1
" Here at our ministry we refuse to present a picture of “gentle Jesus, meek and mild,” a portrait that tugs at your sentiments or pulls at your heartstrings. That’s because we deal with so many people who suffer, and when you’re hurting hard, you’re neither helped nor inspired by a syrupy picture of the Lord, like those sugary, sentimental images many of us grew up with. You know what I mean? Jesus with His hair parted down the middle, surrounded by cherubic children and bluebirds.
Come on. Admit it: When your heart is being wrung out like a sponge, when you feel like Morton’s salt is being poured into your wounded soul, you don’t want a thin, pale, emotional Jesus who relates only to lambs and birds and babies.
You want a warrior Jesus.
You want a battlefield Jesus. You want his rigorous and robust gospel to command your sensibilities to stand at attention.
To be honest, many of the sentimental hymns and gospel songs of our heritage don’t do much to hone that image. One of the favorite words of hymn writers in days gone by was sweet. It’s a term that down’t have the edge on it that it once did. When you’re in a dark place, when lions surround you, when you need strong help to rescue you from impossibility, you don’t want “sweet.” You don’t want faded pastels and honeyed softness.
You want mighty. You want the strong arm an unshakable grip of God who will not let you go — no matter what. "
― Joni Eareckson Tada , A Place of Healing: Wrestling with the Mysteries of Suffering, Pain, and God's Sovereignty
2
" What am I doing here?” she demanded, bewildered.
“You’re having dinner,” her little brother said.
“Stop it! I’m not hungry. Stop it!”
John held the spoon in front of her. His cherubic face was dark with anger. “You said you wouldn’t leave me.”
“What are you talking about?” Mary demanded.
“You said you wouldn’t do it. You wouldn’t leave me alone,” John said. “But you tried, didn’t you?”
“I don’t know what you’re babbling about.” She noticed Astrid then, leaning against a filing cabinet. Astrid looked like she’d been dragged through the middle of a dog fight. Little Pete was sitting cross-legged, rocking back and forth. He was chanting, “Good-bye, Nestor. Good-bye, Nestor.”
“Mary, you have an eating disorder,” Astrid said. “The secret is out. So cut the crap.”
“Eat,” John ordered, and shoved a spoonful of food in her mouth. None too gently.
“Swallow,” John ordered.
“Let me—”
“Shut up, Mary. "
― Michael Grant , Hunger (Gone, #2)
4
" For some reason Canon Fenneau made me feel a little uneasy. His voice might be soft, it was also coercive. He had small eyes, a large loose mouth, the lips thick, a somewhat receding chin. The eyes were the main feature. They were unusual eyes, not only almost unnaturally small, but vague, moist, dreamy, the eyes of a medium. His cherubic side, increased by a long slightly uptilted nose, was a little too good to be true, with eyes like that. In the manner in which he gave you all his attention there was a taste for mastery. "
― Anthony Powell , A Dance to the Music of Time: 4th Movement (A Dance to the Music of Time, #10-12)