“During the tour I became separated from the group, and, searching blindly through the corridors of the Galleria dell’Accademia, I came upon the statue from the wrong direction. Suddenly there it was. My first glimpse of it was from the reverse. It is normally viewed from the front, and from that direction one sees a powerful body firmly planted on the earth, poised, balanced, muscular, set in its essential form, like the triumph of the will.
“But I saw it first from an entirely different vantage point: viewed from behind, the figure appeared to be glancing back over his shoulder. The image of the noble torso was dominated by David’s facial expression. The eyes, the mouth, the brows, and the sinews of the face were taut with an emotion that is so quintessentially human: a split second of uncertainty and a groping for faith, the moment when courage overcomes terror—not as animal instinct but as a spiritual decision. From the front it appears as an embodiment of confident resolve; from the rear it is about doubt. That was the artist’s intention, and that is its word. It is concerned above all with the struggle of the human spirit.”
—from Strangers and Sojourners, Michael D. O’Brien
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