Imagination and Prayer

Imagination! who can sing thy force? Or who describe the swiftness of thy course?  —Phillis Wheatley

Mechanic and machinist Arthur Pirre spent 20 years restoring his 1937 “Baby Duesenberg” Cord. He worked on details with files and wrenches and hex keys. He measured and drilled to make precisely fitting parts. Then he broadened his imagination to more abstract uses: choosing fabric and colors, sanding, painting, polishing, until the sleek curves and inventive features were remastered to their original beauty.

The poet Wallace Stevens employed different tools to craft the details of his poems: punctuation, cadence, syntax, line breaks. Like Pirre, he created with elements of abstract and imaginative thought using not just the words but the space between the words. In “The Snow Man,” he changed the familiar concepts of cold, snow, and ice into something momentous, the “nothing that is not there and the nothing that is.”

As artists, both men saw the interrelationship of details and the big picture. These tangible works of art correspond to our work in the invisible realm of prayer. Just as they labored to transform rust and words into something creatively meaningful, we labor with the Spirit to see the creation of something profound in the lives and the world around us.

Detailed prayer is straight forward. We can pray for a new roof, a humble heart, the ability to comfort a grieving friend. Details seem almost tactile compared to entering the vast, nebulous “God bless the world” prayer of a child. This is abstract prayer. Just like the element we can’t quite put a finger on in Stevens’ poems that shrouds a meaning and delivers its mystery, so the workings of prayer can’t be completely clear to our finite minds. Its abstractness is part of its power. There are no limits to who our prayers can touch because we can invoke our imaginations to include people we don’t know, complex situations beyond our grasp that we are nonetheless moved to pray about.

Jesus set the precedent for this kind of abstract prayer when he taught us to pray. Give us this day our daily bread and forgive us our sins both reflect the details of our day, and are easy enough (in a way) to lift up for ourselves, loved ones, and neighbors. But may your kingdom come and may your will be done are weighty and cumbersome. This is where God who gave us abstract thought and imagination invites us to use them in prayer. It’s when we can speak to God in images—picturing in our minds rather than naming with words—those we don’t know personally, extended family members of loved ones, future generations, our neighbors’ families, churches, cities, judges, presidents, countries, 7 billion people and the complex social, economic, political issues that swirl around them like clouds around the globe. The God who knows each star by name doesn’t expect us to know them, or need us to pray with an attention to detail that only his mind can grasp.

Denise Levertov muses about how God speaks to us in images in her poem Immersion:

                                                                                          God is surely patiently trying to immerse us in a different language, events of grace, horrifying scrolls of history and the unearned retrieval of blessings lost for ever, the poor grass returning after drought, timid, persistent. God's abstention is only from human dialects. The holy voice utters its woe and glory in myriad musics, in signs and portents.

We can speak to God in this nonlinguistic language just as the Spirit “intercedes for us with groanings too deep for words.” God invites us to pray like he invites artists to create, sometimes with detail, sometimes with abstract imagination. Pray for what you can name and what you can't. Pray with words and the spaces between words.

Working Words Through the Body

I worked a number of positions in television news, and the only aspect of it I really enjoyed was the news writing. The experience taught me a great deal about the kind of writer I wanted to be. And until recently, I’d forgotten I’d wanted to be the kind of writer whose stories are read aloud. There’s a power in telling stories for all to hear.

While I’d been able to read aloud The Wonderful Wizard of Oz, My Side of the Mountain, even Beowulf and the Aeneid to our kids, it hadn’t become a regular practice. This past Christmas we received the new illustrated Harry Potter and I thought, “What the hell, they’re old enough.” So I started reading it to the two oldest kids. I figured they’d be awed from the start. They weren’t.

One of the habits of being a news writer was to read out loud everything you wrote. It helped if you were able to mimic, to some degree, the anchors who would read the story. And while I wasn’t great at completely aping the sound of their voices, I could get the cadences down, I could wager where they’d be likely to pause, speed up, or slow down. It made me a better writer to understand how my anchors would speak.

And so after the first chapter of the first Harry Potter books fell flat, I realized I needed to become a better reader. These characters had incredible voices. So I began to use them. Harry’s was, obviously, a proper Cockney; Vernon Dursley’s weight and anger meant his whole body should shake when he speaks from the back of his throat; Dudley whines. Hermione has a slightly pressured speech; Ron is quite certainly from Boston. It’s been an enormous success, even if I’ve had to adopt upwards of twenty distinct voices as we’ve progressed through six books. (My favorites are Dumbledore’s Scottish drawl and Ginny’s Irish lilt.)

