The pious British poet and artist William Blake once famously referred to organized religion as an “ugly distortion of a true spiritual life.” The more humankind attempts to put measures, limits, and analogues on the divine, the farther we got away from the undistilled truth of the unknowable.
by Piers Marchant
The pious British poet and artist William Blake once famously referred to organized religion as an “ugly distortion of a true spiritual life.” The more humankind attempts to put measures, limits, and analogues on the divine, the farther we got away from the undistilled truth of the unknowable.
We are humans, we don’t so much like to truck with feelings alone, they are too intangible, resistant to description and predictability. It makes us uncomfortable to float in that pool of undefined spirituality, so we work feverishly hard to write scriptures and edicts of God’s word, and make symbols out of all the things we can’t possibly touch.
Blake’s courageous brand of self-attenuated spirituality seeps in throughout “Saint Maud,” Rose Glass’ commanding feature debut, about a young woman who believes she has found her divine path after a lifetime of feeling lost, and couldn’t be farther off the mark.
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