; Ayido Wedo and Danbala, a married pair of queer rainbow serpents who bring prosperity, joy and peace; the sexually complex Gede family that oversees the transition to the afterlife; and many more. Each loa or spirit can possess or engage in spiritual marriage with Vodou practitioners of either gender, leading to many queer possibilities.
Black Madonna figures continue to inspire folk artists and fine artists such as Christie Freeman of Springfield, Illinois, who shares her painting here at the Jesus in Love Blog. One of the best known and most controversial contemporary versions is the 1996 painting “The Holy Virgin Mary” by British artist Chris Ofili. He surrounded a stylized black Madonna with mixed media including elephant dung and images from pornography and blaxploitation movies. While using shock value to critique definitions of sacred and profane, he enraged the religious right.
“Erzulie and Devotee” by Brandon Buehring
Artist Brandon Buehring sketched a contemporary “Erzulie and Devotee” in his “Legendary Love: A Queer History Project.” He uses pencil sketches and essays “to remind queer people and our allies of our sacred birthright as healers, educators, truth-tellers, spiritual leaders, warriors and artists.” The project features 20 sketches of queer historical and mythological figures from many cultures around the world. He has a M.Ed. degree in counseling with an LGBT emphasis from North Carolina State University in Raleigh. He works in higher education administration as well as being a freelance illustrator based in Northampton, Massachusetts.
Throughout history some church officials have attacked images such as Erzulie Dantor as illegitimate and incompatible with Christianity. But many Haitian Christians today see Vodou as a way to enhance their faith. Meanwhile Our Lady of Czestochowa is celebrated for revealing the dark face of God’s own mother.
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Related links:
“Mother of God Similar to Fire” with icons by William Hart McNichols and reflections by Mirabai Starr presents a wide of variety of liberating icons of Mary, including a black Madonna. McNichols is a New Mexico artist and Catholic priest who has been rebuked by church leaders for making icons of LGBT-affirming martyrs and saints not approved by the church.
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This post is part of the LGBTQ Saints series by Kittredge Cherry. Traditional and alternative saints, people in the Bible, LGBTQ martyrs, authors, theologians, religious leaders, artists, deities and other figures of special interest to lesbian, gay, bisexual and transgender and queer (LGBTQ) people and our allies are covered.
Midsummer feasts have celebrated the divine feminine on Aug. 15 since before the time of Christ. Now devoted to Mary, the holiday known as the Feast of the Assumption (or Dormition) carries the torch of lesbian spiritual power to a new generation on the same date.
Saint Mary, mother of Jesus, is honored by churches on Aug. 15 in a major feast day marking her death and entrance into heaven. Catholic and Orthodox churches call it the Feast of the Assumption or Dormition because they believe that Mary was “assumed” into heaven, body and soul.
The connections between Diana and Mary raise many questions. The concept of virginity has been used to control women, but sometimes it is a code word for lesbian. What shade of meaning is implied by the “virginity” of these two heavenly queens? Did the church patriarchs substitute wild lesbian Artemis with mild straight Mary -- or is Mary more versatile and dynamic than many thought?
The Virgin Mary’s holiday was adapted -- some would say appropriated -- from an ancient Roman festival for Diana, the virgin goddess of the moon and the hunt. Diana, or Artemis in Greek, is sometimes called a lesbian goddess because of her love for woman and her vow never to marry a man. The ancient Roman Festival of Torches (Nemoralia) was held from Aug. 13-15 as Diana’s chief festival.
According to mythology, Diana preferred the company of women and surrounded herself with female companions. They took an oath of virginity and lived as a group in the woods, where they hunted and danced together. Homoerotic art and speculations often focus on Diana’s relationship with the princess Callisto. The god Jupiter (Zeus) lusted after Callisto, so he disguised himself as Diana and seduced Callisto in a woman-to-woman embrace. The lesbian love scene is painted by artists such as Francois Boucher in “Jupiter and Callisto” (below).
