Pic of the Day

Framing Desire: Early Artful Erotic Photography

Wilhelm von Gloeden, Caino

Archivi Alinari, Florence, Italy

The history of early photography of naked men is closely tied to artistic traditions, social taboos, and legal restrictions, particularly in the 19th and early 20th centuries. While photography provided a new medium for capturing the human form, it also faced censorship and moral scrutiny. As a result, photographers often had to employ various strategies to create images that were erotic but still permissible under the law.

In the 19th century, nude male photography was often justified through its connection to classical art and academic study. Photographers used the precedent set by Greek and Roman sculpture, Renaissance paintings, and life drawing classes to frame their work as educational and artistic rather than pornographic. By emphasizing the male nude as a study of anatomy or an expression of classical beauty, they were able to produce and circulate such images under the guise of art.

F. Holland Day, Youth Leaning on a Stone, 1907

Many early photographers of nude men focused on athleticism and physical perfection, presenting their subjects as bodybuilders, wrestlers, or classical figures. This approach aligned with the growing interest in physical culture and health movements of the late 19th century. The work of photographers like Eadweard Muybridge, who captured male movement in a scientific manner, helped lend legitimacy to nude male imagery as a form of study rather than explicit erotica.

Some photographers created nude male studies specifically for artists to use as reference material. These "academic nudes" often depicted men in classical poses, mimicking sculptures like those of Michelangelo or Praxiteles. By presenting these images as educational tools, photographers could justify the nudity and avoid accusations of obscenity.

Eadweard Muybridge, Lawn Tennis, Serving, 1887

Boston Public Library 

To cater to an audience that sought erotic imagery without violating legal restrictions, photographers used subtle posing, lighting, and suggestive themes to create implied sensuality. Some of the most common techniques included partial nudity (e.g., drapery covering genitals), positioning subjects in classical, heroic, or mythological contexts, physical intimacy without overt sexuality (such as men wrestling), and soft focus and artistic blurring to create an impressionistic effect that distanced the images from explicit realism.

Some of the most significant photographers of male nudes include Wilhelm von Gloeden (1856–1931), Fred Holland Day (1864–1933), Baron Wilhelm von Plüschow (1852–1930), and Eadweard Muybridge (1830–1904). Gloeden was famous for his staged photographs of young men in classical and pastoral settings in Sicily. His work was often erotic yet defended as "artistic" due to its connection to classical themes. Day was an American photographer who created religious and mythological images featuring nude men, pushing the boundaries of acceptability. Plüschow, like Gloeden, photographed young men in Mediterranean settings, using classical themes to justify nudity. While not an erotic photographer, Muybridge’s motion studies of the nude male body were widely referenced for their anatomical and artistic value.

Alonzo Hanagan, "Lon of New York" 

A Model Prepares - Johnny Kemper, c. 1965

In the 19th and early 20th centuries, obscenity laws restricted explicit nude photography, particularly if it was seen as erotic rather than educational or artistic. The Comstock Laws in the U.S. (1873) made it illegal to distribute "obscene" material, which included certain forms of nude photography. Many photographers operated discreetly, producing private or underground collections for clients who sought male erotic imagery. In the 1930s, George Platt Lynes, an American fashion and commercial photographer, began taking nudes of friends, performers, and models, including a young Yul Brynner, although these remained private, unknown, and unpublished for years. The difference between "art" and "pornography" was often subjective, leaving photographers to defend their work based on artistic merit.

By the 1940s and 1950s, physique photography became a major outlet for male nudity. Photographers such as George Quaintance, Lon Hanagan (Lon of New York), and Bob Mizer (Athletic Model Guild) used images of muscular men in skimpy posing trunks or classical warrior outfits to suggest nudity without breaking obscenity laws. These images were marketed as "health and fitness" material but were clearly aimed at a gay audience.

