The world can break our heart every single day. We can wake up grateful and things beyond our control can devastate us and leave us asking questions and feeling shattered.
The world can also show us love, connection, friendship, laughter, warmth, and spark our sense of wonder.
For all the times we don’t get to choose what happens, how do we make the most of the time that we have? How do we cultivate and appreciate moments? How can we lean into connection rather than withdraw into isolation?
As the sun comes up through the trees, I have coffee in my mug. I have a dog next to me who wonders what we’ll do today and for whom whatever the day brings is enough. I have books at my elbow that inspire and provoke me. I have pen and paper to help me record and communicate life from where I sit.
There are birds coming and going at the backyard feeders—Woodpeckers, Tufted Titmice, Chickadees, Wrens.
Whatever the day brings is enough. Because that is what will be. And at the same time, there are days when we get to decide something of what the day will be.
Jesus tells us, at the end of the Sermon on the Plain in Luke’s Gospel, “Do to others as you would have them do to you.” (Luke 6:31)
If we want to spread joy that will last, let’s think first about the heartbreaking days that crush us. What if on those days, someone reaches out to you; someone checks in on you; someone lets you know you are not alone—that you matter.
Let’s say that is how we want to be treated. What is stopping us from treating other people that way—today, now. If you have anyone in your life who you are thankful for, or concerned about, or who is on your heart or your mind, reach out. Say hello, say thank you, say I am thinking of you, say I appreciate you, say I love you.
Not because you will get something back, but because it is how you want to be treated. Because that is a gift that we can each give. And when we are more concerned with giving than with getting, we find we need less.
Fall is a time of change, a time of incredible colors, crisp air, clear skies, and fire-pit warmth. My bones know when fall hits. It’s also always been a time of renewal, energy, and new beginnings.
This year, fall is the beginning of year two of seminary through Iona Eastern Shore for seven of us aspirants and postulants. Our studies this year are focused on the history of the Christianity (what happened between the Acts of the Apostles and today) and heavily on homiletics–preaching. I’m especially appreciating lectures, essays, and books by Tom Long, who makes me think that preaching is something that can be taught, even to those of us to whom it doesn’t come naturally.
To borrow a few aspirational sentences from Long’s book “The Witness of Preaching”–
“To have our own lives, our own work, our own words, our own struggles and fears gathered up in some way into that event (preaching) is an occasion of rich and joyful grace… To be a preacher is to be a midwife of the word… we do not establish the time of its arriving; we cannot eliminate the labor pains that surround it; but we serve with gratitude at its coming and exclaim with joy at its birth.”
And:
“Faithful preaching requires such gifts as sensitivity to human need, a discerning eye for the connections between faith and life, an ear attuned to hearing the voice of Scripture, compassion, a growing personal faith, and the courage to tell the truth.”
I have such a long way to go, but I am inspired and encouraged and am becoming a student of the art and event of preaching.
I’ve also been helped along the way this fall by a discernment group who have gathered multiple times to help me discern, distill, and clarify my calling as part of the canonical process toward ordination. The way is each and every step and I am grateful beyond words for the questions, love, and encouragement from these friends.
Romans has given me a particular focus and opportunity for the fall/winter. In the same way that I wrote each week about our small group study of John O’Donohue’s book “Anam Cara,” I’ll be writing about Romans–thoughts from different scholars, snippets from our group discussions, and I am hoping to do some video segments and interviews with folks talking Romans.
I think for many church-goers, Paul’s Letter to the Romans is something experienced piecemeal, here and there, in lectionary readings. People know it’s a big deal, but they never take the time to read it and reckon with it. And that’s understandable–it’s daunting! But it’s also beautiful and potentially transformative. I love this thought by Rev. Jay Sidebotham, in “Conversations with Scripture: Romans,” when he says:
“The expression of trust in God’s grace, a theme of the Letter to the Romans, has the power to change individual lives. It also has the power to change communities, which is why it matters that we enter into this conversation. Such a conversation does not mean that we will like or understand everything in the letter… In the spirit of conversation, a word that suggests companionship on the journey, we hope that faithful attention to this ancient letter may open the door for new insights into the expansiveness of the grace of God.”
Romans has a history of changing lives and communities. Would that our studies might increase our trust in God’s grace.
