Part of the charism of Voluntas Dei, the secular institute of which I am a member, is “To be like the Virgin of the Annunciation…” Thus, the title of Susan Swetnam’s book immediately caught my eye. Reading the first few pages of the Introduction where Swetman writes about her loss and misery in becoming a young widow, I was not sure the rest of the book would hold my attention. Though I could not immediately identify with parts of her personal experience, I appreciate how she held my attention in all the pages that followed.

Swetnam invites the reader to enter into those moments of life that challenge us to start over, to move in a new direction. She calls the reader to take ownership of “the variety of responses you have felt when some disturbing angel of circumstance has shown up on your doorstep” (p. 15). In the spirit of Henri Nouwen’s The Return of the Prodigal Son, the author provides six classic paintings of the Annunciation to Mary for reflection.

   In contrast to a spirituality which depicts Mary’s fiat as an immediate and somewhat enthusiastic response, Swetnam portrays how Mary was “greatly troubled” and “wondered what sort of greeting this might be.”  She appreciates Mary’s question, “How can this be?” as part of the larger story (Luke 1:26-38). The book organizes everyday annunciations around four themes, each with its own chapter – the calling of young people; tragedies; discernment; and “what might follow in old age.”

  The Mary of Jacobo Pontormo’s painting hears the angel’s announcement “as an interesting surprise rather than worrying about its long-term impact.” This allows Swetnam to suggest that particularly for youthful annunciations, as well as those that might come a bit later in life, to “park your panic” (p. 26). Lorenzo Lotto’s depiction of Mary offers a rather stark contrast as she looks away from the angel and at the viewer. Swetnam explains the resistance of Mary in this Renaissance painting. Drawing on the work of Elizabeth Johnson, she finds in the picture a Mary with the power to transform human life. Citing the work of other scholars, the author helps the reader appreciate the “grammar of reluctance” not only in the art, but as part of the fabric of human life.

 Drawing once again on Nouwen, the chapter on discernment describes the experience as beyond simple logic calling for a patient waiting and paying attention to the moment, another key dynamic of Voluntas Dei spirituality. Discernment allows for the continued growth from a “false self” to a more authentic self, given over to God. Alessandro Allori’s The Annunciation invites the reader to consider the unfolding of “the later years.” Similar to Swetnam’s “park your panic” insight, she again balances good scholarship with down to earth language for old age. Reflecting on this image of Mary, Swetman writes, “Oh girlfriend, I get what you’re feeling… some darned angel comes along and butts in with something that has to be done now” (p. 87). Swetnam correctly observes that these everyday annunciations just don’t end. Offering a powerful description of her husband’s death, the reader can experience great hope in a final annunciation of God’s patient and eternal love.

  As previously noted, this book kept my attention. I appreciate her fine use of rich spiritual sources and good theology. This may not make for easy reading for those less familiar with these authors. Those who have not experienced the depth of loss and emptiness that came with Swetnam’s early widowhood, may also be hesitant to continue reading – though they should. Whatever one’s experience, her excellent writing, sound insight, and good humor can help most anyone be attentive to and “say yes” to everyday annunciations. A truly reflective reader, perhaps someone using the book for a retreat, might want to spend some time with each of the six paintings in color online, read the appropriate chapter, and then further reflect on the painting. Swetnam and the artists capture authentic human responses to divine invitations.