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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

“Woman of No Distinction” World Premiere

Richard J. Clark · February 22, 2019

HRIS KINSELY wrote a landmark poem in 2006 about the Samaritan woman at the well and her encounter with Jesus. What makes this poem unique is its perspective: written entirely from the point of view of the Samaritan woman. This poem has much to teach us today. (See the poem below.)

Jennifer Lester, Director of The Seraphim Singers, asked me to compose a work When I saw the text, I thought “This is the poem.” It was an honor and privilege to composer on this work and this topic. (Liturgically notable is the role the Samaritan Woman plays in Lent, and in particular the First Scrutiny for Catechumens seeking full reception into the Church.)

In Orthodox and Eastern Catholic traditions, the Samaritan woman at the well is revered as a saint and considered “equal to the apostles.” Witnessing to the truth of Christ, she was martyred during the persecutions of the Emperor Nero.

I ASKED SOPRANO Anna Ward to be the “voice” of the Samaritan Woman. She adds her superlative artistry and perspective to this work!

* *  YouTube • A conversation with Lester, Ward, and Clark about the work and what it has to say to us today.

IF YOU ARE IN THE BOSTON AREA be sure not to miss this premiere as part the Seraphim Singer’s “Women’s Perspectives.” This concert will present works exploring the voices of women as composers, subjects, storytellers, and poets.. There will be two performances:

Friday, Friday, March 1, 2019, 8:00pm
St. Cecilia Parish, 18 Belvidere St., Boston, MA

Sunday, March 3, 2019, 3:00pm
First Church (Congregational) 11 Garden St., Cambridge, MA

Tickets: $22 General Admission / $18 Students & Seniors online or $25/20 at the door
• Tickets are available at the door or purchase online here
• Download the concert poster here

Hope to see you there!

WOMAN OF NO DISTINCTION
By Chris Kinsley

I am a woman of no distinction
of little importance.
I am a woman of no reputation
Save that which is bad.

You whisper as I pass by and cast judgmental glances,
Though you don’t really take the time to look at me,
Or even get to know me.

For to be known is to be loved,
And to be loved is to be known.
Otherwise what’s the point in doing
either one of them in the first place?

I want to be known
I want someone to look at my face
And not just see two eyes,
a nose, a mouth and two ears;
But to see all that I am, and could be
all my hopes, loves and fears.

But that’s too much to hope for,
to wish for,
or pray for
So I don’t, not anymore.

Now I keep to myself
And by that I mean the pain
That keeps me in my own private jail
The pain that’s brought me
Here at midday to this well.

To ask for a drink is no big request
But to ask it of me?
A woman unclean
Ashamed, used and abused
An outcast, a failure
A disappointment, a sinner.

No drink passing from these hands
To your lips could ever be refreshing
Only condemning
As I’m sure you condemn me now
But you don’t.

You’re a man of no distinction;
Though of the utmost importance.
A man with little reputation, at least so far.

You whisper and tell me to my face
What all those glances have been about
And you take the time to really look at me.
But don’t need to get to know me.

For to be known is to be loved and
To be loved is to be known.

And you know me.
You actually know me;
All of me and everything about me.
Every thought inside and hair on top of my head;
Every hurt stored up, every hope, every dread.
My past and my future, all I am and could be.
You tell me everything,
You tell me about me!

And that which is spoken by another
Would bring hate and condemnation.
Coming from you brings love, grace,
Mercy, hope and salvation.

I’ve heard of one to come
Who could save a wretch like me
And here in my presence,
You say, “I am he.”

To be known is to be loved;
And to be loved is to be known.

And I just met you.
But I love you.
I don’t know you,
But I want to get to.

Let me run back to town
This is way too much for just me.
There are others
Brothers, sisters, lovers, haters.
The good and the bad, sinners and saints
Who should hear what you’ve told me;
Who should see what you’ve shown me;
Who should taste what you gave me;
Who should feel how you forgave me.