To Live Prayerfully
Last weekend, Fr. Bill Ortt preached on Luke 18:1-8, the Parable of the Widow and the Unjust Judge. The text starts out by saying, “Jesus told his disciples a parable about their need to pray always and not to lose hope.” This is advice you give people who are going through tough times; people who might reach a point in their lives and their faith where they want to give up.
If we are going to be people for God, who is love, and so people for love, we need to lean in, not give up. We need to live prayerfully. Prayer is not simply asking for things–prayer is our connection to God. Prayer requires listening as much, if not more than talking.
That’s part of the reason why we use Rowan Williams’ book “Being Christian” in our newcomer class. It ends with prayer. And Williams describes three things that are essential for prayer:
First, and most importantly, prayer is God’s work in us… It is the opening of our minds and hearts to the Father…
Second, there is the deep connection… between praying and living justly in the world… Prayer is the life of Jesus coming alive in you, so it is hardly surprising if it is absolutely bound up with a certain way of being human which is about reconciliation, mercy, and freely extending the welcome and the love of God to others.
Third, prayer from our point of view is about fidelity, faithfulness, sticking to it… Just stay there and if in doubt say, ‘O God, make speed to save me.’ Prayer is your promise and pledge to be there for the God who is there for you.
To live a prayerful life is to open our hearts, minds, and lives to God. It’s about praying and living in a way that shows reconciliation, mercy, welcome, and love. And it’s about sticking with it.
It’s a lot to take in. It’s a lot to try. We won’t always get it right. We will stumble and fall. And none of us can do it alone. But with God’s help, and with each other, we can get back up, try again, and keep forward on the way.
I come back to the Thomas Merton Prayer regularly. We prayed it together at the first meeting of our discernment group. And it feels like a good time to offer it here:
Loneliness hits us all. So do suffering, loss, and pain. Hopefully so do joy, wonder, and love. But it’s easy to feel like we’re on an island. And then something happens, when maybe just for a moment, we find a connection. Someone says something or we read something and it washes over us–someone else feels that way, or ‘yes, that’s it–that’s the feeling!’ or ‘I can’t believe someone else thinks that!’
So often it’s language that connects us. It gives words to our feelings, our thoughts, our pain, our joy, our curiosity. If you are like me, that’s a feeling I get from reading, and from some writers and poets more than others.
I knew what my first tattoo was going to be the first day we studied William Blake in Dr. Gillin’s British Romanticism class at Washington College. I was 24 years old and we were discussing Blake’s poem, “The Marriage of Heaven and Hell.” It’s a big, unwieldy, hard to get your head around, free form puzzle on first glance and I remember thinking that I didn’t know you could do that in poetry. This morning, looking over different sections of “Proverbs of Hell,” I got that awestruck feeling all over again. Here are some dropped in at random:
The road of excess leads to the palace of wisdom.
Eternity is in love with the productions of time.
If the fool would persist in his folly he would become wise.
Excess of sorrow laughs. Excess of joy weeps.
The bird a nest, the spider a web, man friendship.
What is now proved was once only imagined.
They are like hand grenades that go off in your mind. He changed what I thought you could do with writing. He spoke things that I hadn’t yet found words for. And now I carry around his engraving “The Ancient of Days” (at the top of the page) on my left shoulder. I remember Dr. Gillin talking about the art saying it was God creating order in the universe.
In that same class we encountered William Wordsworth. And he is a poet who wrote about connected to nature and wonder the way I felt and thought about them. I can’t tell you how many times I have read, quoted, and contemplated his poem “Lines Composed a Few Miles Above Tintern Abbey.”
This past fall I had coffee with friend and mentor John Miller. John has been a long-time instructor at Chesapeake Forum, dating back to when it began as “The Academy for Lifelong Learning” at the Chesapeake Bay Maritime Museum, where we worked together.
John and I have gotten together for coffee and to talk literature and life over the past couple years, including talking about the passing and great memories of our friend, former co-worker, and John’s co-leader in countless literature classes, John Ford.
As we sat outside along the street in September, John Miller had something on his mind. He started reading aloud from John Milton’s elegy “Lycidas,” in which Milton mourns the drowning of a friend, class mate, and fellow poet and wonders about his own mortality and if our struggle is all worth it.
And the thing we kept coming back to was the way language, the way poetry, can give voice to all the things we feel and think and encounter in this business of being human. The power of language to help us get our heads and hearts around being human.
