Redemptive Quotes (displaying: 1 - 30 of 119 quotes )
Mrs. Breedlove considered herself an upright and Christian woman, burdened with a no-count man, whom God wanted her to punish. (Cholly was beyond redemption, of course, and redemption was hardly the point - Mrs. Breedlove was not interested in Christ the Redeemer, but rather Christ the Judge.) Often she could be heard discoursing with Jesus about Cholly, pleading with Him to help her "strike the bastard down from his pea-knuckle of pride." And once when a drunken gesture catapulted Cholly into the red-hot stove, she screamed, "Get him, Jesus! Get him!" If Cholly had stopped drinking, she would have never forgiven Jesus.
Now there is a final reason I think that Jesus says, "Love your enemies." It is this: that love has within it a redemptive power. And there is a power there that eventually transforms individuals. Just keep being friendly to that person. Just keep loving them, and they can’t stand it too long. Oh, they react in many ways in the beginning. They react with guilt feelings, and sometimes they’ll hate you a little more at that transition period, but just keep loving them. And by the power of your love they will break down under the load. That’s love, you see. It is redemptive, and this is why Jesus says love. There’s something about love that builds up and is creative. There is something about hate that tears down and is destructive. So love your enemies. (from "Loving Your Enemies")
The only philosophy that can be practiced responsibly in the face of despair is the attempt to contemplate all things as they would present themselves from the standpoint of redemption. Knowledge has no light but that shed on the world by redemption: all else is reconstruction, mere technique. Perspectives must be fashioned that displace and estrange the world, that reveal its fissures and crevices, as indigent and distorted as it will one day appear in the Messianic light.
Writers show us the glades we'd missed, the trickling voices of streams, the eyes of a barn owl watching us. A writer like my father revealed a shape and movement amid it all, layers, meaning, perspective, joy, because he paid such careful attention, and paying attention is about the biggest redemption there is.
Fuck what is written," Landsman says. “You know what?" All at once he feels weary of ganefs and prophets, guns and sacrifices and the infinite gangster weight of God. He's tired of hearing about the promised land and the inevitable bloodshed required for its redemption. “I don't care what is written. I don't care what supposedly got promised to some sandal-wearing idiot whose claim to fame is that he was ready to cut his own son's throat for the sake of a hare-brained idea. I don't care about red heifers and patriarchs and locusts. A bunch of old bones in the sand. My homeland is in my hat. It's in my ex-wife's tote bag.
I find something repulsive about the idea of vicarious redemption. I would not throw my numberless sins onto a scapegoat and expect them to pass from me; we rightly sneer at the barbaric societies that practice this unpleasantness in its literal form. There's no moral value in the vicarious gesture anyway. As Thomas Paine pointed out, you may if you wish take on a another man's debt, or even to take his place in prison. That would be self-sacrificing. But you may not assume his actual crimes as if they were your own; for one thing you did not commit them and might have died rather than do so; for another this impossible action would rob him of individual responsibility. So the whole apparatus of absolution and forgiveness strikes me as positively immoral, while the concept of revealed truth degrades the concept of free intelligence by purportedly relieving us of the hard task of working out the ethical principles for ourselves.
We leave a stain, we leave a trail, we leave our imprint. Impurity, cruelty, abuse, error, excrement, semen - there’s no other way to be here. Nothing to do with disobedience. Nothing to do with grace or salvation or redemption. It’s in everyone. Indwelling. Inherent. Defining. The stain that is there before its mark.
If you could be either Go?s worst enemy or nothing, which would you choose? We are Go?s middle children, according to Tyler Durden, with no special place in history and no special attention. Unless we get Go?s attention, we have no hope of damnation or redemption. Which is worse, hell or nothing? Only if w?re caught and punished can we be saved. 'Burn the Louvre,' the mechanic says, 'and wipe your ass with the Mona Lisa. This way at least, God would know our names.
