#purgatory — Public Fediverse posts

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

Hauntingly Familiar

https://kandiblaze.wordpress.com/2026/04/27/hauntingly-familiar/

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

*Inferno*, Canto XXXII: Dante grasps Bocca by the crown of his head. (ca. 1300–50), from BL Egerton MS 533.

Source: British Library

https://pdimagearchive.org/images/549d5ae2-258e-44f1-8d3a-640b7f7f9d70

#water #paradise #dante #inferno #gesture #purgatory #art #publicdomain

Haunted WV Penitentiary: Top 10 Most Violent Prison in the United States

https://kandiblaze.wordpress.com/2026/04/10/haunted-wv-penitentiary-top-10-most-violent-prison-in-the-united-states/

Oh, the irony! The Pentagon's medieval threats are as useful as demanding a JavaScript update from the Vatican's IT department. 💻🔐 In a world where #cookies are essential, even the Holy See can't escape the tech support #purgatory. 🍪🔄
https://www.thelettersfromleo.com/p/the-pentagon-threatened-pope-leo #PentagonThreats #JavaScriptUpdate #TechSupport #Irony #HackerNews #ngated

https://www.europesays.com/ie/342250/ Phasma – Purgatory Review | Angry Metal Guy #2026 #40 #american #AtraeBilis #BlackMetal #BrutalDeathMetal #CryptsOfDespair #DeathMetal #Deathcore #Éire #Entertainment #Feb26 #GreekMetal #Hardcore #Harm’sWay #IE #international #Ireland #Music #Phasma #Purgatory #Review #Reviews #TechnicalDeathMetal #TranscendingObscurityRecords #VampireSquid #Vimur #Whitechapel

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Sometimes an album comes around ye olde promo pit that looks and smells familiar, but plays like something else entirely. Today’s entry into the “what the heck am I actually listening to?” hall of infamy is Phasma’s Purgatory. The third record from the Greek/US duo, and the first carried by a label—our beloved Transcending Obscurity Records—Purgatory continually subverted every expectation I had. In doing so, it became one of my biggest pleasant surprises in recent memory.

While early Phasma works boasted a songwriting style and sound that evoked a grotesque Whitechapel/Vampire Squid lovechild, Purgatory is a charred and venomous affair of only a tenuous relation to that concoction, and all the better for it. Conjuring a vision where Vimur, Harms Way, and Crypts of Despair’s first two albums merged into one mangled mass, Purgatory writhes and slithers through an unholy collection of brutal riffs, immolating tremolo flares, and swaggering grooves. While Phasma’s vocal approach largely carries over from early works, pairing a guttural roar with piercing screeches, but minimizing previously prevalent items like subterranean gurgles and glass-shattering squeals, it takes on an altogether more intimidating character here. Instead of showing off the full range of technical skills and range as this unit had to prove on their self-titled debut, Phasma took Purgatory as an opportunity to be as mean and concise as possible.

Purgatory by PHASMA

Simplifying their song structures, doubling down on memorable hooks, and restricting technical expositions to a minimum helped Phasma achieve their goal, resulting in a work that feels genuinely terrifying. Opening duo “I” and early highlight “II” prove this within thirty seconds of their introduction, but also create a delightful deviation from the usual songwriting tricks I expect from one phrase to another. For example, “I” makes me think a huge breakdown is about to drop right at the start, only to blast into the shadowed iciness of black metal, then dive seamlessly into a gym-ready hardcore groove. Subverting my expectations becomes a regular occurrence in Purgatory. “II,” “III,” and “VI” all venture deeper into doom-laden dungeons than I would’ve ever anticipated from a record as evil and high-energy as this. Harmonized melodies and layered guitar pyrotechnics only enhance this effect when things transition between paces and moods in a snap (“II”). By thusly offsetting their stripped-down writing with constant fiery twists and gnarly turns, Phasma crafted a remarkably exciting and rich experience that is an absolute joy to experience over and over again.

Despite its truncated 27-minute runtime, Purgatory burgeons with invigorating ideas all meticulously arranged, but initial spins suffer at the hands of a production of unforgiving loudness. “IV” in particular challenged my ability to appreciate the fantastic lead-into-chug-triplets and Vampire Squid riffs that bulge out from densely packed bass rumbles and glassy cymbals, in no small part because everything is so in-your-face as to flatten entirely. “V” feels a similar impact, though an eerie, bass-driven atmospheric break and subsequent Atrae Bilis-esque bridge briefly alleviates that effect. Understanding that the intended purpose of Purgatory is to oppress and destroy, a little more headroom in the mix and master would’ve allowed Phasma to hit harder and better highlight the myriad clever details distributed throughout.

Thankfully, the production isn’t so ruinous as to make my experience with Purgatory anything less than a delightful treat. As I spent more time with it, I loved it more, craved it regularly, and found additional moments to take home. Memorable beyond what I anticipated, and more engaging than I dared hope, Purgatory is a resounding success in all areas other than engineering. In some circles, that one weakness won’t matter much. In the end, it didn’t matter much to me either, such is the strength of Phasma’s songwriting.1 This is one trip to limbo you won’t want to miss!



Rating: Great!
DR: 5 | Format Reviewed: 320 kb/s mp3
Label: Transcending Obscurity Records
Websites: phasmaproject.bandcamp.com | facebook.com/PhasmaProject
Releases Worldwide: February 20th, 2026

Dante and Virgil at the gates of Purgatory, and the Proud carrying heavy stones (1444–1450), from Divine Comedy.