Gina Ochsner has written a marvelous novel called The Hidden Letters of Velta B. I implore you to read it. The main character, Inara, narrates the stories of her life to her son while on her deathbed. Ochsner’s brilliant writing absorbs the euphony of oral story-telling. The voice of Inara is so sublime that you’ll find the words tumbling out of your mouth in an empty room at 1am.

Inara believes inviolably in the telling of stories out loud because in this way we can “bury them deeply and firmly, pushing them down to an unshakeable foundation, a bedrock of truth.” And on this we can begin to build, to connect to each other in new ways. My experience in reading to the kids has had this effect. I’m often called upon to do one of the voices while making dinner, giving baths, saying goodnight. These stories, heard aloud, have come alive. For example, my son mimics well my voice for Luna Lovegood. During a theater class he used the voice to perform a short monologue. Based on the way I’ve read Luna’s character it fit perfectly into the character he assumed.

But I have questioned the effect of my reading efforts. Have I somehow warped the story to my own whimsical adaptations? Or prevented them from fully grasping the weight of it? They did not respond to a main character’s death with any emotion (I even read it during the day so they wouldn’t fall asleep heartbroken!) And what about when I read these books again and I do some of the voices differently?

Inara’s son Maris questions the logic of verbal story-telling. Here’s how Inara responds:

If you stand in a river you will never feel the same water touch you twice. A story is never told exactly the same way… The words work on us differently each time we hear them…As familiar as they are, they will never grow old. We stand in those familiar waters and feel ourselves transformed anew. This is the power of word worked through the body.

This is why we must tell our stories.

I know that reading Harry Potter through out loud this time has worked such an exact magic over me. It’s an altered experience to dart around the room reading about when Harry wins the Quidditch Cup. To shake and growl out Hagrid’s bellowing because his spider has died. Or to work Harry’s anger toward Dumbledore through my jaw. To squeak out Neville’s bravery in book one and know what happens in book seven.

There is a transformative energy that come with sending words up and out through the body, whether they are your own or someone else’s. And even though my youngest daughter often comes into the room to tell me I’m being too loud and she can’t sleep, I can’t ignore the refrain of Inara’s dying exhortation: “Let us baptize our world in words.”

Through the Window - Part 2: The Open Portal and the Call to Prayer

Read Part I

- Great trees, outspreading and upright, apostles of the living light.

Patient as stars they build in air tier after tier a timbered choir . . . —Wendell Berry, “The Timbered Choir”

Writers and artists often use windows as a source of inspiration. Georgia O’Keeffe has a series of brilliant paintings that offer unique views of New York City from her perch in the Shelton building, where she lived with Alfred Stieglitz for twelve years in the 1920s and 1930s.

While a window can visually frame a scene, it can also frame sounds, letting us hear them in ways we hadn’t heard before. Wendell Berry’s window poems are a result of his placing a writing desk in front of a huge forty-paned window. For him, the great trees not only inspired him visually in their “weightless grace,” but also for their song, which left “a blessing on this place.”

On Easter morning two years ago, the bells of St. Sebastian’s Church in Salzburg rang and rang at sunrise, startling me from sleep. Briskly stirred to consciousness, I checked my watch. It was only six a.m. when an entire chorus of bells called me to the open casement window of my room at the Hotel Amadeus. All over the city, bells pealed from many churches, some tolling a loud bass, others chiming the middle tones, and some reaching the high, clear notes, closer to a soprano voice. What sounded like discord at first, soon shaped itself into celebratory clanging.

In the sprawling metropolis that I call home, I don’t ever recall hearing so many bells at once. My place in the Houston Heights is near a small Episcopal chapel, and occasionally, I will hear its bells on a Sunday morning, if I’m outdoors. Because Houston is the most air-conditioned city in the country, we keep our windows closed for many months of the year. I suspect that while I’m in my home, I miss a lot of curious sounds because of the air-conditioning—snippets of conversations from people walking by, sirens, soft rains, barking dogs, freeway traffic.

The call to celebrate Easter two years ago in Salzburg is one I won’t soon forget; it was entirely extraordinary. While Salzburgers are accustomed to hearing the bells all year long, at six a.m., noon, and six p.m., I was a visitor brought to the open windows, portals that animated me and gladdened my heart. The call to prayer felt like something that I had been missing all my life. I can still summon the bells in my imagination, and they still hearten me.

Rattle and Quiet: A Meditation

Oh, oh, deep water— black and cold like the night. I stand with arms wide open, I’ve run a twisted line. I’m a stranger in the eyes of the maker.    — Daniel Lanois 

I’m nine and already weary of hard church pews. My mother’s voice is a tight mezzo soprano, rising above the congregation. I hiss at her to stop swaying along to the hymns she loves so much. Open your eyes, I say, embarrassed that she’s the only one moving. The rest stand still, eyes downcast towards navy blue hymnals, rigid platters full of sombre songs. The organ constant and low and alien. The hymns feeling like eternity.