And Blake and Wordsworth were two other poets who came up in the discussion. And we went back and forth over e-mail and phone calls and what we have coming up over three Zoom sessions on Thursdays, January 27, February 3 and 10, from 10:00 to 11:30am is Milton, Blake and Wordsworth: On Being Human.
This is not an academic study of poetry. This is a look at how poetry can give us the words to help us connect to each other; to help us make some kind of sense of what it is to live a life, to grieve, to see into the heart of things; to connect to God through nature.
I go back to a line that Robin Williams delivers as John Keating, the English teacher in Dead Poets Society:
“We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.”
I have held that notion to be exactly so and tried to live my life, at least in part, along those lines.
And that’s the spirit we will approach Milton, Blake and Wordsworth with, as we discuss what it is to be human, and how language and poetry can connect us.
“Things in life never come full circle. Maybe once or twice they’re hexagonal, but to me, they are almost always misshapen, as if drawn by a toddler in crayon.”
Adam Horovitz (Ad-Rock)
That’s how Ad-Rock of Beastie Boys fame described the feeling of looking back on Bonnarroo music festival, where the group was headlining, and not knowing it would be the last show they would ever perform together, before to Adam Yauch (MCA) died.
That hits hard. I paused the documentary to write it down, such a profound way to look at things. Misshapen, drawn by a toddler in crayon. And there is sadness in that, but there is also hope. I want to hold on to the fun, spontaneity, and fresh/beginner’s perspective that comes with drawing in crayon.
Our lives are built from the past. That’s what’s gotten us to where we are. Not just our past, but further back. The picture above is one of my all-time favorite photos. It is my grandfather, my Dad’s father, sitting in what was his father’s oyster shucking/packing/canning house. It’s about 1905 in Oxford, in what is now Oxford Marina & Boatyard; growing up for us it was Mears Marina. Where he is looking at is now the restaurant Capsize. I am looking at the framed black and white photo on my desk as I write.
I think of the things he saw in his 95 years; how his lifetime included the birth of my father, out of whose life I came into the world. So in a real sense, this moment I am having, sitting here typing and thinking about my grandfather, is built out of, is contained in a future state, in that photo. And that world is so different from the one we are living in now. And if you tried to connect the dots from that moment to this, it would look a whole lot like a child drawing in crayon.
Life should be drawn in crayon. It shouldn’t be angular, or too detailed, or a map from which there is no deviating. I like thinking about the enthusiasm and creativity that is in the eyes, mind, and hands of a child sitting down to a blank piece of paper. What if we could bring that to each day?
An old friend and I were writing back and forth about “Beastie Boys Story.” I said they are the soundtrack of our lives. A place it took him:
“Takes me to another place and time for sure. Lots of great memories of a time that can never be again- but I’m glad I got to live it.”
And I know he’s right. The same way that the life my grandfather lived can’t be had in the same way in today’s world, the things we did, the experiences we had in our earliest years of albums coming out and being played over and over, that is a time and era that our kids don’t get these days. Especially these days of quarantine. “Licensed to Ill” came out when I was a freshman, like my daughter Ava is now. By the time I was a senior, like Anna, “Paul’s Boutique” was the most played album in our cars and sung regularly at parties.
But then I also think about how music can still be a part of the new memories going on–further along the crayon arc. I think of Ava in her car seat in the backseat of my truck on the way to daycare asking to listen to the Beastie Boys “Grass Monkey” (I will wait on my parent of the year award)–I think of the song “Intergalactic” constantly playing in the Latitude 38 kitchen when I worked there; I think of newer albums and the song “Make Some Noise” (if you’re living) was an anthem for us in 2011. And about how all their albums are still in constant rotation on my playlist. And I love how thinking and remembering the band and their impact on my life even got to be a part of my writing, and how old lyrics still make sense in new ways to me today.
But there’s more. Adam Horowitz, talking about Yauch/MCA, says he was “a living contradiction of people’s ideas of how or what you are supposed to be or do.” They talk about how they were able to spend most of their lives to this point creating art, hanging out, and having fun as a group of best friends. They talk about how Yauch was the driver in learning new things, taking new adventures, growing and outgrowing old ways of being and thinking. And I wonder, what can we take from that? What can I learn from their example? How can we/I be those people who keep pushing boundaries?