“Jupiter (disguised as Diana) and Callisto” by Francois Boucher (Wikimedia Commons)
There are many more stories about Diana and the women, nymphs and goddesses whom she loved. The goddess Britomaris was another favorite of Diana. When the lustful king Minos pursued Britomaris, she escaped by leaping into the sea. Diana rescued her and, some say, fell in love with her. Diana also showed love for various princesses. She gave the princess Cyrene a pair of magical dogs and granted the princess Daphne the gift of shooting straight. The princess Atalanta almost died of exposure as a baby girl after her father abandoned her because he wanted a son. Diana saved her and, with the help of a she-bear, Atalanta grew up to become one of Diana’s beloved companions. And this is just the beginning.
Diana’s main holiday was the Festival of Torches or Nemoralia. Hundreds of women and girls carried torches and candles in a night-time procession through the woods. They wore wreaths of flowers -- and even put flowers on the hunting dogs who walked with them. The group hiked a few miles from Rome to a sacred site, the circle-shaped Lake Nemi. The dark waters reflected the moon and the torchlight of the pilgrims. There they left offerings of apples, garlic, statues and prayers handwritten on ribbons. Click here for a vivid description of the festival. Ovid, a Roman poet who lived before Christ, described the magic of the festival:
Often does a woman whose prayers Diana answered,
With a wreath of flowers crowning her head,
Walk from Rome carrying a burning torch...
Click here for a beautiful painting of “Diana Asleep in the Woods” by surrealist Giorgio de Chirico. Diana sleeps beside an offering of fruit, her bow and arrow, and her large black-and-white spotted dog.
Artemis of Ephesus
Aspects of Diana and Artemis were taken over by the church more than 1,300 years ago. The Festival of Torches became the Feast of the Assumption. The Temple of Artemis at Ephesus in Turkey was one of the seven wonders of the ancient world, with an awe-inspiring statue of the “many-breasted” Artemis. The temple was destroyed and replaced by the Church of Mary. The Virgin Mary even assumed some titles once given to Artemis, including Queen of Heaven.
Feminists praise Diana/Artemis as an archetype of female power, a triple goddess who represents all phases of womanhood. She is the maiden, wild and free, with no need for a man. She is the “many-breasted” mother who nurtures all life. She is the crone, the mature hunter who provides swift death with her arrows in harmony with the cycles of nature.
LGBTQ people and allies may be inspired by the queer origins of this midsummer holiday. May the Queen of Heaven, by whatever name, continue to bless those who remember her.
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Related links: Are there any lesbian goddesseses?
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Related books:
“Mother of God Similar to Fire” with icons by William Hart McNichols and reflections by Mirabai Starr presents a wide of variety of liberating icons of Mary, including a black Madonna. McNichols is a New Mexico artist and Catholic priest who has been rebuked by church leaders for making icons of LGBTQ-affirming martyrs and saints not approved by the church.
“Artemis of Ephesus,” 1st century CE Roman copy of the “many breasted” Artemis stattue of the Temple of Ephesus (Wikimedia Commons)
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Icons of the Assumption of Mary and many others are available on cards, plaques, T-shirts, mugs, candles, mugs, and more at TrinityStores.com
This post is part of the LGBTQ Saints series by Kittredge Cherry. Traditional and alternative saints, people in the Bible, LGBTQ martyrs, authors, theologians, religious leaders, artists, deities and other figures of special interest to lesbian, gay, bisexual and transgender and queer (LGBTQ) people and our allies are covered.
A queer Christ figure is the main character in the world’s best known lesbian novel, “The Well of Loneliness” by Radclyffe Hall. She was born on this date (Aug. 12) in 1880.
The book was banned for obscenity in England in 1928, not just because it portrayed lesbian love, but also for using religious arguments to support “inverts” -- a 1920s term for LGBTQ people. Hall, a devoutly Catholic British lesbian, was herself pictured being nailed to the cross in a satirical cartoon from the era.
Radclyffe Hall
Hall (1880-1943) is widely recognized as a pioneering lesbian (or perhaps transgender) author. But her Christian side is often downplayed because of the conflict between Christianity and homosexuality -- what was then called “congenital sexual inversion.” Hall lived with those contradictions and tried to reconcile them in her books. Today the Jesus in Love Blog focuses on the role of Christianity in Hall’s life and work.