*

At fourteen, I enjoy music, but I can’t say I love it. It’s in the mall, on the radio, in church. Distanced. Then one day the sublime opening riff of “Solsbury Hill” holds my ear, eases me into the lyrics. I am forced to listen.

Son, he said, grab your things I’ve come to take you home.

Wait. That eagle—is it God?

*

A fifteenth birthday present to myself. Black-sleeved cassette, cellophane unwrapped before I enter the room, slipped into the player before I kick my shoes into the corner. U2’s Rattle and Hum opens with “Helter Skelter" (The Beatles nowhere in sight). But then “I Still Haven’t Found What I’m Looking For” rises, gospel-lifted by The New Voices of Freedom. I feel music for the first time—in my center, where belief, pain, and joy begin.

*

At college, “Creep” by Radiohead becomes a new favourite, spurred on by a hammered guitar riff and Thom Yorke’s hatred of his own smash hit. “Fuck off,” he says to a Montreal fan requesting the song, “we’re tired of it.” Again and again I go back to the second time through the chorus, how he leans his weight into the despair. I think the swearing is beautiful.

I want you to notice when I’m not around. You’re so fucking special— I wish I was special.

*

Church words begin to matter. The music, secondary. I begin to chafe at the jarring distraction of bridge-formulaic praise music, the isolation of mere noise. The emptiness of repetition without reflection—a preference for silence instead of ineffective song. The occasional kernel among the chaff.

…that he should give his only son to make a wretch his treasure.

*

…but you don’t really care for music, do ya?

*

The new millennium brings mobile phones and full-time internet access. Media consumed in strobe-lit flashes. At 33, I’m forced to my knees by a migraine, my first, that swells in the quiet of summer vacation, much needed after a stressful first year of international teaching.

Say something, say something, anything— Your silence is deafening.

All I can do is rest in a darkened room, eyes closed, and fight the urge to vomit.

*

Alahu akbar! Allahu akbar! Ash-hadu anla ilaha illah Allah.

From our Maidan Hawally apartment, I can see at least twenty mosque minarets piercing the Kuwait skyline. Through bad microphones and tinny PA systems, muezzins call out the adhan five times a day without fail, the words settling in every crevice like the fine dust blown in from Saudi Arabia. I am writing regularly now, accompanied mostly by silence. That call, though. Always there, like an itching, grimy skin of faith. I’ll be sweating it from my pores long after I leave.

*

The plan, abandoned. A careful playlist for the labour and delivery room never used, forgotten against 36 hours of agonizing back labour. My wife, in control and superhero strong, breathing and moaning through every contraction, while me, her co-pilot, fetches water and ice. The navigation all her own. The fetal heart rate monitor becomes our steady, rhythmic soundtrack. When it falters, the tune and the plan changes. Again.

A quiet surgical team. Low voices and indifferent machines.

And I have to speculate that God himself did make us into corresponding shapes like puzzle pieces from the clay.

Then, those first, raging cries. Girl. Ten fingers, ten toes. Pink and hungry. Eyes wide open.

*

Mornings, before sunrise, before our house begins to move, are my writing time. I create in silence, the only sounds the hush of a family at rest and the occasional crackle of the baby monitor. Our five-month-old is a watcher and smiler, crying only as a last resort. From upstairs, her big sister, now three, wakes up singing.

On for Christian soldiers, marching as to ore. With the cross of Jesus going on a four…

I detest the song, a simplistic anthem that feels like it’s forgotten Christ. But I listen to my daughter belting it out at full voice, the sublime, misguided noise of it. Her version. Not worrying about the words so much.

In a Handful of God

In a handful of the sky and earth, In a handful of God, We cannot count All the ecstatic lovers who are dancing there Behind the mysterious veil.

True art reveals there is no void Or darkness.

There is no loneliness to the clear-eyed mystic In this luminous, brimming, Playful world. –Hafiz, nineteenth century Persian poet

Artist Andrew Wyeth painted “Pentecost” in memory of a child in his Maine community who had been washed out to sea during a storm. “They couldn’t save her. I was thinking about the young girl’s body floating there underwater, and the nets became her spirit.”

Painting in the heyday of the mid-20th century fad of abstract expressionism, Wyeth was often criticized for the politically incorrect, dogged realism of his work. “More real than reality,” as one journalist of the day put it, referring to Wyeth’s intricate representations. The journalist is right without realizing it, for who can take in an exhibit of Wyeth’s paintings (which I had the privilege of doing on a white-white day last winter) and not be drawn in by the insistent expression of the unseen spirit breathing in all of them—whether tangled in the sparse grass of an ocean dunescape, glancing through diffused light on a stoic New England face, or coaxing our sense of wonder in the haunting way Christina on her hill leans upward toward… what, really?

