Yes, the word “camera” is italicized in the original text of this passage from “The God of the Living” by George MacDonald. The word opens an entrance into these thoughts as a revelation of what photography, at least great photography, in its essential, not its merely “definitional” nature, is and aims and serves to do. Those with ears to hear, eyes to see, will understand:
“Let us first ask what is the use of this body of ours. It is the means of Revelation to us, the camera in which God’s eternal shows are set forth. It is by the body that we come into contact with Nature, with our fellow men, with all their revelations of God to us. It is through the body that we receive all the lessons of passion, of suffering, of love, of beauty, of science. It is through the body that we are both trained outwards from ourselves, and driven inwards into our deepest selves to find God. There is glory and might in this vital evanescence, this slow glacier-like flow of clothing and revealing matter, this ever uptossed rainbow of tangible humanity. It is no less of God’s making than the spirit that is clothed therein.
“We cannot yet have learned all that we are meant to learn through the body. How much of the teaching even of this world can the most diligent and most favoured man have exhausted before he is called to leave it! Is all that remains to be lost? Who that has loved this earth can but believe that the spiritual body of which St. Paul speaks will be yet a higher channel of such revelation? The meek who have found that their Lord spake true, and have indeed inherited the earth, who have seen that all matter is radiant of spiritual meaning, who would not cast a sigh for the loss of mere animal pleasure, would, I think, be the least willing to be without a body, to be unclothed without being again clothed upon. Who, after centuries of glory in heaven, would not rejoice to behold once more that patient-headed child of winter, the meek snowdrop? In whom, amidst the golden choirs, would not the vision of an old sunset wake such a song as the ancient dwellers of the earth would with gently flattened palm hush their throbbing hearts to hear?
“All this revelation, however, would render only a body necessary, not this body. The fulness of the word Resurrection would be ill met if this were all. We need not only a body to convey revelation to us, but a body to reveal us to others. The thoughts, feelings, imaginations that arise in us, must have their garments of revelation whereby shall be made manifest the unseen world within us to our brothers and sisters around us; else is each left in human loneliness. Now, if this be one of the uses my body served on earth before, the new body must be like the old. Nay, it must be the same body, glorified as we are glorified, with all that was distinctive of each from his fellows more visible than ever before. The accidental, the nonessential, the unrevealing, the incomplete will have vanished. That which made the body what it was in the eyes of those who loved us will be tenfold there. Will not this be the resurrection of the body? of the same body though not of the same dead matter? Every eye shall see the beloved, every heart will cry ‘My own again! – more mine because more himself than ever I beheld him!’ For do we not say on earth, ‘He is not himself today,’ or ‘She looks her own self;’ ‘She is more like herself than I have seen her long?’ And is not this when the heart is glad and the face is radiant? For we carry a better likeness of our friends in our hearts than their countenances, save at precious seasons, manifest to us.”
Was the Alfred P. Sloan Scholar for the Humanities at the University of Michigan. Obtained a Master of the Fine Arts degree from the University of Massachusetts at Amherst, where I was selected as a Writing Fellow in Poetry by the Program faculty. Have published poems, essays and reviews in many magazines, anthologies, reference works, and other publications, including The Nation, The Iowa Review, Virginia Quarterly Review, Parabola, OMNI, and the exhibition catalogue for Art at the Edge of the Law at the Aldrich Contemporary Art Museum. Received a law degree from the University of Michigan, and have changed the law and created educational programs in the fields of arts law, historic preservation law, and public construction and contracting law in the State of Connecticut. My photographs have appeared in international, national, regional and state juried exhibitions, and have been selected for awards including Honorable Mentions in the Architecture, Fine Art (series), Nature (series), Open Theme (series), Portrait, and Seascape categories from the international Fine Art Photography Awards, and an Honorable Mention in the Fine Art-Other category from the International Photography Awards. Photographs of mine have been selected for exhibition or publications by or in the 2019 International Juried Exhibition of the Center for Photographic Art (Carmel, CA), 2019 International Competition of The Photo Review, the 2019 Open Exhibition of the Center for Fine Art Photography in Fort Collins CO, F-Stop Magazine, Shadow & Light Magazine, Black Box Gallery in Portland OR, Praxis Gallery in Minneapolis MN, the Darkroom Gallery in VT, PhotoPlace Gallery in VT, A Smith Gallery in TX, the New Britain Museum of American Art, and many other journals and venues. My work has also been selected for inclusion in the Flatfile Program of Artspace New Haven (CT). My photography website is at www.lawrenceruss.com .