“The Well of Loneliness” ends with a desperate prayer that has been echoed by countless LGBTQ people and still rings true now. The prayer is uttered by the novel’s protagonist, Stephen Gordon. She was born on Christmas Eve and named after the first Christian martyr. As a girl she had a dream “that in some queer way she was Jesus.” Like Hall, Stephen grows up to become a masculine woman who wears men’s clothes, has romantic relationships with women, and identifies as an “invert.”
At the climax of the novel Stephen has a vision of being thronged by millions of inverts from throughout time: living, dead and unborn. They beg her to speak with God for them, and then they possess her. She speaks for queer people from the past, present and future as she gives passionate voice to their collective prayer:
“God,” she gasped, “We believe; we have told You we believe…We have not denied You, then rise up and defend us. Acknowledge us, oh God, before the whole world. Give us also the right to our existence!”
Such themes led to obscenity trials for “The Well of Loneliness,” even though the novel is not sexually explicit. It gets no more risqué than saying, “She kissed her full on the lips, as a lover.” In Britain it was condemned and all copies were ordered destroyed. It was only published in America after a court battle.
British judge Chartres Biron was especially outraged that Hall defended LGBTQI people by affirming that they are part of God’s creation. In his decision Biron wrote::
“I confess that the way in which the Deity is introduced into this book seems to me singularly inappropriate and disgusting. There is a plea for existence at the end. That of course means a plea for existence in which the invert is to be recognized and tolerated, and not treated with condemnation, as they are at present, by all decent people. This being the tenor of the book, I have no hesitation whatever in saying that it is an obscene libel, that it would tend to corrupt those into whose hands it should fall, and that the publication of this book is an offence against public decency, and obscene libel, and I shall order it to be destroyed.”
Both sides of the controversy were satirized in “The Sink of Solitude,” a series of cartoons including “Saint Stephen” by Beresford Egan. One drawing shows Hall nailed to a cross wearing her trademark sombrero. A near-nude Sappho leaps in front of the martyred author and Cupid perches on the crossbeam. The crucifixion is witnessed by the evangelical Home Secretary William Joynson-Hicks, who helped enforce the censorship order.
Hall was upset to see herself portrayed in a way that she considered blasphemous. The drawing strengthened her resolve to write a modern version of Christ’s life as her next novel. Titled “The Master of the House,” it concerns Christophe, a compassionate carpenter born in Provence, France to a carpenter called Jouse and his wife Marie. He ends up being crucified during the First World War.
Writing the book was so spiritually intense that Hall developed stigmata on the palms of her hands during the two-year creative process. She believed it was her best book, but it got bad reviews and sales slumped. In America the book was seized not by police, but by creditors because her publisher went bankrupt.
Almost all references to “The Master of the House” describe it as a deeply religious book without further explanation. Actually it is an adaptation of Christ’s story for modern times. One of the only detailed summaries comes from the Delphi Classics edition of “The Complete Works of Radclyffe Hall.” It states:
“This 1932 novel concerns Christophe Benedict, a carpenter who lives in Provence. Almost saint-like, he is deeply spiritual, compassionate and experiences visions of a previous life as the Carpenter of Nazareth. He is attracted to girls, but refrains from having a relationship, held back by some unknown power -- his closest friend is his male cousin Jan, (but this is not a novel about homosexuality). When the 1914-1918 war begins, he enlists and is posted to Palestine. A close encounter with the enemy leads to a dramatic turn of events.”
Hall’s religious devotion dates back to 1912, when she was in her early 30s. She converted to the Roman Catholic Church under the influence of her first long-term lover, Mabel “Ladye” Batten. Her baptismal name was Antonia and she chose Anthony as her patron saint. Together they worshiped at London’s fashionable Church of the Immaculate Heart of Mary, known as the Brompton Oratory.
Hall and Batten made a pilgrimage to Rome, where a financial donation led Pope Pius X to bless them in a semi-private audience at the Vatican in 1913. “They went to confession and mass in St. Peter’s and bought triptychs, gilt angels and an alabaster Madonna,” biographer Diane Souhami reports in “The Trials of Radclyffe Hall.”
Batten, who died in 1916, was a Catholic convert too, as was Hall’s next lover, Una Troubridge (1887-1963). All three of them were part of a trend. A surprising number of upper-class English lesbians and intellectuals converted to Catholicism in the late 19th and early 20th centuries in a trend related to the Oxford Movement. Conversion was a way of rebelling against English society while maintaining connection with tradition. Hall was also interested in Spiritualism.
