Stonework is published by Houghton College, a Christian liberal arts college located in New York’s rural Genesee Valley. Stonework seeks a diverse mix of mature and emerging voices in fellowship with the evangelical tradition. Published twice a year, the journal reflects the arts community at Houghton College where excellence in music, writing, and the visual arts has long been a distinctive.

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  • Issue 6
    Poetry by Paul Willis and Thom Satterlee. Fiction and interview with Lori Huth. Essay by James Wardwell, and student poets from Christian campuses.
  • Issue 5
    Poetry by Susanna Childress and Debra Rienstra. Fiction excerpt by Emilie Griffin. Art from Houghton's 2007 presidential inauguration and a forum on women writing.
  • Issue 4
    Matthew Roth--new poems. Diane Glancy--from One of Us and an interview. John Tatter-on gardens and poetry. The Landscapes of John Rhett. Stephen Woolsey--on the poetry of Jack Clemo. James Wardwell--on Herrick.
  • Issue 3
    Poetry by Julia Kasdorf, Robert Siegel and Sandra Duguid. Fiction by Tom Noyes. The portraits of Alieen Ortlip Shea. An anthology of Australian Poets
  • Issue 2
    Thom Satterlee - Poems from Burning Wycliff with an appreciation by David Perkins. Alison Gresik - new fiction and an interview. James Zoller - Poems from Living on the Floodplain.
  • Issue 1
    Luci Shaw — new poems with an appreciation by Eugene H. Peterson & Hugh Cook — new fiction and an interview

Wednesday, December 05, 2007

Still Life

~ Eric Potter

Forty martyrs who followed Christ

all the way to a cold grave,

frozen in bas relief whose stillness

still conveys their agony.

Naked from the waist up, their muscled

torsos contort against the cold,

their arms are clenched across their chests

or raised in supplication to Christ,

enthroned, three angels on each side,

their draperied bodies still bent in worship.

Imagine how they must have trembled

when immersed in icy water, spastic

at first, their limbs numbing, their brown

skin pale then blue, their blood withdrawn,

and one by one their systems down,

heart beat slow, slower, stopped.

An indelicate death, so delicately carved.

Forty martyrs who will follow Christ,

their bodies rising on the last day,

their bulging calves and sculpted pecs

free from the still, cold clutch of ivory death.

Based on “Berlin, Ivory with the Forty Martyrs of Sebast” [plate 1] in Kurt Weitzmann, The Icon: Holy Images—Sixth to Fourteenth Century. New York: George Braziller, 1978.