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The Addams dwelling at 25 West Fifty-fourth Street was directly behind the Museum of Modern Art, at the top of the building. It was reached by an ancient elevator, which rumbled up to the twelfth floor. From there, one climbed through a red-painted stairwell where a real mounted crossbow hovered. The Addams door was marked by a "big black number 13," and a knocker in the shape of a vampire. ...Inside, one entered a little kingdom that fulfilled every fantasy one might have entertained about its inhabitant. On a pedestal in the corner of the bookcase stood a rare "Maximilian" suit of armor, which Addams had bought at a good price ("a bargain at $700")... It was joined by a half-suit, a North Italian Morion of "Spanish" form, circa 1570-80, and a collection of warrior helmets, perched on long stalks like decapitated heads... There were enough arms and armaments to defend the Addams fortress against the most persistent invader: wheel-lock guns; an Italian prod; two maces; three swords. Above a sofa bed, a spectacular array of medieval crossbows rose like birds in flight. "Don't worry, they've only fallen down once," Addams once told an overnight guest. ... Everywhere one looked in the apartment, something caught the eye. A rare papier-mache and polychrome anatomical study figure, nineteenth century, with removable organs and body parts captioned in French, protected by a glass bell. ("It's not exactly another human heart beating in the house, but it's close enough." said Addams.) A set of engraved aquatint plates from an antique book on armor. A lamp in the shape of a miniature suit of armor, topped by a black shade. There were various snakes; biopsy scissors ("It reaches inside, and nips a little piece of flesh," explained Addams); and a shiny human thighbone - a Christmas present from one wife. There was a sewing basket fashioned from an armadillo, a gift from another. In front of the couch stood a most unusual coffee table - "a drying out table," the man at the wonderfully named antiques shop, the Gettysburg Sutler, had called it. ("What was dried on it?" a reporter had asked. "Bodies," said Addams.)... ↗
[God's] love for us was displayed most clearly through the cross of Christ. There our Lord stretched out His bloodstained hands to say, "I love you this much! ↗
God's high freedom in Jesus Christ is His freedom for LOVE. The divine capacity which operates and exhibits itself in that superiority and subordination is manifestly also God's capacity to bend downwards, to attach Himself to another and this other to Himself, to be together with him. This takes place in that irreversible sequence, but in it is completely real. In that sequence there arises and continues in Jesus Christ the highest communion of God with man. God's deity is thus no prison in which He can exist only in and for Himself. It is rather His freedom to be in and for Himself but also with and for us, to assert but also to sacrifice Himself, to be wholly exalted but also completely humble, not only almighty but also almighty mercy, not only Lord but also servant, not only judge but also Himself the judged, not only man's eternal king but also his brother in time. And all that without in the slightest forfeiting His deity! All that, rather, in the highest proof and proclamation of His deity! He who DOES and manifestly CAN do all that, He and no other is the living God. ↗
#god #jesus #man #the-cross #the-trinity
You’re different,” he said, touching my face. Of course I was. The man I loved had killed for me. A lot of things became inconsequential after a sacrifice like that. ↗
Whoa, I'm your girlfriend now?" Archer shrugged. "We've tried to kill each other, fought ghouls, and kissed a lot. I'm pretty sure we're married in some cultures. ↗
No, not you two. Stay here." "Does he just not get how unfair and sexist that is?" Eve asked. "Men." "You really want to go first?" "Of course no. But I'd like the chance to refuse to go first. ↗
I loved the way he kissed me, as if he had to, as if he'd go crazy if he didn't and had nearly waited too long. ↗