An independently wealthy heiress, Hall gave generously to the church. In the 1930s she and Troubridge made their home in Rye, a village in East Sussex where many writers lived. The Catholic Church of Saint Anthony of Padua was constructing a new building when they moved to Rye, and biographer Souhami reports that Hall “poured money into this church” to bring it to completion and furnish it.
“She paid for its roof, pews, paintings of the Stations of the Cross and a rood screen of Christ the King. A tribute to Ladye was engraved on a brass plaque set into the floor:
Of your charity
Pray for the soul of Mabel Veronica Batten
In memory of whom this rood was given.
She paid off all the outstanding debts of the church… Masses, benedictions, processions and venerations stemmed from her beneficence.
One source says that she and Troubridge left their money to the church after their deaths. Hall died of colon cancer at age 63 on October 7, 1943. She is buried with Ladye in London’s Highgate Cemetery.
At the time of her death, “The Well of Loneliness” had been translated into 14 languages and was selling more than 100,000 copies per year. It has never gone out of print. For decades it was the only lesbian book generally available, and therefore it made an enormous impact on generations of queer people. It remains on many lists of the top LGBT books.
“The Well of Loneliness” has sparked controversy not only from conservatives, but also among the LGBTQ community. The novel is often criticized for expressing shame and self-hatred, defining all lesbians as masculine, and presenting a stereotyped butch-femme lifestyle. Hall has long been classified as a lesbian, but now there is debate over whether she was a transgender man. Secular LGBT readers tend to dismiss the religious aspects as embarrassing and irrelevant relics of a bygone era.
One scholar who affirms the role of religion in Hall’s work is Ed Madden, English professor at the University of South Carolina. His article “The Well of Loneliness, or the Gospel According to Radclyffe Hall” is included in the 2003 book "Reclaiming the Sacred: The Bible in Gay and Lesbian Culture,” edited by Raymond-Jean Frontain. It was originally published in the Journal of Homosexuality, where the abstract summarizes it this way::
“Radclyffe Hall's 1928 novel, 'The Well of Loneliness,' is repeatedly described as a "bible" of lesbian literature. The novel itself repeatedly alludes to biblical stories, especially the story of Christ. Yet there has been little sustained analysis of the biblical language of the novel. Most feminist and lesbian critics have dismissed the biblical allusions and language as unfortunate and politically regressive; religious critics have ignored the novel. This essay reexamines the biblical nature of the novel, especially its portrayal of the lesbian Stephen Gordon as a Christ figure. The study further claims a creative and interventionary power in Hall's use of biblical narratives and tropes, a power traceable in public reception to the novel and in courtroom reactions to the use of spiritual language in a text about lesbianism. By writing the life of a lesbian as a kind of gospel of inversion, Hall turns a language of condemnation into a language of validation, making her use of biblical language a kind of Foucauldian "reverse discourse." The novel's power lies in its portrayal of a lesbian messiah, and in its joining of sexological and religious discourses.”
Another scholar who writes in depth about the queer Christian aspect of Hall’s work is Isabella Cooper. She was a Ph.D. candidate in the English department at the University of Maryland in College Park when she wrote “The Passion of Stephen Gordon: The Messianic Lesbian Artist in Radclyffe Hall’s 'The Well of Loneliness.'” The article appeared in the Transverse Journal in 2011. In the article she states:
“The Well’s readers have frequently noticed the deliberate parallels Hall draws between Stephen and Christ; they have also noticed Hall’s identification with both. Some readers have mocked the novel for precisely this reason. Hall’s strategy of creating an alter-ego/ protagonist and identifying her with Christ reflects her understanding of her role as a Christian lesbian artist. She attempts in this novel to perform a powerful work of redemption for those whose desires society and the Church label sinful. In order to combat the stigma of sinfulness, Hall fashions (and speaks through) a protagonist whose Christ-like suffering and self-sacrifice challenge her readers, and whose ability (by the novel’s end) to reconcile her commitments to her faith, her art, and her sexual identity enable her to take on a messianic role.”