For to be known is to be loved;
And to be loved is to be known.
And they all need this, too.
We all do
Need it for our own.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Last Updated: January 1, 2020

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About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    “Offertory” at Catholic Funerals
    I have argued that the OFFERTORY—at least in its ancient form—is more of a responsory than an antiphon. The 1962 Missal specifically calls it “Antiphona ad Offertorium.” From now on, I plan to use this beautiful setting (PDF) at funerals, since it cleverly inserts themes from the absolution of the body. Tons more research needs to be done on the OFFERTORY, which often is a ‘patchwork’ stitching together various beginnings and endings of biblical verses. For instance, if you examine the ancient verses for Dómine, vivífica me (30th Sunday in Ordinary Time) you’ll discover this being done in a most perplexing way. Rebecca Maloy published a very expensive book on the OFFERTORY, but it was a disappointment. Indeed, I can’t think of a single valuable insight contained in her book. What a missed opportunity!
    —Jeff Ostrowski
    “In Paradisum” • Gregorian Chant
    As a RECESSIONAL on All Souls’ Day (November 2nd), we will sing In Paradísum Dedúcant Te Ángeli (PDF). When it comes to Gregorian Chant, this is one of the most popular “songs.” Frankly, all the prayers and chants from the traditional REQUIEM MASS (Missa exsequialis or Missa pro defunctis) are incredibly powerful and never should’ve been scuttled. Click here to hear “In Paradisum” in a recording I made this afternoon.
    —Jeff Ostrowski
    “Music List” • All Souls (2 November)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 2 November 2025, which is the Commemoration of All the Faithful Departed (“All Souls”). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the top-notch feasts website alongside the official texts in Latin. In my humble opinion, it’s weird to have the feast of All Saints on a Sunday. No wonder the close associate of Pope Saint Paul VI said the revised KALENDAR was “the handiwork of a trio of maniacs.” However, I can’t deny that sometimes the sacred liturgy consists of elements that are seemingly contradictory: e.g. the Mode 7 “De Profúndis” ALLELUIA, or the Mode 8 “Dulce lignum” ALLELUIA on the various ancient feasts of the Holy Cross (3 May, 14 September, and so on).
    —Jeff Ostrowski

Quick Thoughts

    Gospel Options for 2 November (“All Souls”)
    We’ve been told some bishops are suppressing the TLM because of “unity.” But is unity truly found in the MISSALE RECENS? For instance, on All Souls (2 November), any of these Gospel readings may be chosen, for any reason (or for no reason at all). The same is true of the Propria Missæ and other readings—there are countless options in the ORDINARY FORM. In other words, no matter which OF parish you attend on 2 November, you’ll almost certainly hear different propers and readings, to say nothing of different ‘styles’ of music. Where is the “unity” in all this? Indeed, the Second Vatican Council solemnly declared: “Even in the liturgy, the Church has no wish to impose a rigid uniformity in matters which do not implicate the faith or the good of the whole community.”
    —Corpus Christi Watershed
    “Our Father” • Musical Setting?
    Looking through a Roman Catholic Hymnal published in 1859 by Father Guido Maria Dreves (d. 1909), I stumbled upon this very beautiful tune (PDF file). I feel it would be absolutely perfect to set the “Our Father” in German to music. Thoughts?
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski

Random Quote

“The Catholic Church holds it better for the sun and moon to drop from heaven, for the earth to fail, and for all the many millions on it to die of starvation in extremest agony, as far as temporal affliction goes, than that one soul, I will not say, should be lost, but should commit one single venial sin, should tell one willful untruth, or should steal one poor farthing without excuse.”

— Saint John Henry Newman (1865)

Recent Posts

  • “Offertory” at Catholic Funerals
  • “In Paradisum” • Gregorian Chant
  • The Beauty of the Propers for All Souls’ Day (and the Requiem Mass)
  • Gospel Options for 2 November (“All Souls”)
  • “Music List” • All Souls (2 November)

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