Bob Mizer, Naked Young Man

The photographs taken survive in various archives. Lynes’s photographs featuring gay artists and writers from the 1940s that were acquired by the Kinsey Institute. Most of Gloeden’s surviving pictures (negatives and prints) are now in the Fratelli Alinari photographic archive in Florence and further prints are in private collections or held by public institutions such as the Civico Archivo Fotographico in Milan. Examples of Mizer's work are now held by esteemed educational and cultural institutions the world over, and can be found in various books, galleries, and private art collections.

The early history of male nude photography is a story of balancing art, censorship, and hidden desire. Photographers used classical references, athleticism, and coded eroticism to create images that were both sensual and legally defensible. While these early images were often constrained by societal norms, they laid the groundwork for more openly homoerotic and artistic expressions in later decades.

Alexander Jensen Yow Nude Sitting

George Platt Lynes, c. 1950

Pic of the Day

Climbing

Climbing
By Amy Lowell

High up in the apple tree climbing I go,
With the sky above me, the earth below.
Each branch is the step of a wonderful stair
Which leads to the town I see shining up there.

Climbing, climbing, higher and higher,
The branches blow and I see a spire,
The gleam of a turret, the glint of a dome,
All sparkling and bright, like white sea foam.

On and on, from bough to bough,
The leaves are thick, but I push my way through;
Before, I have always had to stop,
But to-day I am sure I shall reach the top.

Today to the end of the marvelous stair,
Where those glittering pinacles flash in the air!
Climbing, climbing, higher I go,
With the sky close above me, the earth far below.


About the Poem

Amy Lowell’s poem “Climbing” is a short but evocative piece that explores the themes of perseverance, aspiration, and the struggle inherent in personal growth. The poem uses the extended metaphor of climbing a tree to symbolize the effort needed to overcome challenges and reach a goal. The poem emphasizes the difficulty of the climb, suggesting that progress is not easy but requires effort and resilience. The speaker’s journey upwards reflects an inner struggle, possibly one of ambition, self-improvement, or personal enlightenment.

Lowell often draws on nature in her poetry to reflect human emotions and experiences. The act of climbing could symbolize not just a physical effort but an emotional or intellectual journey. Despite the challenges, the act of climbing can also be rewarding. The higher one goes, the more perspective is gained, reinforcing the idea that struggle leads to greater understanding or achievement. Lowell, known for her imagist poetry, employs concise, vivid imagery to make the climb feel immediate and tangible. Her work often focuses on sensory details, so readers might feel the roughness of the terrain, the exertion of the journey, or the exhilaration of reaching higher ground.


About the Poet

Amy Lowell (1874–1925) was an influential American poet, critic, and promoter of the Imagist movement in early 20th-century poetry. Born into a wealthy and prominent Boston family, she had access to a strong education but was largely self-taught in poetry. Though she never attended college, she was well-read and deeply interested in literature.

Lowell became a major advocate for Imagism, a movement that emphasized clarity, precision, and economy of language in poetry. While Imagism was initially associated with poets like Ezra Pound and H.D. (Hilda Doolittle), Lowell became one of its most prominent figures after Pound distanced himself from the movement. She published multiple collections, including Sword Blades and Poppy Seed (1914), Men, Women, and Ghosts (1916), and Pictures of the Floating World (1919). Her poetry often used free verse, striking imagery, and themes of nature, love, and modern life.

Lowell was an outspoken and unconventional figure, known for her strong personality and advocacy for poetry. She was also in a committed relationship with actress Ada Dwyer Russell, and her poetry frequently contains themes of passionate love, often interpreted as inspired by their relationship. Her later years were dedicated to promoting poetry, both through her own work and through lectures and criticism. She won the Pulitzer Prize for Poetry posthumously in 1926 for What’s O’Clock (1925). Despite being somewhat overshadowed by male contemporaries during her lifetime, Lowell’s work has gained renewed recognition, especially for her role in modernizing poetry and expanding the Imagist movement.