“The wind blows where it pleases,” Jesus said. The Spirit is as real as anything we can see, swelling fishing nets and billowing through white curtains and drawing our eyes skyward for no reason at all. Its presence at our back can makes us turn around once again (compulsively and against our better judgment), to try to discover Who it is that persists in walking in silence at our elbow.

In a handful of God, all eternity resides, and the poet is right in saying that true art reveals there is no void or darkness. All the earth is a container for the divine, and Wyeth understood instinctively—as an artist though perhaps not a theologian—that for the innocent, drowned child, death had opened up to life. Ordinary, humble things are the first to fill up with the splendid, so that we might see and be reminded of what reality actually is.

The Piano and the Wren

The wren is a big song packed into a tiny brown dart of a body with an inquisitive personality. Looking, it hops and tilts its head in that stop-action way. And it instinctively sings what is beautiful within their prodigious range of sound. One interrupted a rest between notes in a bar of music I was playing. I got up immediately, forgetting my music, and moved to the window hoping for a glimpse.

The experience is always astounding. He was picking up after the night visitors. Morning and afternoon my cat and I feed the squirrels peanuts in the shell. We watch them haunch in the lawn chairs, peel and eat and scan for threat. And jays are never far, swooping as they do from nowhere. Pairs of cardinals, ground feeders, flit in as well. The hawk is in the distant wetland. After sunset my wife puts out a heap for the family of possums that frequent. And by morning the remaining crumbs are just the size for titmice and wrens.

I might say more about the passerine wren, its syrinx throat, its more than thirty phrase patterns. That it mates for life. How we transcribe their vocal variations into a Jabberwocky vernacular of whee-udel, whee-udel, che-wortel, che-wortel, or the romantic come to me, come to me. But that would miss the interruption, the irruption of the bird into ordinary days as the gift of a taste of answered longing.

Today I am dusting and noticed I left the piano on. It's an electric piano. It has presets I can push to play pre-recorded music, but I never do, even though my playing is elementary and poor by comparison. I remember the wren and why the piano is on. It occurs to me I should revise the word “instinctively” I used above, in case it carries a residue of accident or gracelessness. In case it bears a lack of will. That the bird in that moment could ever be unresponsive to the realized phenomena that is the world it sings in and how the world is there because of it.

Is this too abstract? I should not make it less so. Go play your instrument. Love your poverty. Greet what breaks in to sing.

Dancing a Tango with Chance

The evening I pulled into Ann Arbor, Michigan, a rainbow appeared as I put the car in park. No kidding, it was pouring down rain and then it wasn’t and six different rays of color soared above my Mazda 5 and sailed to the Pittsfield Township water tower a few yards away. “A rainbow!” I proclaimed as I stepped out of the car, a beautiful welcome on my move to a new town.

An hour and a half later, in a fit of confusion that comes when everything seems turned upside down in a new home, I accidentally drank water meant for Hadley and Harper’s fish tank. I squinted as I read the bottle of Betta Plus Water Conditioner, looking for how much time I had left to live. A quick Google search (you wouldn’t believe how many people have done the same thing), and a call to Poison Control, and I learned that I would suffer nothing save for the possibility of a stomachache. The lady on the phone told me I should drink something to settle my stomach. I chose a Bell’s Two Hearted Ale.

Missy Higgins sings a song called, “Going North,” and since I have known we would move to Ann Arbor, I’ve been listening to it and memorizing it like a Psalm. In one part of the song, she explains she wants to go North because she wants to “dance a tango with chance.” Every time I hear that phrase, I get the shivers. Dancing a tango with chance sounds so much more fun than saying, “I hear God calling me to Ann Arbor.” Why can’t God be in the dance of chance? I don’t want to believe in signs: in rainbows or drinking fish water. I want to believe that it makes no difference to the Lord where I go and where I live; that He is with me no matter what decisions I make. I want to believe no matter how spontaneous I can be when I make big life decisions, how very little I pray and ask for guidance, that He works through all of it. Still, when things go wrong, when they get sad or uncomfortable, it’s hard not to lift my eyes up towards the sky and think maybe I should’ve prayed more.

The day we pulled away from our home in Germantown, Hadley stood outside with a piece of chalk and walked slowly up and down the alley, where she and her friends rode bikes, sledded, had water balloon fights, and climbed trees. She dropped to her knees, and in her careful cursive wrote, “Farewell, everyone,” stood up and threw the chalk into the sandpit beyond our house. She walked into the garage where I was putting boxes into a UHaul and looked at me. “I don’t want to move. I want to stay here.”