Gvarab was old enough that she often wandered and maundered. Attendance at her lectures was small and uneven. She soon picked out the thin boy with big ears as her one constant auditor. She began to lecture for him. The light, steady, intelligent eyes met hers, steadied her, woke her, she flashed to brilliance, regained the vision lost. She soared, and the other students in the room looked up confused or startled, even scared if they had the wits to be scared. Gvarab saw a much larger universe than most people were capable of seeing, and it made them blink. The light-eyed boy watched her steadily. In his face she saw her joy. What she offered, what she had offered for a whole lifetime, what no one had ever shared with her, he shared. He was her brother, across the gulf of fifty years, and her redemption.
They believed us and perished for it. Our statecraft, our learning. Delivered them bound to the Pit and alive to the burning. Whither they mirthfully hastened as jostling for honour -Not since her birth has our Earth seen such worth loosed upon her. Nor was their agony brief, or once only imposed on them. The wounded, the war-spent, the sick received no exemption: Being cured they returned and endured and achieved our redemption, Hopeless themselves of relief, till Death, marvelling, closed on them. That flesh we had nursed from the first in all cleanness was given. To corruption unveiled and assailed by the malice of Heaven -By the heart-shaking jests of Decay where it lolled on the wires -To be blanched or gay-painted by fumes - to be cindered by fires -To be senselessly tossed and retossed in stale mutilation. From crater to crater. For this we shall take expiation. But who shall return us the children?
The greatest encouragement throughout the Bible is God's love for His lost race and the willingness of Christ, the eternal Son, to show forth that love in God's plan of redemption. The love of Jesus is so inclusive that it knows no boundaries. At the point where we stop caring and loving, Jesus is still there loving and caring
I had a teacher I liked who used to say good fiction’s job was to comfort the disturbed and disturb the comfortable. I guess a big part of serious fiction’s purpose is to give the reader, who like all of us is sort of marooned in her own skull, to give her imaginative access to other selves. Since an ineluctable part of being a human self is suffering, part of what we humans come to art for is an experience of suffering, necessarily a vicarious experience, more like a sort of “generalization” of suffering. Does this make sense? We all suffer alone in the real world; true empathy’s impossible. But if a piece of fiction can allow us imaginatively to identify with a character’s pain, we might then also more easily conceive of others identifying with our own. This is nourishing, redemptive; we become less alone inside.
You killed them, Reuben. You killed them in their sins! You terminated their destiny on this earth. You snatched from them any chance for repentance, for redemption. You took that from them. You took it all, Reuben. You snuffed out forever the years of reparation they might have lived! You took life itself from them and you took it from their descendants, and yes, even from their victims, you took what their amends might have been.
I want there to be a place in the world where people can engage in one another’s differences in a way that is redemptive, full of hope and possibility. Not this “In order to love you, I must make you something else”. That’s what domination is all about, that in order to be close to you, I must possess you, remake and recast you.
I would that ye should come unto Christ, who is the Holy One of Israel, and partake of his salvation, and the power of his redemption. Yea, come unto him, and offer your whole souls as an offering unto him, and continue in fasting and praying, and endure to the end; and as the Lord liveth ye will be saved.
I kept finding the same anguish, the same doubt; a self-contempt that neither irony nor intellect seemed able to deflect. Even DuBois’s learning and Baldwin’s love and Langston’s humor eventually succumbed to its corrosive force, each man finally forced to doubt art’s redemptive power, each man finally forced to withdraw, one to Africa, one to Europe, one deeper into the bowels of Harlem, but all of them in the same weary flight, all of them exhausted, bitter men, the devil at their heels.
For the alchemist the one primarily in need of redemption is not man, but the deity who is lost and sleeping in matter. Only as a secondary consideration does he hope that some benefit may accrue to himself from the transformed substance as the panacea, the medicina catholica, just as it may to the imperfect bodies, the base or "sick" metals, etc. His attention is not directed to his own salvation through God's grace, but to the liberation of God from the darkness of matter.
We all suffer alone in the real world. True empathy's impossible. But if a piece of fiction can alow us imaginatively to identify with a character's pain, we might then also more easily conceive of others identifying with their own. This is nourishing, redemptive; we become less alone inside. It might just be that simple.