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Sleeping In 🤞

At least, I hope I’ll be sleeping in this morning. I have the day off work, and while I’m sure Isabella will wake me up to feed her, I’m hoping I can just go back to bed. I wrote this last night before I went to bed, so I wouldn’t have to wake up enough to write something for this morning. 

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Answering God’s Call

*

"Carry each other’s burdens, and in this way you will fulfill the law of Christ."

—Galatians 6:2

After hearing how Trump and Vance treated Zelinsky on Friday, I have been horrified, embarrassed, mortified, and depressed. No president ever in the history of the United States has decided to turn against democracy to buddy up with our greatest enemy. Seeing what went on was like witnessing a bully who wants your lunch money in exchange for making the other bullies leave you alone, except this was on an international scale. I could use a prison analogy too, but this is a Sunday post, and I don’t want to be crude. I knew they were hateful people, but what they did Friday was disgraceful. I do not see how anyone who supports this president can call themselves a Christian. It goes against every Christian principle in the Bible.

Living in a country that often prioritizes self-interest, God calls us to live differently. He commands us to love, serve, and give generously, rejecting greed and selfishness. One of the clearest ways we can live out our faith is by helping those in need—especially those suffering from war, displacement, and hardship. The people of Ukraine, enduring the devastation of conflict, offer us a powerful opportunity to put our faith into action. Scripture repeatedly teaches that our lives should not be driven by greed but by a heart of generosity. In Matthew 6:19-21, Jesus said, “Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven, where neither moth nor rust destroys, and where thieves do not break in or steal. For where your treasure is, there your heart will be also.” If we focus only on accumulating wealth and possessions, we risk missing out on God’s eternal purposes. Instead, He calls us to invest in things that last—acts of love, justice, and mercy. One of the greatest ways to do this is by helping those who are suffering.

Jesus also made it very clear that loving others is central to our faith. In Mark 12:31, Jesus commanded us to “Love your neighbor as yourself.” The people of Ukraine have faced unimaginable hardship—families torn apart, homes destroyed, and lives upended by war. Many have fled to other countries as refugees, while others remain in dangerous conditions. As followers of Christ, we are called to respond with love. One of the most well-known parables in the Bible, the “Parable of the Good Samaritan” (Luke 10:25-37), illustrates this perfectly. A man was left beaten and helpless on the side of the road. Two religious leaders passed by without helping, but a Samaritan—a person from a group often despised by Jews—stopped, cared for the wounded man, and provided for his needs. Jesus tells us to “go and do likewise” (Luke 10:37). Are we willing to be like the Good Samaritan? Will we stop, see the pain of the Ukrainian people, and respond with action? I know that I am likely preaching to the choir, but if there are those who are Trump supporters that read this blog, I hope you will take this to heart. We may not be able to do much until the midterm elections, but we can resist as much as possible.

One of the biggest barriers to helping others is greed—clinging to what we have out of fear or selfishness. This is seen all to clearly in the executive branch of the United States federal government. But the Bible warns against this mindset in Proverbs 21:13, “Whoever shuts their ears to the cry of the poor will also cry out and not be answered.” Instead of hoarding wealth, God calls us to be generous. In 1 Timothy 6:17-18, Paul reminds us, “Command those who are rich in this present world not to be arrogant nor to put their hope in wealth, which is so uncertain, but to put their hope in God, who richly provides us with everything for our enjoyment. Command them to do good, to be rich in good deeds, and to be generous and willing to share.” We may not all consider ourselves rich, but compared to those who have lost everything, we have much to give. Whether through financial support, prayer, advocacy, or welcoming refugees, we can use what God has given us to bless others. James 5:6 tells us that we should, “Therefore confess your sins to each other and pray for each other so that you may be healed. The prayer of a righteous person is powerful and effective.” We should pray for peace, for those affected by war, and for leaders to seek justice and wisdom. Proverbs 19-17 tells us, “Whoever is kind to the poor lends to the Lord, and he will reward them for what they have done.” We can support humanitarian organizations providing food, medical aid, and shelter. Hebrews 13:2 says, “Do not forget to show hospitality to strangers, for by so doing some people have shown hospitality to angels without knowing it. If you live in a community with Ukrainian refugees, offer friendship, support, or resources. Finally, Isaiah 1:17 tells us to “Learn to do good; seek justice, rebuke the oppressor; defend the fatherless, plead for the widow.” We must speak out against injustice and support policies that help those affected by war

