Saturday Good Reads

My friend and The High Calling colleague David Rupert went to Jordan for 10 days, and sent back a steady stream of photos and blog posts, including an interesting story about tour guides. Seth Haines explored writing as a spiritual discipline. Mark Movsevian at First Things explored how Thomas More is portrayed in the PBS series Wolf Hall. And my wife found on the internet some of the oldest video footage of London, displayed in a “then and now” format.

And more good stuff, too.

Faith

When You Are Weary in Battle – Deidra Riggs at Jumping Tandem.

My Mother, My Daughter, Myself – Caroline Langston at Image Journal.

Tour Guides for Faith – David Rupert at Red-Letter Believers.

Setting Sail and …Not forgotten – Doug Spurling at Spurling Silver.

The Pain is Not the End of the Story – Chris Peek at Trail Reflections.

Faith in the system, or faith in Jesus? – Chaplain Mike at Internet Monk.

Culture

The Accidental Benedict Option – Rod Dreher at American Conservative.

Thou Mayest – and Why It Matters – Dr. Steven Garber at Reintegrate.

Thomas More, Villain – Mark Movsevian at First Things.

Poetry

At some point along the way – John Blase at The Beautiful Due.

Halfling Paean to Summer – Brendan MacOdrum at Oran’s Well.

Anne Porter – D.S. Martin at Kingdom Poets.

Until the End of Heaven – Maureen Doallas at Writing Without Paper.

Read, write, breathe poetry – Mary Harwell Sayler at The Poetry Editor (great list of links).

Iconography - poem by Samuel Dickison at @curatormagazine

Writing

Stop Trying So Hard and Trust Your Inspiration – Mick Silva.

Why Writing is a Spiritual Discipline – Seth Haines.

The Soul of the Law – A.G. Harmon at Image Journal.

Photography And Video

Spring Ephemerals – Timothy Good at Photography by Tiwago.

The Deep Green Silence of Love – Diane Walker at Contemplative Photography.

Video: Oldest Footage of London Ever – Londontopia (Hat Tip: Janet Young).

Painting: Chinois by Georges Rouault, oil on paper mounted on canvas (1939); St. Louis Art Museum. The painting is part of the museum’s European Provenance Disclosure Project, which “identifies and provides up-to-date information on all European paintings in the Museum's collection that may have been purchased, sold, or created during the Nazi era.”