“I know,” I said and put my hand on her shoulder, but she shook it off and stomped away.

As we drove, she leaned against the car window and I watched her. I kept trying to put my hand on her knee but she would move so I couldn’t reach her. I finally gave up. I turned forward, put my ear buds in, and turned on my playlist of Meghan Trainor songs.

About an hour into our trip, it started to rain. Soon it was raining so hard Jesse punched the hazard lights button because we were going so slow. A semi truck was jackknifed on the side of the road. I checked the weather forecast for flash floods and tornadoes. I didn’t say it out loud but I believed we should’ve waited another day to drive. Once that thought left my mind I was railroaded by the next three hundred: Why are you moving anyway? You can’t drive in this rain, what makes you think you’ll be able to drive in the snow? How are you going to find a job in Ann Arbor? Why’d you walk away from the one you had? Why’d you walk away from all your friends that took you so long to find? Look at your kids! They’re so sad. Why would you move them when they’re this old?

“Too bad we don’t have Harry Potter on CD,” Jesse said, one hand on his knee and the other nowhere near the 10 and 2 position. I was jealous of how assured he was. “We could listen while we drive home.”

“I could read the book,” Hadley said. Her offer to read was the first sentence our extroverted daughter said in the car.

“We don’t have the fifth one,” I said, turning to her and meeting her blue eyes. “I’m sorry. It’s packed in the UHaul.”

“I have the fourth one,” Hadley said and reached to unzip her backpack. She lifted Harry Potter and the Goblet of Fire with both hands.

“We could read from our favorite parts,” Harper offered.

“Yeah,” Hadley said, “I’ll start. I’m going to read the part when Voldemort comes back.” I was surprised to learn this was her favorite part. The first time I read it, the scene terrified her, but in the car, she not only read it, but she used different inflection, tone, and voices for each character. I folded my legs, rested my chin on my knees, and as we slowly trudged through the rain, Jesse, Harper, and I listened to Hadley read about how Harry, Cedric, Bertha Jorkins, Frank Brice, and Harry’s parents defied Voldemort. I started to cry when Bertha yells, “Don’t let him get you, Harry! Don’t let go!”

Hadley read the rest of the story, taking us out of the storm, through Maryland and Pennsylvania. I asked a couple of times if she was OK because she is notorious for getting carsick, but she said she was fine.

“No good sittin’ worryin’ abou’ it,” Hagrid tells Harry, “What’s comin’ will come, an we’ll meet it when it does.”

Indeed. Put your dancing shoes on Hadley. It’s time to tango.

The Chesterton I was Wrong About

Ever had one of those cool moments when, after reading about a favorite person, you suddenly receive this flash of insight? You feel one part shame for not seeing it before, but three parts satisfaction for at least coming to it eventually? Well, I should have seen this with G.K. Chesterton quite some time ago, but I didn't. The surprising insight was that he was, like, actually, friendly.

I was introduced to a Chesterton who was so cool a cat that he could trounce any erroneous and ill-conceived ideology: political or religious or anything else which might stand in the way of orthodoxy. This Chesterton destroyed the proud scientific triumphalism of H.G. Wells and Huxley (think eugenics), the utopian dreams of Shaw, and other secular humanists of his time. This giant, mentally and otherwise, trounced the materialists and atheists with blasting wit and withering humour. To be truthful, I originally read the man in the following way: I searched for a topic that I disliked and then would try to find an essay on which Chesterton criticized it. (This is a wretchedly shameful thing, and I have since repented heartily.) Of course, generally if you look for a thing, you can find it. But it’s just not the right way to go about it. But everybody knows this, so I will move on.

I suppose I might have seen Chesterton as the Crusader—sword of truth in hand, gleefully excited  to bloodily slay the perfidious untruth—in light of him being introduced to me as an apologist. This is one of the troubles with some Christian apologetics: it seems that often the desire to be correct is more important than that the apologist demonstrates a loving alternative to an error in reason, however, that's another topic. Anyway, I read how Chesterton had, with short shrift, dealt with the heretics of his day. To make matters worse, I read some of his more popular works (Orthodoxy, Heretics, What’s Wrong with the World and others) through that lens: tinted with impatience, brute force and pomposity. And of course, sometimes when having a crusader mentality, that seems pretty cool!

Yet, having read more of the man, I see that my early assumptions were about as far out to lunch as ... well, I don't know what. I was just really wrong. Chesterton was actually hugely humble, rarely took to an uncharitable offensive—according to most who knew him and all the biographers—and was exceedingly gracious. He also took the time to understand thoroughly the arguments of his opponents—a thing that Thomas Aquinas would approve—and tried to always gain some type of common ground with an opponent.