I think about the number of times I have laughed at lyrics, or laughed watching the documentary, and how much we need humor in our lives, both day to day, but also a sense of the cosmic scale/sense of humor. And I love the idea that MCA was “drawn to the Dalai Lama because he was a funny dude.” And it makes me smile and remember that humor is so important in our spiritual lives.
What if watching a documentary about your favorite band and the life they’ve lived further inspires us to spend time and go on adventures with our friends–actual physical adventures, but also spiritual adventures, or literary/creative/musical adventures, depending on what form your creativity takes?
We can get nudged by life, by God, in different ways, if we are paying attention. And during a time when we are largely at home and isolated, our nudge can come in the form of documentary movies, from music, from books, from connecting with friends in new ways. Our nudge can help us to have new eyes to look at the things around us.
When we look forward, we don’t know what those special, transcendent moments are going to be or when they will happen. I like to think that each of us has so many more of those moments ahead, not just behind us as memories.
Looking back at the moment of my grandfather sitting among oyster shells captured in a photograph taken more than 100 years ago, and all the possible moments contained in it, that became real moments in his life, my dad’s life, my life, my daughters’ life–I wonder what those captured moments, what photographs or objects, or stories that are taking place now, are going to be those things passed down and talked about and laughed over 100 years from now?
And I can’t know that. But if I had to guess, when you draw a line and connect those dots and moments and stories, it will look “misshapen, as if drawn by a toddler.” And I hope they are using crayon.
The magnolia in the front yard is a ten-day tree. For maybe ten days at most, there is nothing like it; it’s in full blaze glory. Then it drops its bloom and doesn’t say much the rest of the year. But those ten days.
As our unplanned retreat/social distancing kicks in, we are in the middle of ten-day Magnolia time. It’s an excuse to sit on the bench under the tree, to walk around it, to put my head between blooms and breathe in. If I’m honest, I don’t need a virus to do this, it’s life everyday as long as I’m paying attention.
The sky is still dark, but the birds are noisy. It’s transition time, just before the sun changes the horizon’s color. Morning routine: coffee, prayer, reading, writing. Cat purring on the armrest against my left arm, dog curled up against my right thigh–demanding bookends with fur. As it warms, morning time will be on the deck or in the writing shed.
This early dark time matters. It frames the day with attention. It sets the tone before the day’s demands start. Lately, I’ve been thinking about writing, storytelling, the force of words that point to something words can’t really get to.
One of the books currently traveling with me–in the car, in waiting rooms, to work, the spare minutes picking the girls up from school.
In the preface to “The Field Guide to Writing Flash Nonfiction,” the Rose Metal Press folks point to Bernard Cooper’s notion that short nonfiction needs “an alertness to detail, a quickening of the senses, a focusing of the literary lens… until one has magnified some small aspect of what it means to be human.”
Mull that last phrase as you sit to pray, read, or write, “some small aspect of what it means to be human.”
Overshadowed by the Coronavirus these days, is Lent, a season where we look to pare away those things that distract us so that we can draw closer to God. When I spend time in the Bible, it’s the Gospels that sing. It’s not Paul’s letters, it’s Jesus’ stories. Christ tries to show us and tell us what it means to be human in a way we too often overlook.
“The kingdom of heaven is like a mustard seed that someone took and sowed in his field. It is the smallest of seeds, but when it has grown it is the greatest of shrubs and becomes a tree, so that the birds of the air come and make nests in its branches.”
Matthew 13:31-32
Ummm… thanks, Jesus. What the heck are we supposed to do with that? Even his followers want to know why he always talks in parables. And this is a parable told after the Parable of the Sower and after Jesus broke it down for them. It was part of our reading in N.T. Wright’s “Lent for Everyone,” on Saturday. Wright points out that, Jesus, “told parables because what he was doing was so different, so explosive, and so dangerous, that the only way he could talk about it was to use stories. They are earthly, and sometimes heavenly, stories with an emphatically earthly meaning. They explain the full meaning not of distant, timeless truths, but of what Jesus was up to then and there. This is what is going on, they say, if only you had eyes to see. Or, indeed, as Jesus frequently says, ears to hear… Jesus’ parables invite the hearer, to look at the world, and particularly at Jesus himself, in a whole new way.”
I am guilty of not catching anything the first time, or first several times, I hear it. It takes time for me to learn things, to let them sink in. I need seeds. I need seeds that take time to take root, take time to grow, but once they are there, they stick, and maybe they bloom in each of us uniquely, in ways that can only be made manifest in the exact way, with our particular eyes and ears.
