Not Love Perhaps

Arthur Seymour John Tessimond - Jack to his family, John in later life - was born in Birkenhead in 1902 and made his living as an advertising copywriter, but his true writing life was in poetry, three volumes of which he published in his lifetime: The Walls of Glass (1934), Voices in a Giant City (1947), and Selection (1958). Tessimond died in May 1962, two months shy of his sixtieth birthday, and it would fall to Hubert Nicholson, his friend and executor, to make a posthumous selection of his work including a number of uncollected and unpublished poems. Not Love Perhaps (1978) has at its heart the memorable title piece which contrasts the idea of romantic love 'that many waters cannot quench' with the notion of a mutual companionship that enables two people to 'walk more firmly through dark narrow places'.

Arthur Seymour John Tessimond - Jack to his family, John in later life - was born in Birkenhead in 1902 and made his living as an advertising copywriter, but his true writing life was in poetry, three volumes of which he published in his lifetime: The Walls of Glass (1934), Voices in a Giant City (1947), and Selection (1958). Tessimond died in May 1962, two months shy of his sixtieth birthday, and it would fall to Hubert Nicholson, his friend and executor, to make a posthumous selection of his work including a number of uncollected and unpublished poems. Not Love Perhaps (1978) has at its heart the memorable title piece which contrasts the idea of romantic love 'that many waters cannot quench' with the notion of a mutual companionship that enables two people to 'walk more firmly through dark narrow places'.

The Christian life requires faith. That means that believers are sometimes faced with uncertainty. But is all uncertainty bad? Theologian Joshua McNall encourages readers to reclaim the little word "perhaps" as a sacred space between the warring extremes of unchecked doubt and zealous dogmatism. To say "perhaps" on certain contested topics means exercising a hopeful imagination, asking hard questions, returning once again to Scripture, and reclaiming the place of holy speculation as we cling to a faith that stands distinct from both pervasive skepticism and abrasive certainty. In this day especially, it's time Christians learned to say "perhaps."

God created man in his own image; but did man perhaps return the compliment? The question of God's existence has been a pivotal issue for every civilization. Those with faith in God want assurance that their belief is justified, and atheists want confirmation that God is nowhere to be found. When we reflect on religion, we want to know the reasons for belief in God, or whether belief is only a comforting delusion. In an age of science, will religion persist or will it be edged out of our consciousness and become a historical curiosity? Burton Porter approaches the notion of God in an open, yet critical way, examining the argumentation used by centuries of human society to support or reject the existence of God. With minimum assumptions and maximum objectivity, Porter debates whether the religious view does, in fact, diagram reality. He examines the roles that God and religion have played in the ethics, art, and actions of many diverse cultures to conclude that, at the very least, the consideration of the existence of a higher power is fundamental to us all.

A person who is living wretched can never be said to have A BIG GOD. If a man/woman is wretched and is wallowing in abject penury, what will he/she show as a proof or benefit of godliness. And if a man/woman is wallowing in chronic immorality, what will he/she show as a proof his/her love for God. ******************** “POVERTY IS A MAN: PERHAPS A WOMAN”, treats POVERTY as a man or even a woman because they are the only creatures of God with an ordination. If you wish to know more about the ordination, then read on!!!!!!!!!!!!!!!

Essential reading for scholars, poetry lovers, and anyone with an interest in Rainer Maria Rilke, German poetry, or the creative impulse, these ten letters of correspondence between Rilke and a young aspiring poet reveal elements from the inner workings of his own poetic identity. The letters coincided with an important stage of his artistic development and readers can trace many of the themes that later emerge in his best works to these messages—Rilke himself stated these letters contained part of his creative genius.