Hall would probably be the first to insist that she was no saint, but she is included in the LGBT Saints series here at the Jesus in Love Blog because was a pioneer in the effort to reconcile Christianity and homosexuality. Thank you, Radclyffe, for voicing a prayer from queer people of all times: “Acknowledge us, oh God, before the whole world. Give us also the right to our existence!”
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Top image credit:
Lesbian author Radclyffe Hall is a crucified Christ figure in a 1928 cartoon by Beresford Egan
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This post is part of the LGBTQ Saints series by Kittredge Cherry. Traditional and alternative saints, people in the Bible, LGBTQ martyrs, authors, theologians, religious leaders, artists, deities and other figures of special interest to lesbian, gay, bisexual and transgender and queer (LGBTQ) people and our allies are covered.
Mary and Martha of Bethany were two of Jesus’ closest friends. The Bible calls them “sisters” who lived together, but reading the Bible with queer eyes raises another possibility. Maybe Mary and Martha were a lesbian couple. Their feast day is today (July 29).
Mary and Martha formed a nontraditional family at a time when there was huge pressure for heterosexual marriage.
“Jesus loved Lazarus, Mary and Martha. What drew Jesus to this very non-traditional family group of a bachelor brother living with two spinster sisters? Two barren women and a eunuch are Jesus’ adult family of choice. Are we to assume they were all celibate heterosexuals? What if Mary and Martha were not sisters but called each other ‘sister’ as did most lesbian couples throughout recorded history?”
Biblical patriarchs have also hidden their marriages by claiming their wives were their sisters. In the book of Genesis, Abraham claimed his wife Sarah was his sister on two different occasions (Genesis 12:10-20; 20:1-18) and once Isaac passed off his wife Rebekah as his sister (Genesis 26:1-16).
Mary and Martha are best known for the conflict they had when they hosted Jesus and his disciples. Mary sat at Jesus’ feet to listen, but Martha wanted her to help her serve. Jesus’ famous answer: “Martha, Martha, you are worried and upset about many things, but only one thing is needed. Mary has chosen what is better, and it will not be taken away from her.” (Luke 10:41-42).
In another major Bible story, Jesus talks with Mary and Martha in turn before raising their brother Lazarus from the dead. During the conversation, Martha speaks what is considered the first profession of faith in Jesus: “I believe that you are the Christ, the Son of God, who was to come into the world” (John 11:27).
Like with most Biblical figures, the truth about Mary and Martha is a mystery. The gospels references are brief and sometimes contradictory. As a result, Mary of Bethany is identified as Mary Magdalene in the Roman Catholic church, while in Protestant and Eastern Orthodox traditions they are considered separate persons.
The Orthodox Church also includes Mary and Martha among the “myrrh bearing women” who were faithfully present at his crucifixion and brought myrrh to his tomb, where they became the first to witness his resurrection. Christian feminists also honor the couple and say that they probably were leaders of a “house church.”
Artists provide some beautiful paintings of the “sisters,” including the one above by Italian Renaissance artist Bernardino Luini (1480 -1532). Magic realist painter Eileen Kennedy has done a new painting of them as contemporary women. Kennedy’s “In the House of Martha and Mary” is on view at the Episcopal Cafe Art Blog. Martha stands angrily with vacuum cleaner in hand as her sister listens to Jesus.
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This post is part of the LGBTQ Saints series by Kittredge Cherry. Traditional and alternative saints, people in the Bible, LGBTQ martyrs, authors, theologians, religious leaders, artists, deities and other figures of special interest to lesbian, gay, bisexual and transgender and queer (LGBTQ) people and our allies are covered.
“Judith and Her Maidservant” by Artemisia Gentileschi
Baroque artist Artemisia Gentileschi inspires many with her paintings of strong Biblical women -- created despite the discrimination and sexual violence that she faced as a woman in 17th-century Italy. She was born more than 400 years ago today (July 8, 1593).
Gentileschi was apparently heterosexual, but lesbians have drawn energy from her life and art. Many queer people can relate to her battles against prejudice and sexual violence, documented in her rape trial in 1612. She can be considered the patron saint of lesbian artists, women artists, and everyone who breaks gender rules.