Often my eyes and ears work against me. Words I’ve heard or used too many times or sights that have become ordinary and overlooked. We don’t see God if we don’t look, or take the time to make the connection. Maybe the more we connect, the more we awaken ourselves to His presence.
Reading further in the Flash Field Guide, there is an essay by Lia Purpura called, “Augury.” She walks up on a dead Goldfinch hanging in a tree, caught up in fishing line. It’s jarring, disturbing, unexpected, confusing. It’s wrong for what is supposed to be there, how things are supposed to be.
Her description of this moment, this encounter is eerie and uncanny and beautiful all at once. In maybe a why moment for the experience, she latches onto, “It’s good to stand beneath a thing that takes words away. It’s good to be in a place where thought can’t form the usual way.”
Experiencing things that take words away, where thoughts can’t form the usual way.
I prefer my encounters to be with live Goldfinches, as I am sure Purpura does as well. But I appreciate her flash essay in the way it helps me to look at Goldfinches with new eyes. It helps me to look at writing with new eyes. Hopefully it helps me look at life with new eyes.
Life and death loom large. While I sit here, for the time I have, life looms larger. It’s part of the ten-day tree time. New birds, Goldfinches included, are appearing at the feeders, and at the edge of woods where I hike or trail run. Crisp, spring sunrises and sunsets are punctuated with cool, clear night skies full of stars. in the midst of it all, the magnolia makes a statement.
If I have eyes to see, one bloom might hold it all.
“I don’t know, maybe your experience differed from mine. For me, growing up as a human being on the planet Earth in the twenty-first century was a real kick in the teeth. Existentially speaking.” – Ernest Cline, “Ready Player One.”
Ernest Cline lured me in with Oingo Boingo, got me to sit down with Atari 2600, and handed out popcorn with 80’s pop culture references in spades. For the better part of two summers growing up, I had a boombox covered with skateboard grip-tape and anarchy symbols on my 13-foot Boston Whaler. The cassette tape that lived in the boombox was dubbed from vinyl records: on one side was Bob Marley “Exodus” and on the other was Oingo Boingo “Dead Man’s Party.”
I can’t tell you how many times we listened to that song. I can hear the music over the wail of the outboard motor with the boat planing. Cline conjured up the beginning of Dead Man’s Party and I was there.
Ready Player One’s main character Wade Watts is born into a crappy existence where virtual reality (the OASIS) is much more inviting and compelling than real life. And the more he learns about history and life in general, the further he is convinced that life is a raw deal.
“I started to figure out the ugly truth as soon as I began to explore the free OASIS libraries. The facts were right there waiting for me, hidden in old books written by people who weren’t afraid to be honest. Artists and scientists and philosophers and poets, many of them long dead. As I read the words they’d left behind, I finally began to get a grip on the situation. My situation. Our situation. What most people referred to as ‘the human condition.’ It was not good news.” – Ernest Cline, “Ready Player One”
Map of the world of Greyhawk. Yeah, definitely spent more than a normal amount of time pouring over, recreating, and drawing my own maps on graph paper.
Cline walks us through the interior minds of any of us who grew up immersed in pop culture and fantasy during the 1980s. And he also walks us through our current culture and the pull of virtual/screen reality over the world around us. He both maps it and travels the terrain. I’ve been mulling over a comment from Brene Brown in her book “Daring Greatly,” when she says:
“I have found that the most difficult and most rewarding challenge of my work is how to be both a mapmaker and a traveler.”
Brene Brown, Daring Greatly
I’ve been fascinated by maps for as long as I can recall, and it could have started with the map of Greyhawk above. But it’s not just the map itself–hiking through the White Mountains more than 10 years ago, and seeing where we were on the map, there was just something inherently cool about it. Maybe it’s a combination of knowledge and adventure, which multiply into some sort of lived truth. It’s also the idea of charting the intersection of imagination and culture, say in Cline’s case, which made reading feel like both a revelation and an adventure, and left my head spinning.
In the mornings, when I read or pray, my mind, heart, and soul soar and dive and question and sit in awe and wonder. That’s part of being a traveler, making an interior journey. For me, there is then something in the act of trying to write down what I am seeing, feeling, wondering about; the act of writing becomes an act of mapmaking. I try to do the same thing when my mind wanders somewhere cool while running or whatever I am doing (hence always having a notebook and pen in my pockets).