In James 2:15-17, James reminds us that faith without works is dead, “Suppose a brother or a sister is without clothes and daily food. If one of you says to them, ‘Go in peace; keep warm and well fed,’ but does nothing about their physical needs, what good is it? In the same way, faith by itself, if it is not accompanied by action, is dead.” Let us not be passive in the face of suffering. Instead, let’s be the hands and feet of Jesus, showing love to those in desperate need. By helping the Ukrainian people—or anyone in crisis—we reflect God’s love and live out the Gospel. May we answer God’s call with open hearts, rejecting greed and embracing a life of generosity.

How is God calling you to help today?



*The Photograph Above

The photographer Liam Campbell is the editor of Elska Magazine, a project centered on traveling around the world, meeting a selection of everyday local guys, and introducing their city and their lives to readers through honest photography and personal stories. The ‘Elska Lviv’ issue of Elska Magazine was dedicated to the men of Ukraine. The model above was named Marko, and Campbell had this to say about him:

Marko was one of the men we photographed toward the beginning of the war. While editing, I became a bit uneasy about the impression we would leave. Would people see Marko standing amongst the detritus of destroyed buildings and feel like we were somehow glamorizing the war? Perhaps some would, but the reality is that we shot these scenes on the site of a former Soviet industrial complex.

In this context, there was a clear message that the Soviet Union was well and truly over. There Marko was walking proudly over the rubble, asserting a new Ukrainian future. This is a message I absolutely had to share, but at the same time, I can’t help but feel immense sadness when I imagine how much of Ukraine now lies in ruins, at the hands of a campaign to bring back Soviet-style ‘glory’ and [Russian] supremacy.

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Moment of Zen: Dean Tsiranides (AKA Tyler Otto)

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TGIWFH

Thank goodness, it’s a work from home Friday. I can relax and not be bothered. I have to do some online training today, and I’ll probably grade some midterms. Other than that, it should be an easy day. This week has either been incredibly busy or incredibly boring. There hasn’t been much in between. I have a four day weekend at home since we are off Monday for Spring Break.

If you are in the USA, you might have heard about the organization People’s Union USA calling for a nationwide boycott. They want today to be an economic blackout. This movement follows the rollback of diversity, equity and inclusion initiatives at several major companies, including Target, PepsiCo and others. (Coca-Cola and Apple have both refused to rollback DEI initiatives.) The boycott coincides with protests against President Dumbass's plans to reduce the government workforce and mass firings at federal agencies. The boycott began at midnight last night and will last for 24 hours. During this time, the organization encourages Americans not to buy anything — this includes gas, fast food, or shopping in-store or online at major retailers. If participants need to buy anything, they are encouraged to shop at local and small businesses. Essential items such as medicine, food and emergency supplies can still be bought.

I hope you’ll join in. The thing about boycotts is that if enough people don’t participate, then it won’t be successful. There had to enough of an economic impact to make a difference and to make the point your trying to make. So, please consider following this boycott and only buy locally today.

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Inspirational Quote

“We deserve to experience love fully, equally, without shame and without compromise.” — Elliot Page

Love is one of the most fundamental human experiences, yet for too long, LGBTQ+ individuals have been told that their love is something to be hidden, altered, or diminished. Elliot Page’s words remind us that love should be free from fear and compromise. No one should have to justify their identity or fight for the right to love openly and authentically.

