Sarah K Balstrup

Black Stream is the second book in Sarah K. Balstrup's visionary Velspar - Elegies series.In the days of the Purge the tides of death swallowed all that was holy, but now Velspar is on the verge of revival.Sybilla Ladain survived her judgement and is now caught between her duty as Skalen and her growing entanglement with the rebels she once considered her enemies. Voirrey takes Sybilla to a little village in the mountains where they plan to start a religious community based on the old rites. In Avishae, Intercessor Maeryn is working with the Elshenders to do the same. But with the rise of the Guard and its factions, traditional seats of power cease to hold their value. The revival depends upon the will of the Skalens but without the Guard at their side, no Skalen is safe.

The Seven Lands of Velspar put their faith in the Intercessors, a psychic priesthood responsible for the purification of the spirit. Where passion flares, they soothe its intent. Those who cannot be soothed, are cast out, their spirits destroyed by fire. The Intercessors are mystics of the highest order, but Velspar's ruling Skalens believe their power has grown too great. Surviving the Intercessor's murder plot against her family, Sybilla Ladain rises to power. The Skalens come together under the banner of her grief, bringing the practice of Intercession to its brutal, bloody end. Yet victory brings Sybilla no peace. In time, she will have to face the people of Velspar, forced to live in a psychically alienated world, and a band of rebels led by an escaped Intercessor set on her annihilation.

The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. Examining Stanley Kubrick’s 2001: A Space Odyssey (1968) as the principal case-study and Gaspar Noé’s Enter the Void (2009) and Lars von Trier’s Melancholia (2011) as comparative examples, Sarah Balstrup argues that these directors harness the affective properties of film to generate altered states of perception in a manner analogous to religious practice.Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere.Investigating the relationship between cinematic technique and religious experience, Spiritual Sensations offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. Spiritual Sensations makes a further contribution to the field by analysing films contextually, considering viewers’ subjective responses in light of religious and cultural change.

The secular, pluralist culture of the West encourages a subjective approach to spiritual truth where stimulating emotional experiences, such as those provided by film, can contribute to personal conceptions of the sacred. Examining Stanley Kubrick’s 2001: A Space Odyssey (1968) as the principal case-study and Gaspar Noé’s Enter the Void (2009) and Lars von Trier’s Melancholia (2011) as comparative examples, Sarah Balstrup argues that these directors harness the affective properties of film to generate altered states of perception in a manner analogous to religious practice.Powerful feelings of dissociation and indescribable significance typical of mystical testimony appear in viewer responses to these films, demonstrating the continued sacralisation of such states of mind. In their own way, each film confronts the viewer with an apocalyptic revelation of the impersonal forces of the universe, moving away from personhood and the human narrative, into pure sensation. They present a non-deterministic spiritual truth that can be intuited but not explained, mirroring developments in the religious sphere.Investigating the relationship between cinematic technique and religious experience, Spiritual Sensations offers an alternative approach to the study of religion and film that has been principally focused on narrative symbolism and the dramatisation of values. Spiritual Sensations makes a further contribution to the field by analysing films contextually, considering viewers’ subjective responses in light of religious and cultural change.