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Since its inception 60 years ago the Blake Prize for religious art has courted controversy. Several recent entries have been denounced in the media as blasphemous or sacrilegious. This year's exhibition presents a striking portrayal of contemporary multifaith Australia.
Recent debate in the Australian Catholic Church over the new English translation of the Mass shows the difficulty of expressing age-old spiritual truths in contemporary language and symbols. One Sydney Uniting Church has risen to the challenge.
Australian poet Tasha Sudan just won the Blake Prize for Religious Poetry, and in October will be ordained in a Zen Buddhist monastery. In simple but evocative language the poem speaks of the Buddha from his son's point of view.
The annual Blake Prize for Religious Art has never been far from controversy. Works honoured this year include Sydney artist Rodney Pople’s Cardinal with Altar Boy, which is a provocative painting dealing with clergy sexual abuse. Its setting is the interior of a beautiful baroque church, and it portrays a headless prelate dressed in ecclesiastical finery, with an altar boy in his lap.
Cardinal Pell called some of this year's Blake Prize finalists 'anti-religious' and reflecting 'confusion about what is religious or spiritual'. Religious experience is not confined within the walls of holy buildings. This year's Blake Prize winner attests to this.
The decision to allow Nepalese Gurkha war veterans to settle in Britain is to be commended. The problems that have caused Nepal's young men to leave their homeland to seek employment elsewhere remain to be solved.
Andrew Hamilton surveys four books on power and the Catholic Church.
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