This quote speaks to the importance of equality—not just in legal rights, but in the way love is valued and respected in society. It’s a call to reject shame and embrace pride, to push back against narratives that suggest LGBTQ+ love is anything less than beautiful and valid. Whether in relationships, friendships, or self-love, everyone deserves to experience love without barriers. Today, let this quote serve as a reminder to support, uplift, and celebrate each other in our journeys toward full acceptance and joy.

Since it’s Thursday, here’s your Isabella Pic of the Week:

This is about as close as I get to her cuddling. She’s not a cuddly cat, and she also seems to not like her picture being taken.

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The Aesthetics of the Male Nude in Ancient Art

The male nude was a central subject in the art of many ancient civilizations, particularly in Greece and Rome, but also in Egypt and Mesopotamia. These representations were not just artistic choices but carried deep cultural, religious, and philosophical meanings. The aesthetic of the male nude in the ancient world often emphasized idealized forms, physical perfection, and heroic attributes, reflecting societal values and beliefs about masculinity, virtue, and even divine favor.

In ancient Greek art, the male nude was idealized in sculpture, particularly in works such as Polykleitos’ Doryphoros and Praxiteles’ Hermes and the Infant Dionysus. The Greek kouros statues (early archaic depictions of young men) emphasized youthful beauty, symmetry, and a balance between realism and idealization. Nudity in Greek art was associated with athleticism, heroism, and even moral virtue, reflecting the Greek belief that the male form was the pinnacle of divine beauty. Greek vase paintings often depicted nude male athletes, warriors, and gods, reinforcing the connection between physical excellence and noble character. The gymnasium (a place where young men trained nude) was both an athletic and intellectual center, reinforcing the idea that physical and intellectual excellence were intertwined. 

The second century Roman copy of the Apollo Belvedere is one of, if not the, most celebrated marble sculpture of a nude male from classical antiquity. From the mid-18th century, it was considered the greatest ancient sculpture by ardent neoclassicists, and for centuries it epitomized the ideals of aesthetic perfection for Europeans and westernized parts of the world. The Apollo became one of the world's most celebrated art works when in 1755 it was championed by the German art historian and archaeologist Johann Joachim Winckelmann as the best example of the perfection of the Greek aesthetic ideal. Its "noble simplicity and quiet grandeur," as he described it, became one of the leading lights of neoclassicism and an icon of the Enlightenment. Goethe, Schiller, and Byron, all endorsed it. The Apollo was one of the artworks brought to Paris by Napoleon after his 1796 Italian Campaign. From 1798 it formed part of the collection of the Louvre during the First Empire, but after 1815 was returned to the Vatican where it has remained ever since.

The frequent depiction of the male nude in ancient art reveal how cultures conceptualized beauty, masculinity, and relationships between men. In ancient Greece, for example, the admiration of the male form was closely tied to pederasty, a socially accepted relationship between an older man (erastes) and a younger man (eromenos). This relationship was often educational and mentorship-based but could also have an erotic component. Greek vase paintings sometimes depicted these relationships explicitly, showing affection between men, including courtship rituals like gift-giving or intimate gestures. In Rome, male-male relationships existed, but Roman masculinity was defined differently than in Greece. A freeborn Roman man (citizen) could engage in relationships with other men, but societal norms dictated that he should take the dominant role; being the passive partner was seen as unmanly. Roman frescoes and sculptures sometimes depicted homoerotic themes, especially in private or mythological contexts, such as scenes involving the god Ganymede, who was abducted by Zeus.

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The Journey

The Journey
by Mary Oliver

One day you finally knew
what you had to do, and began,
though the voices around you
kept shouting
their bad advice—
though the whole house
began to tremble
and you felt the old tug
at your ankles.
“Mend my life!”
each voice cried.
But you didn’t stop.
You knew what you had to do,
though the wind pried
with its stiff fingers
at the very foundations,
though their melancholy
was terrible.
It was already late
enough, and a wild night,
and the road full of fallen
branches and stones.
But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do—
determined to save
the only life you could save.