Gaiman goes on to give his own take on things hidden in old books:
“Books are the way that we communicate with the dead. The way that we learn lessons from those who are no longer with us, that humanity has built on itself, progressed, made knowledge incremental rather than something that has to be relearned, over and over. There are tales that are older than most countries, tales that have long outlasted the cultures and the buildings in which they were first told.”
So many times it’s the old tales. When we study the Bible, I am always taken to these other places, God journeys, that almost always end up also describing something I am currently feeling, or a feeling I know. So the journeys become linked; the traveling is not alone.
Maybe the act of reading, the act of imagining, the act of praying, is also an act of connecting. It can be connecting with the past, connecting with the writer, connecting with God. But we are forming connections. We aren’t the first or the last to find or feel them. But in the same way that we benefit from what these cultures, writers, and artists have left behind–the maps they have given us–maybe we are compelled to chart out our travels, our journeys, so that we can leave them behind for others to do the same.
Maybe we can help make some better news for the human condition.
“Nature’s first green is gold, / Her hardest hue to hold.”
Robert Frost might have had a magnolia tree in his front yard. I’ve never seen anything like it. Over the past week, it’s been in different phases of bloom and I just go out and stand underneath it in complete awe. It will only last a week or two, but man, what a week.
“Her early leaf’s a flower; / But only for an hour.”
Spring is a time for rebirth, for taking root and for growth. But within that, there is also the notion that it doesn’t last, like the magnolia tree in bloom, so appreciate it while it’s here. Be present. Feel the growth. Take the moment.
W.S. Merwin in Hawaii at the Merwin Conservancy. Image from Stefan Schaefer.
W.S. Merwin, one of the brightest shining, most brilliant, and most venerable American poets died recently. I met him briefly in Washington, DC, after hearing him read. I’d made it a point to catch him after work when I worked in the city. He was one of the voices; one of the lives worth emulating, or using as a model to find your own.
In a great New Yorker article, Casey Cep writes about Merwin’s writing and his effort to preserve Hawaiian landscape, “The palm forest, like Merwin’s poetry, has become a kind of prophetic stance against contemporary life: bearing witness to individual, almost foolish acts of creativity while devastation abounds.” We do what we can in the time that we have.
Sometimes I can connect the dots, sometimes I lose the picture. My reading list of late has included large parts of Luke’s Gospel, Henri Nouwen’s “Return of the Prodigal Son,” and legendary and/or mind-bending graphic novels, including Brian Michael Bendis and Alex Maleev’s “Daredevil” run, Donny Cates’ “God Country,” and Jonathan Hickman’s “Fantastic Four.” I’ve never read Hickman, who is known for his epic story arcs for Marvel Comics. Marvel announced this past week that he is set to take over the X-Men this summer.
I’ve been thinking about the Faust/Faustus storyline a lot lately, where to gain unlimited knowledge, the seeker sells their soul to the devil. It has to deal with hubris, excessive pride, and pushing beyond the limits of where we should go. And Hickman plays that exact storyline out with Reed Richards in his Fantastic Four story. But when faced with the decision either come up with the answer to everything, to save the universe and feed his ego flashing his brilliance, or to be human, be with his family, Richards thinks back to the words of his father.
“All of my hopes and desires rest in you becoming what I am not. When you grow up, I expect more. Son, I expect better. I want you to be a better friend than I was. Be a better husband. Be a better father. Be a better man.”
Father-son, father-daughter messages hit me straight in the heart. And it makes me reflect on the prodigal son story, and how the father wants his sons to know his love, no matter what they’ve done. And that’s big.
For Lent this year, Fr. Bill Ortt at Christ Church Easton, has given out prayer stones during worship services. There are 11 different words and you choose without looking: love, peace, believe, remember, listen, forgive, hope, pray, heal, follow, grace. The idea is to use your word as a mantra during Lent. And to look up Scripture for your word that you connect with, and pray, reflect, and meditate on it for the season.
My stone is love. It’s not the one I expected or the one I would have picked. But it’s the one I needed. It’s what I need to remember and to focus on. I picked two verses.
John 13.34-35
I give you a new commandment, that you love one another. Just as I have loved you, you also should love one another. By this everyone will know that you are my disciples, if you have love for one another.’