Moreover, unlike debaters of our own time, Chesterton was actually friends with many of his opponents. Yes, he actually was. I mean no disrespect towards to apologists like William Lane Craig for instance, but I doubt very much that if Mr. Craig died, Hitchens (if he were alive today) or Dawkins or Sam Harris etc., etc., would offer the widow financial assistance! Yet after Gilbert Keith Chesterton had passed away, this is exactly what Shaw did. During his lifetime, his opponents were truly his friends. And I wonder if this is why he was so persuasive in his life: because he was not wrestling against a person but rather an ideology. He loved people, and because his actions followed suit, people listened to him.

I wonder if today many of the apologist types—all of us—need to worry more about initiating conversation and friendship than in just being right.

Sour Beer

Since my first timid slurp, rife with notes of Palmolive and expired milk, I have distrusted sour beer and all its enthusiasts. Each one has been served by a smirking bartender who addresses my splutter with a smug, “Yeah, it’s not for…everybody.” 

Who is it for? I imagine a backroom speakeasy for sour lovers, swapping words like “rhizomes” and “I.B.U.” and high-fiving. No, definitely something way hipper than a high-fiving. Fist bumping? No. See, I don’t even know.

After a few bad experiences, I gave up trying to drink sours and began instead enthusiastically professing my hatred for them.

So, when we were out to dinner last night with a friend who’s a brewer, and when he and his wife ordered sours, I went on the defensive.  

“Ugh, gross,” I said intelligently.  

Brian looked crestfallen. I braced myself for the judgment. But then, instead of dismissing me or patronizing me, he offered advice. 

“You just haven’t tried the right sour…we just need to find you the sour that you like, and then you start to get the flavor! And then it’s so complex and fascinating. That’s what I had to do.” 

He loved his craft in such a whole-hearted, relaxed way; he had no room left to take my reaction personally. He was so genuinely enthused. It caught me off-guard. I wrote down the names he recommended as “starter sours” and promised to give them a shot.

A colleague of mine, a legendary music teacher, retired this year. When I say legendary, I mean it. This guy made Mr. Holland look like a total schmuck. At his very last concert, he told the audience he knew the three steps to living a full life. We all, teachers and students, leaned in to listen.

“Find what you love,” he told us. “Get really, really good at it. Then give it away.” 

I’ve thought about his advice nearly every day since. It’s pretty much the key for writers, and artists, and teachers, and people of faith, and every human being on the planet. Before last night’s dinner, though, I thought that last step, “give it away,” could only be a grand gesture— teaching a class, opening a school, starting a non-profit.

Of course, those are excellent gestures. But Brian’s sour-beer evangelism reminded me that this generosity should also happen in everyday, “throwaway” moments. It is vital there, too.

When I tell people I studied poetry, I get a lot of “poetry just isn’t my thing.” And if I’m tired, or feeling judged, or just feeling lazy, I dismiss them. I shrug and say, “Yeah, it’s not for everybody.” I shut them down because I feel shut down, which is the opposite of generosity. I love the idea of finding “starter poems” for the poetry-suspicious, of that being part of my job—to give away what I love.

They might not change their minds, just as I might not be a full sour convert. We’re entitled to our own tastes, after all. But who knows? I’ve already tried the first beer on the “starter sour” list, and actually, it’s pretty delicious.

Acts of Concentration

When Geoffrey Hill died at the end of June, a friend and I were in the midst of trying to break into the agate of one of his poems. Back and forth, over the span of days, we emailed etymologies and conjectures, trying to work our way into bright allusive seams and necessary recesses where meanings crystallized.

In a word, Geoffrey Hill wrote work that's fraught. But as I can begin to attest, the sense of vitality that comes of arduously attending to Hill's work is profound. It's akin to the extension of consciousness William James describes in an essay on the state we call mystical. The expanse of awareness, he writes, is like seeing an expanse of shore "at the ebb of a spring tide." Hidden forms of life and history that lend the constant sea its shape and character are suddenly, and at once, utterly visible. Reading Hill is to enter such a state, but (at least for me) slowly, as gradually as light raises water.

To be sure, Geoffrey Hill could be--what is the word?--bombastic in public. I once heard a recording of him introducing a poem: "You don't ENJOY poetry!" His voice pounded the air as his hand pounded the podium (the sound was unmistakable). "You try to enjoy a poem and the poem says, 'BUGGER OFF!'"

But bombastic, of course, is precisely not the word, a fact I could have obtained through the the execution of the merest of modern efforts: highlighting, right-clicking, choosing "look up 'bombastic.'" The fact that I did not do so, but instead carelessly relied upon some vague notion of aggressive intensity I imbibed from some source I cannot name, is one of the very issues Hill's work is inclined to rectify.