About the Poem

Mary Oliver’s poem “The Journey” is a deeply inspirational and metaphorical piece about personal transformation, self-discovery, and resilience. It describes the speaker’s realization that they must leave behind external voices and influences in order to forge their own path in life. The poem is often interpreted as an encouragement to break free from unhealthy situations, relationships, or societal expectations to embrace one's own truth.

The poem begins with a sense of urgency—"One day you finally knew what you had to do, and began." This opening line sets the stage for the journey as a necessary and inevitable step toward self-liberation. The speaker acknowledges that, although others may demand their attention and try to hold them back, they must move forward. Oliver vividly describes the external voices calling after the speaker, emphasizing how difficult it is to break away. These voices represent societal pressures, relationships, or even self-doubt that try to prevent change. The imagery of a storm and darkness conveys the challenges and emotional turmoil of making such a difficult decision.

Despite the hardships, the speaker persists, pushing forward into the unknown. The journey becomes symbolic of self-reliance and personal growth. The physical struggle in the poem mirrors an internal struggle to stay true to oneself despite fear and uncertainty. By the end of the poem, the speaker finds that the world begins to open up—"the stars began to burn through the sheets of clouds." This suggests enlightenment, hope, and a sense of peace. The journey was painful, but it was necessary to achieve personal freedom and fulfillment.

“The Journey” is a poem about finding the strength to follow one’s own path despite external pressures. Mary Oliver's simple yet profound language makes it a universal and uplifting piece that resonates with anyone undergoing a period of change or self-discovery. The poem ultimately affirms that, though the journey may be difficult, it is essential for living an authentic and fulfilled life.


About the Poet

Mary Oliver (1935–2019) was an American poet known for her deep connection to nature, spirituality, and the themes of self-discovery, love, and mindfulness. She was one of the most beloved contemporary poets, celebrated for her accessible yet profound writing style that resonated with readers across generations. Born in Maple Heights, Ohio, Oliver had a difficult childhood and found solace in nature and poetry. She was heavily influenced by poets such as Walt Whitman and Rainer Maria Rilke, whose themes of transcendence and deep observation of the world around them echoed in her own work. In her teenage years, she spent time at the home of poet Edna St. Vincent Millay, helping to organize Millay’s papers, which further shaped her literary career.

Oliver lived much of her life in Provincetown, Massachusetts, where she found inspiration in the coastal landscapes. She was in a long-term relationship with photographer Molly Malone Cook, who was also her literary agent. Their partnership greatly influenced Oliver’s poetry, often bringing themes of love and companionship into her work.

Mary Oliver’s poetry remains widely read and quoted, particularly in spiritual and self-help communities. Her work continues to inspire readers to embrace nature, self-reflection, and the beauty of everyday life. She was often compared to poets like Emily Dickinson and Robert Frost for her ability to capture deep truths in simple, evocative language. Her most famous lines, such as “Tell me, what is it you plan to do with your one wild and precious life?” from “The Summer Day,” encapsulate the essence of her poetic vision—one of wonder, appreciation, and a call to live fully.

Thank you, Susan, for sending me this wonderful and thought provoking poem.

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Grading

Although I’ll be dressed and in my office, I will probably have the same look as this guy all day today. I need to catch up on grading. I love teaching, but I have always loathed grading. For one thing, it takes up a lot of time, and I don’t like giving bad grades, though I think any good teacher would hate giving bad grades I know there are some who get joy out of it, but if students are making bad grades, a lot of that reflects back on how well a teacher is doing their job. 

Also, modern technology like texting, tweeting, etc. has caused many people to write in a modern and often perplexing shorthand, and people get out of the habit of writing complete sentences. An emphasis on teaching writing is not what students are used to anymore. That being said, this is usually an issue with freshman. None of my students are freshmen, and thus are further along in their studies.

