Parably Not

In the preface to Jerusalem, The Emanation of the Giant Albion, William Blake wrote of his desire to “speak to future generations by a Sublime Allegory.” One could argue that the miracles and the parables of Christ are allegories, and one of the errors of the religion that bears their name is crushing a fragile truth beneath the wheels of process and doctrine.
If Trans Deus (Part I of The Queer Testament) is the story of a trans woman Christ, mirroring the action-orientated style of Mark’s Gospel, then 7 Minutes (Part II of TQT) is a narrative about death and rebirth, exploring Matthew’s Sermon on the Mount precepts in the context of conflicted gender and sexual identities within a dying mind.
Parably Not (Part III of TQT) recontextualizes the parables found in Luke’s gospel with the dynamic of “Q Source” thrown in for good measure. “Q” is the theory proposed by biblical scholars to account for the shared content in Matthew and Luke, an oral “sayings of Jesus” tradition that is entirely absent in Mark’s account. We can only speculate on who ‘Quelle’ was, but it would not surprise me if they were a woman, or a group of women—female gospel contributors airbrushed from history by the patriarchy that followed.
“Poetry fetter’d, fetters the human race,” Will Blake tells us. For Blake, Jerusalem was the female emanation of the male Albion. Our job as sub-creators is to unfetter, to explore, to challenge, to remake.
Parably Not is intended as scrapbook literature, unfinished, scruffy, feral, confused, uncertain, and ready to be woven into new allegory.