As he told an interviewer last April, "Our contemporary ignorance results from methods of communication and education which have destroyed memory and dissipated attention."

Bombast once referred to cotton wadding: it was used to inflate the finery of the vainly rich. By Shakespeare's day, one's speech could be described as thus inflated, regardless of one's wealth: to speak with bombast was (and is) to speak in order to seem, to speak pompously, vacuously. Imagine saying seriously of Geoffrey Hill that his words are empty, or composed to puff himself up.

Words change, to be sure. But to regard such change—and language itself—as passively as one might absorb a slogan, with no specific thought as to resonance or history, no felt sense of perspective, no exacting efforts of attention that serve to alienate just enough to ensure a measure of freedom, is to lose both private self and public history. It is to lose what makes us human.

Hill insisted on setting things right, word by word. Even if those words are not yet understood by me, even if some of what's right is incomprehensible and may remain so for the rest of my life, Hill's concentrated efforts evoke a desire in me to be so concentrated, and a belief that such concentration matters.

Through the Window - Part 1: Looking into the World

Outside my kitchen window, a gingko tree bursts gold, fan-shaped leaves shimmering in fresh air. I have thought all morning about what I want, and it’s nothing.       —Elizabeth Drewry, “Nothing Is Wanting”

I have a wall of windows in my classroom, and I keep the blinds wide open unless I am using media that requires a darkened room. As soon as the media presentation is over, I let the blinds blink open so that daylight can flood the room again.

Recently, I’d been exploring my penchant for light when I came across Charles Hebermann’s entry in the Catholic Encyclopedia on “Windows in Church Architecture.” He has this to say about church windows, especially for people who are accustomed to a whole lot of light: “The temperament of the people of the East and the South where Christian houses of worship first appeared, required the admission of much light by large openings in the walls.”

In an earlier post, “How the Light Gets In,” I wrote about the plain church style of using clear-paned glass and how much this style appealed to me, not only in churches but in just about every other structure. I’ve lived in the American Southwest most of my life where bright days are a force of nature all on their own.  I love the light.

Windows are also essential to connect to the larger world, and as Michael Pollan notes in A Place of My Own, windows frame the landscape and let us interpret it. Looking into the landscape, we not only reflect on it, but it leads us to consider our lives and work.

Outside my classroom windows, my students and I have seen coyote, deer, rabbits, plenty of squirrels, and too many birds to name them all—great blue heron, egrets, carrion crows, red-tailed hawk, mourning dove, and robins. We’ve also watched other students working on large art projects, like sculptures and murals. Or we see the science teacher and his students outside our window, collecting samples of water and soil. Sometimes the life outside the windows has led us into brief discussions that might be related to our task at hand, or not, but our contemplations are always worthwhile.  

This life outside my classroom inspires me to teach my students in ways that will help them see the wider world. So I’ve structured my literature and rhetoric classes around themes that will help students think about how to live in the community and on the planet. All of this from windows.

Read Part 2

Ice Cream Poems

It’s summer, the sky’s a hazy blue and the clouds are piling up like ice cream scoops in a bowl. All motion rendered lazy by the humidity allows my mind to wander. I wonder how many poems there are about ice cream. I know one by Wallace Stevens, “The Emperor of Ice-Cream.” But I stop my languid search as soon as I find Charles Bukowski’s “The Icecream People.” Thinking about the differences between the lives and writing styles of these two poets is as delicious as sampling dulche de leche ice cream and rocky road.

At first, I didn’t see similarities, except that they cohabited the same blue Earth for about 35 years. Wallace was a Modernist poet, breaking with the pre-modern forms of rhyme and the usual subjects of nature and religion to explore ideas about reality being a confluence of imagination and perception. He writes in elegant language with a well-varied vocabulary. Bukowski is also a modern writer who carved a new niche for himself sometimes called “dirty realism.” His poems, short stories, and novels chase a hard, fast line of drinking and women and running riot.

The two poets’ upbringings were very different. Stevens was from a wealthy family and benefitted from his father’s guidance regarding his education and career. Bukowski, who emigrated as a child from Germany to the U.S., was from a poor family. Bukowski’s father’s guidance came on the end of a leather strap that he used to consistently beat him.

Stevens’ education led through Harvard and then New York Law School. He eventually became an insurance executive with The Hartford, and lived a comfortable lifestyle in Connecticut. Bukowski dropped out of Los Angeles City College after two years, and moved to New York to begin a career as a writer. After receiving more rejections than his psyche could tolerate, Bukowski took off across the country on a ten year bender that nearly killed him. Once back in Los Angeles, he began to write again, and began to be published, at first by small publications.