It’s also hard to get students into discussions in class or to ask questions. I get that. I was a very shy and not a confident student. I was a good and attentive student, but I was always afraid I’d say something dumb. So, I mostly kept quiet. To make up for this, I have my students write journal entries each week, that I “grade at random,” which translates to, I’ll grade them when I have to. Well, I need to catch up on grading their journals. Usually, it’s mostly pretty interesting because I get to see what my students are thinking about and learning in class.

I should have been grading all weekend, but I’ve had a migraine and kept putting it off. So, I need to get caught up today and turn in midterm grades. Luckily, I will be the only one in the office today and can concentrate on grading.

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Nothing Can Separate Us from God’s Love

“What, then, shall we say in response to these things? If God is for us, who can be against us?…For I am convinced that neither death nor life, neither angels nor demons, neither the present nor the future, nor any powers, neither height nor depth, nor anything else in all creation, will be able to separate us from the love of God that is in Christ Jesus our Lord.”

— Romans 8:3, 38-39

As LGBTQ+ people of faith, we sometimes face rejection—whether from family, church, or society. We may wonder: Does God still love me? Am I truly welcome in God’s embrace? Romans 8:31-39 offers a resounding YES to those questions. Paul reminds us that if God is for us, nothing can stand against us—not condemnation, not judgment, not rejection. He goes even further, declaring that absolutely nothing—not hardship, persecution, fear, or even death—can separate us from the love of Christ.

God’s love is not conditional. It does not depend on how others see us or even how we sometimes see ourselves. It is steadfast, unshakable, and unwavering. Jesus’ sacrifice is proof that we are deeply cherished, exactly as we are. When we face discrimination or self-doubt, we can hold on to this truth: We are more than conquerors through Him who loves us. God’s love is not reserved for a select few—it is for everyone, including LGBTQ+ people. We are not excluded from the grace, purpose, and beauty of God’s plan.

How does knowing that nothing can separate you from God’s love change the way you see yourself and your place in the world? Just as we often struggle with whether God loves us, we also struggle with self-acceptance. Messages from the world—sometimes even from churches—may tell us that we are unworthy, sinful, or somehow “less than.” But Romans 8:31-39 assures us that nothing can separate us from God’s love. This means that not only does God love us fully, but God also calls us to love ourselves as divine creations.

Loving ourselves is not selfish or prideful—it is a reflection of the way God sees us. Jesus reminds us of this in Mark 12:31 when He teaches, “Love your neighbor as yourself.” If we are to love others well, we must first love ourselves. That means embracing our identity, our gifts, and our worth, knowing that God made no mistake in creating us exactly as we are.

In 1 Samuel 16:7, when Samuel was sent to anoint the next king, he assumed God would choose someone strong and mighty. “But the Lord said to Samuel, ‘Do not consider his appearance or his height, for I have rejected him. The Lord does not look at the things people look at. People look at the outward appearance, but the Lord looks at the heart.’” This reminds us that God’s love and purpose are not based on societal expectations, but on the truth of who we are. God chose David, saying, “People look at the outward appearance, but the Lord looks at the heart.”

In John 21:15-19, Peter had denied Jesus three times and he felt ashamed and unworthy. Yet, Jesus restored him, showing that our mistakes and struggles do not separate us from God’s love. This reminds us to extend grace to ourselves, knowing that we are always welcome in God’s presence. But what does this mean for us? We were created by God, and He created us with a different sexuality than the majority of the world. We have not denied Christ; we have just sought his love. So, what does John 21:15-19 mean for us today? It means that by loving ourselves in the light of God’s love we are embracing our identity as God’s beloved, without shame. We are peaking kindly to ourselves and rejecting negative self-talk. We are surrounding ourselves with love—people, communities, and messages that affirm our worth, and we are caring for ourselves spiritually, mentally, and physically.

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Moment of Zen: White Briefs