Source: British Library

https://pdimagearchive.org/images/febe7472-fa27-4f4c-9e2f-4bc7cbcf3624

#medieval #stones #dante #birds #purgatory #rocks #carrying #gates #christianity #art #publicdomain

Questa montagna è tale,
Che sempre al cominciar di sotto è grave,
E quanto uom più va su e men fa male.
– DANTE: Il Purgatorio

Purgatorio, IV. 88–90: ‘This mountain is so formed that it is always wearisome when one begins the ascent, but becomes easier the higher one climbs.'

Dante Alighieri (1265-1321) - Illustration by Gustave Dore (1832-1883))

#dante #divinecomedy #purgatory #virgil #gustavedore #ladivinacommedia #theAscent #dantealighieri #DanielDeronda #georgeEliot #books #bookstodon

Questa montagna è tale,
Che sempre al cominciar di sotto è grave,
E quanto uom più va su e men fa male.
– DANTE: Il Purgatorio

Purgatorio, IV. 88–90: ‘This mountain is so formed that it is always wearisome when one begins the ascent, but becomes easier the higher one climbs.'

Dante Alighieri (1265-1321) - Illustration by Gustave Dore (1832-1883))

#dante #divinecomedy #purgatory #virgil #gustavedore #ladivinacommedia #theAscent #dantealighieri #DanielDeronda #georgeEliot #books #bookstodon

Questa montagna è tale,
Che sempre al cominciar di sotto è grave,
E quanto uom più va su e men fa male.
– DANTE: Il Purgatorio

Purgatorio, IV. 88–90: ‘This mountain is so formed that it is always wearisome when one begins the ascent, but becomes easier the higher one climbs.'

Dante Alighieri (1265-1321) - Illustration by Gustave Dore (1832-1883))

#dante #divinecomedy #purgatory #virgil #gustavedore #ladivinacommedia #theAscent #dantealighieri #DanielDeronda #georgeEliot #books #bookstodon

Questa montagna è tale,
Che sempre al cominciar di sotto è grave,
E quanto uom più va su e men fa male.
– DANTE: Il Purgatorio

Purgatorio, IV. 88–90: ‘This mountain is so formed that it is always wearisome when one begins the ascent, but becomes easier the higher one climbs.'

Dante Alighieri (1265-1321) - Illustration by Gustave Dore (1832-1883))

#dante #divinecomedy #purgatory #virgil #gustavedore #ladivinacommedia #theAscent #dantealighieri #DanielDeronda #georgeEliot #books #bookstodon

Questa montagna è tale,
Che sempre al cominciar di sotto è grave,
E quanto uom più va su e men fa male.
– DANTE: Il Purgatorio

Purgatorio, IV. 88–90: ‘This mountain is so formed that it is always wearisome when one begins the ascent, but becomes easier the higher one climbs.'

Dante Alighieri (1265-1321) - Illustration by Gustave Dore (1832-1883))

#dante #divinecomedy #purgatory #virgil #gustavedore #ladivinacommedia #theAscent #dantealighieri #DanielDeronda #georgeEliot #books #bookstodon

Pope St. John Paul II affirms that “praying for the souls in purgatory is the highest act of supernatural charity.” The Church, ever conscious of her vocation to love, has always been animated by this fraternal charity, inviting her children to pray and do penance on behalf of the faithful departed. This is expressly approved by the Bible: “It is therefore a holy and wholesome thought to pray for the dead, that they may be loosed from sins” (2 Mac 12:46). In response to this invitation, the Carmelite Order through the centuries of her existence, has developed a strong sense of communion with the suffering Church (the souls in purgatory).

Read More →

https://carmelitequotes.blog/2024/11/03/carmelite-order-and-souls-in-purgatory-carmel-holy-land/

#Carmelites #church #dead #friars #HolyLand #penance #pray #purgatory #StJohnPaulII #StellaMaris

will find out at some point if selks10 is the sec onion killer or not - it has most of the same tools, uses less ram, it is not fips compliant but you can add what you need from debian fairly easily #delayed judgement #purgatory #incompleteness

O My God! Most Blessed Trinity, I desire to Love you and make you Loved, to work for the glory of Holy Church by saving souls on earth and liberating those suffering in purgatory. I desire to accomplish your will perfectly and to reach the degree of glory you have prepared for me in your kingdom. I desire, in a word, to be a Saint, but I feel my helplessness and I beg you, O my God! to be yourself my Sanctity!

Saint Therese of Lisieux

Prayer 6, Act of Oblation to Merciful Love (excerpt)

Note: We recall the realization of St. Thérèse’s desires on 17 May 1925 when she was canonized by Pope Pius XI in St. Peter’s Basilica. You can view photos of the canonization celebrations in Lisieux and Rome on the website of the Archives of the Carmel of Lisieux.

Thérèse, Gaucher, G & Kane, A 1997. The Prayers of Saint Thérèse of Lisieux: The Act of Oblation, ICS Publications, Washington, DC.

Featured image: This glorious image from Saint Peter’s Basilica in Rome was captured by photographer Edgar Chaparro. Image credit: Edgar Chaparro / Unsplash (Stock photo)

https://carmelitequotes.blog/2024/05/16/tej-17may25/

#anniversary #canonization #church #desire #freedom #glory #God #greatSaints #helplessness #love #purgatory #sanctity #saveSouls #StThérèseOfLisieux

If you want to #geolocate me, I will probably still be in this spot in the morning. #airport #purgatory

A quotation from Virgil:

«««««
And even when life is over, all the evil
Ingrained so long, the adulterated mixture,
The plagues and pestilences of the body
Remain, persist. So there must be a cleansing,
By penalty, by punishment, by fire,
By sweep of wind, by water’s absolution,
Before the guilt is gone. Each of us suffers
His own peculiar ghost.
»»»»»

Full quote, sourcing, notes:
https://wist.info/virgil/57844/

#quote #quotes #quotation #afterlife #cleansing #penance #punishment #purgatory #sin