And
Corinthians 13:4-8
Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, believes all things, hopes all things, endures all things.
Love never ends.
Those are big for me. Because it is easy for me to look past, to get too busy, to be in my head or deep in thought too often.
Finishing up Robert Frost’s poem:
Then leaf subsides to leaf. / So Eden sank to grief, / So dawn goes down to day. / Nothing gold can stay.
Nothing gold can stay. And that’s true for spring. It’s true for knowledge and accomplishments. It’s true for the world. It’s true for almost everything we see around us.
But not for God. And not for love. “Love never ends.”
My mind is dancing, fickle like fire. It won’t stand still–it jumps, flicks tongues, wall rides, scattering darkness, but dives back down before illuminating. Can’t see what’s there.
I’m sitting in a cave. It’s me, the fire, others in the cave. The girls, probably wondering what we’re doing in a cave…
Can’t make out the cave walls. There are shadows. I need to stoke the fire. With what? Drugs bring smoke but no additional light. They are not the stoke. Prayer. Adventure. Creativity. Nature. God.
tucked up in clefts in the cliffs growing strict fields of corn and beans sinking deeper and deeper in the earth up to your hips in Gods your head all turned to eagle-down & lightning for knees and elbows your eyes full of pollen the smell of bats the flavor of sandstone grit on the tongue. women birthing at the food of ladders in the dark.
Gary Snyder chants. The flames dance higher. Figures on the wall…
Art. Poetry. Drawings. The child, surrounded by nature, is the one connected to the Universe… “whoever does not receive the kingdom of God as a little child will never enter it.” (Luke 18:17)… childhood wonder in the eyes of a child. I know these drawings. I’ve seen them. I’ve written about them, read about them. Snyder’s book “Turtle Island” is never far from my backpack.
Caves. Fire. Shelter. Food. Primal elements. Fire meant food, community. It still does. Fire pulls the tribe together. It is conversation, happy hour, camping, return from a trail run to crack a beer, sip soup and share stories. Fire lets us see in the dark.
The cave has more. Skateboarding. Future Primitive. A love that began at 13 and has continued through today at 46 and tomorrow at whatever age. The figures on the wall look like this…
Lance Mountain. The figures are also running. Tribal. More of the cave, the walls are showing now. Scenes, images, symbols from my life. The girls. Birds. A cross. Fish. Notebook and pen. Passions. Shared experiences. Spelled out on the walls of the cave. Plato would be pleased.
I get up and walk to further parts of the cave. The walls are bare. They are uncovered. Unwritten. Still to be written. The writing is from life. From love. From experience. What is the rest of the story? What symbols? What art?
What becomes paintings on the cave walls begins as dreams. Neil Gaiman knows dreams. He has written Dream’s story in epic and graphic fashion. He begins “The Sandman, Vol. 6: Fables & Reflections” with an artist, a playwright and director who is afraid of heights. In his dreams, he fears falling. He believes there are two possible outcomes to falling in a dream: either you wake up, or you die. No good outcome.
And the artist, the dreamer, finds himself in a dream, climbing. At the top of the mountain, he meets Dream. Dream points out that there is a third alternative. “Sometimes when you fall, you fly.”
The most unlikely scenario. It flies in the face of common sense. But we aren’t talking sense. We are talking dreams. Why would anything sensical wind up as a cave painting?
* Originally written and published on December 10, 2014, with some revisions now.
2019 is a blank page with a big box of Crayola crayons spread out around it. I dig the above photo that Caroline Phillips took on one of the last days of December, on assignment for Shore Monthly Magazine. It’s sunrise, with friends doing something we love, up and outside early that let us catch a crisp, clear morning to laugh, skate, and reconnect.
2019 is a year I don’t have a clue about in many ways. And part of that not knowing is that the past four-plus years have been foundation building.
Life has a way of pulling the rug out from under us when we get comfortable. I like to think that happens because we are getting comfortable in a way that is keeping us from where we need to be; where we could be going; what we could be doing. But that perspective likely only comes with some distance when we’re looking back.
When we get displaced, we try to get our footing–spiritually, mentally, and physically. We try to put our pieces back together in a meaningful way. We look for that place where we can breathe deeply and be ourselves. We look for somewhere we can build, and re-build our lives.
Over the past four years, I’ve lived in three different places and I’m in the first house where it feels like home, where the girls and I can be for a while, put some roots down and figure out where life goes as Anna gets closer to graduating high school and Ava finishes middle school.
