deepundergroundpoetry.com
A Satanic Inversion
Kent, 1865
In Bethlehem tonight
God's angels weep for what we do
2000 years almost from thence,
as raised above the organ's flues
a deadly inversion rises.
The new Mother, with glucose eyes
and hands of dripping blood outspread
to mock the stigmata as well
as Mary's pieta. The churchyard's dead
say nought of this, the first coming of Hell.
We wyrd sisters in sackcloth stare
at she our masterpiece,
our lady of pleasure. The Kentish winds
are howling now, the lychgate banging back
and forth like children feebly fighting.
The girl we found at Madding fair
descends to touch the chancel floor, before
the altarpiece. The blood evaporates, her eyes
return to girlish green. But neither she
nor we shalt lose the blasphemy we've seen.
In Bethlehem tonight
God's angels weep for what we do
2000 years almost from thence,
as raised above the organ's flues
a deadly inversion rises.
The new Mother, with glucose eyes
and hands of dripping blood outspread
to mock the stigmata as well
as Mary's pieta. The churchyard's dead
say nought of this, the first coming of Hell.
We wyrd sisters in sackcloth stare
at she our masterpiece,
our lady of pleasure. The Kentish winds
are howling now, the lychgate banging back
and forth like children feebly fighting.
The girl we found at Madding fair
descends to touch the chancel floor, before
the altarpiece. The blood evaporates, her eyes
return to girlish green. But neither she
nor we shalt lose the blasphemy we've seen.
Published 12th Dec 2023
Author's Note
“And what costume shall the poor girl wear
To all tomorrow's parties?” - The Velvet Underground
That song plays over the ending of Rob Zombie’s 2012 horror film The Lords of Salem. It isn’t a particularly good movie; like a lot of his, it largely feels more like a heavy metal music video than a proper narrative.
But its closing shot has always stuck with me, of the Satanic “Virgin” Mother rising before three genuflecting female apostles, one of whom is smiling with a warm beatitude. The VU song lends a mythical and emotional resonance to a scene of what is supposed to be evil (at least within the context of patriarchal religion, where women's power is to be feared).
I wanted to take that image and translate it to an English church in the Victorian era.
To all tomorrow's parties?” - The Velvet Underground
That song plays over the ending of Rob Zombie’s 2012 horror film The Lords of Salem. It isn’t a particularly good movie; like a lot of his, it largely feels more like a heavy metal music video than a proper narrative.
But its closing shot has always stuck with me, of the Satanic “Virgin” Mother rising before three genuflecting female apostles, one of whom is smiling with a warm beatitude. The VU song lends a mythical and emotional resonance to a scene of what is supposed to be evil (at least within the context of patriarchal religion, where women's power is to be feared).
I wanted to take that image and translate it to an English church in the Victorian era.
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The author encourages honest critique.
13th Dec 2023 1:26am
hi dearest Jack good evening this is sincerely really great
I enjoyed the gothic feel to it and the imagery is outstanding along with the mood 💕
I enjoyed the gothic feel to it and the imagery is outstanding along with the mood 💕
14th Dec 2023 1:16am
14th Dec 2023 3:29am