Gentileschi (1593–1652) was successful in her own day, but was mostly written out of art history until the 1970s, when feminist scholars rediscovered her work. Now she is celebrated in many books, films and plays, and her work is widely reproduced. Her greatest paintings include “Judith Beheading Holofernes” and “Susanna and the Elders.”
Lesbians who have created tributes to Gentileschi include painter Becki Jayne Harrelson and playwright Carolyn Gage. In the play “Artemisia and Hildegard,” Gage has two of history’s great women artists debate their contrasting survival strategies: Gentileschi battled to achieve in the male-dominated art world while Hildegard of Bingen found support for her art in the women-only community of a medieval German nunnery.
The daughter of a painter, Gentileschi was born in Rome and trained as a painter in her father’s workshop there. She was refused admission to the art academy because she was a woman, so her father arranged for her to have a private painting teacher -- who raped her when she was about 19. Gentileschi herself was tortured by thumbscrews during the seven-month rape trial, but she stuck to her testimony. The teacher was convicted, but received a suspended sentence.
“Judith Beheading Holofernes”
by Artemisia Gentileschi
Gentileschi used art to express her outrage. During the trial Artemisia began painting the Biblical scene of “Judith Beheading Holofernes” (left). Judith, a daring and beautiful Hebrew widow, saves Israel by cutting off the head of the invading general Holofernes. Judith and Holofernes became one of Gentileschi’s favorite subjects, and she painted several variations during her lifetime.
Her realistic style, influenced by the artist Caravaggio, shows dramatic contrasts between light and dark. But Gentileschi usually created her own unique interpretation expressing a strong female viewpoint. The violence of Judith beheading the male general Holofernes speaks for itself. Another example is her painting (below left) of the Biblical story of the Hebrew wife Susanna and the lustful elders who spied on her while she was bathing. Although her male contemporaries painted the scene as a voyeuristic fantasy, Gentileschi presents it as a violation of the vulnerable Susanna by the predatory elders.
“Susanna and the Elders”
by Artemisia Gentileschi
Soon after the rape trial Gentileschi married and moved to Florence, where she became the first woman accepted into the Accademia delle Arti del Disegno (Academy of the Arts of Drawing). She had a full career, producing many paintings of powerful women from Christianity, history and mythology. She worked in various Italian cities and even spent a few years painting in London, England. It is believed that she died when she was about 60 years old in a plague that swept Naples in 1656.
Today Gentileschi’s life and work are admired by many, including artist Becki Jayne Harrelson. She is best known for her LGBT-affirming version of “The Crucifixion of the Christ” with the word “faggot” above Jesus on the cross, but Harrelson has also honored Gentileschi in her art and blog.
Harrelson offers this tribute in celebration of Gentileschi’s birthday: “Artemisia Gentileschi’s talent and mastery was equal to her male counterparts, yet because of sexism and misogyny, she was denied the recognition she deserved as a master painter until many centuries later. She also suffered sexual violence and was treated unjustly for standing up against it. Her art and life inspires me to persevere despite adversity and prejudice.”
“Tribute to Artemisia’s Judith” by Becki Jayne Harrelson, www.beckijayne.com
Oil on canvas | 36”w X 48”h
Gentileschi's story is told in a variety of movies and novels, including "The Passion of Artemisia" by Susan Vreeland.
Artemisia Gentileschi is included in the LGBT saints series at the Jesus in Love Blog because she has inspired so many lesbians with her paintings of women and her success despite gender barriers and sexual violence.
This post is part of the LGBTQ Saints series by Kittredge Cherry. Traditional and alternative saints, people in the Bible, LGBTQ martyrs, authors, theologians, religious leaders, artists, deities and other figures of special interest to lesbian, gay, bisexual and transgender and queer (LGBTQ) people and our allies are covered.
. Von Trotta is one of the world’s most important feminist filmmakers and a leader of independent German cinema. Von Trotta allows Hildegard to speak for herself by using a script based on Hildegard’s own writings and a soundtrack filled with Hildegard’s music. Watch a 
.” Her music is still just as beautiful today. 
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by cultural historian Marina Warner shows how the figure of Mary was shaped by goddess legends and other historical circumstances, resulting in an inferior status for women. 
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