The thing about building a foundation or putting down roots (choose your metaphor) is that that’s the beginning work, the base. For that to amount to anything, you’ve got to build something awesome, grow or bloom into something that no one else can–that’s what each of us has in us. And that’s what 2019 feels like it’s calling for–personally, professionally, physically, creatively–it’s time to stretch, to grow, to build, to do something more; something cool, fun, inspiring. The stuff the God puts each of us here to do.
Field guides, existing colors in the box of Crayolas that we get to color our lives with, to help show us what is possible, what’s been drawn, and what we can do.
Writing about Jorge Luis Borges, introducing Borges’ book, “Dreamtigers,” Miguel Enguidanos talks about dreams and song. That it is our capacity to dream and sing that “makes the world bearable, habitable; they make the dark places bright… Dreams and song. About the whole and the parts. About the universe and about each of its separate creatures.” And that “in spite of incompetence, stumblings, and disillusionment,” that our dreams, played out in the song we choose to sing with our lives can connect and resonate with others.
I guess that’s my hope for 2019. To feel our dreams and find and sing our song in new, surprising, inspiring, and wonder-filled ways. And in doing so, to help others do the same with theirs.
The unexpected voices stay in our heads. They speak lines, phrases, words, pictures that we didn’t see coming, but that we can’t forget. Denis Johnson planted a stop sign in my soul with, “I knew every raindrop by its name,” as I tried to get to know his heroin-addicted narrator in “Jesus’ Son,” a book of short stories, which has been called one of the best written in the last 50 years.
Johnson’s voice, his writing, was born from his experience with addiction. He was worried at first that sobriety would affect his creativity. But the distance, clear-headedness, and productivity of being clean let him more fully access his past and own his voice in a way only he could. My copy of “Jesus’ Son” (named from Lou Reed’s “Velvet Underground” lyric in the song “Heroin,”) is full of underlinings where Johnson knocked me off-guard, off-balance.
Mr. Johnson thought of himself as a Christian writer who wonders about the existence of God in a troubled world.
“I have a feeling God finds us pretty funny,” he told New York magazine. “But that’s all the speaking I should do for God–he doesn’t go around talking about me.”
Richard Sandomir, New York Times
Photo by R.N. Johnson
I’ve been thinking about and trying to read distinctive, original voices lately, gravitating toward short stories. Johnson is one of the first people I thought of. Another is Barry Hannah. Hannah begins his landmark book “Airships” like this:
“When I am run down and flocked around by the world, I go down to Farte Cove off the Yazoo River and take my beer to the end of the pier where the old liars are still snapping and wheezing at one another.”
Barry Hannah, “Water Liars”
In an appreciation of his writing, author Richard Ford says that Hannah, “recasts the world in the way obviously great writing does… Barry’s voice was the one many of us hear when we speak candidly to ourselves–subversive, inventive, unpredictable, funnier than we can be in public.”
Photo by Erika Larse.
Recasting the world. That’s what great writing should do for us. Help us see differently or think differently about something, or maybe see something we haven’t seen. Fantastic stories, well told.
I’ve had Tom Robbins lines and phrases typed into my subconscious for 20-plus years now. He can take something as mundane as mockingbirds and cast a slanted light on them:
“Mockingbirds are the true artists of the bird kingdom. Which is to say, although they are born with a song of their own, an innate riff that happens to be one of the most versatile of all the ornithological expressions, mockingbirds aren’t content to merely play the hand that is dealt them. Like all artists, they are out to rearrange reality. Innovative, willful, daring, not bound by the rules to which others may blindly adhere, the mockingbird collects snatches of birdsong from this tree and that field, appropriates them, places them in new and unexpected contexts, recreates the world from the world.”
Tom Robbins, “Skinny Legs and All”
But for all our disparate voices, it is not enough to recreate the world from the world, but to try to add some meaning, some connection, something universal within the personal.
Stories connect us in ways that nothing else does. Jesus told stories so he could be sure we would remember them, re-tell them, and talk about them. Hemingway and Twain are household names because we connect with Huck Finn and the Old Man and the Sea. And when Johnson’s narrator says he knew every raindrop by its name, I am transported back to being a kid, looking up into summer rain with my arms stretched out to the sides, trying to count raindrops and see if one looks different from another.