Their book titles alone are interesting contrasts, and give us a vision of at least some of their personality layers. Stevens used elegant titles: Harmonium; Ideas of Order; The Auroras of Autumn. Bukowski’s titles took a different slant: Flower, Fist, and Bestial Wail; Poems Written Before Jumping Out of an 8 Story Window; and Love is a Dog from Hell.

Their language and imagery is wildly different. In the two ice cream poems alone, we come across words and phrases like these in Bukowski: pecker, leper, “nary a potential suicide,” jails, hangovers. In Stevens’ poem we see: concupiscent, “let be be the finale of seem,” “embroidered fantails,” “lamp affix its beam.” Stevens’ thoughts are more abstract, and he dresses them up. As Robert Frost complained, “it purports to make me think.” Bukowski’s ideas are clear, as John William Corrington says, his poetic world is one “in which meditation and analysis have little part.” Bukowski doesn’t dress up his ideas, he strips them naked.

Once his poems are naked, Bukowski speaks of a quasi virility, for example, like this in “The Icecream People”:

the lady has me temporarily off the bottle and now the pecker stands up better.

While Stevens expresses the loss of the same in “Le Monocle de Mon Oncle” like this:

We hang like warty squashes, streaked and rayed, The laughing sky will see the two of us Washed into rinds by rotting winter rains.

While their lifestyles and writing styles are polar opposites, the two men have commonalities. One is a vulnerability to pain. We’ve already seen how Bukowski spent formative years beaten by his father. He said this experience benefitted his writing because through it “he came to understand undeserved pain.” Once on his own, Bukowski lived life running across broken glass—chasing women, gambling, and drinking excessively. Stevens had his miseries too. He married his wife, Elsie, against his father’s wishes. When no one in the family attended his wedding, he never saw or spoke with his father again. In later years, Elsie became mentally ill, showing signs of paranoia about neighbors and the couple’s daughter’s childhood friends. In a review, Helen Vendler calls Stevens’ poem “The Snow Man” his saddest poem, “in which a man realizes that he must make something of a permanently wintry world of ice, snow, evergreens and wind, attempting to see ‘nothing that is not there and the nothing that is.’”

Perhaps it was his sorrow over Elsie that led him into confrontations we’d expect more from Bukowski. Stevens argued on two separate occasions in Key West with Robert Frost (they had strong feelings about their own ideas of poetry), and said things he shouldn’t have said about Ernest Hemingway. Hemingway afterwards started a fist fight over it and Stevens returned home to Connecticut with a puffy eye and broken hand.

Stevens and Bukowski, despite their differences, had another important characteristic in common. They had to write. As one Stevens biography puts it, he saw poetry as “the supreme fusion of the creative imagination and objective reality.” His poem “An Ordinary Evening in New Haven” puts it this way:

This endlessly elaborating poem Displays the theory of poetry, As the life of poetry. A more severe,

More harassing master would extemporize Subtler, more urgent proof that the theory Of poetry is the theory of life,

As it is, in the intricate evasions of as, In things seen and unseen, created from nothingness, The heavens, the hells, the worlds, the longed-for lands.

Bukowski talked about the need to write poetry this way:

unless it comes out of your soul like a rocket, unless being still would drive you to madness or suicide or murder, don't do it.

Considering the differences and (maybe) surprising similarities between these two poets, which flavor would refresh your summer day?

Glorious Potentiality

On the first day of 7th grade my history teacher asked us to write down a nickname she should use for us in class. Did she mean we could choose a nickname we wanted to be called by? An Aaron by any other name? I had felt so penned in by name at 12. It had already been egregiously mispronounced (“erin”) and misspelled (I possess a litany of incorrect name tags). Back then I didn’t know of any really admirable Aaron’s either — Aaron Sele, a first round pick by the Boston Red Sox, would not make his debut until I was in 8th grade. These days it’s still burdensome: The double A’s mean I get butt-dialed all the time.

If this comedy sketch had been around 24 years ago… my name and nickname would’ve been coveted by all.

Naming is not an endeavor, whether for my writing or my children or my own self, that I approach lightly. Madeline L’Engle, in Walking on Water, believes Naming to be one of the impulses behind all Art, a way to aid in the “creation of… a wholeness”. Naming is incarnational. It portends what the Caedmon’s Call lyric deems “glorious potentiality”.

I think in this way, too, Naming is an Art. And Art, considering G.K. Chesterton’s humorous and brilliant definition, is limitation: “If you draw a giraffe, you must draw him with a long neck. If, in your bold creative way, you hold yourself free to draw a giraffe with a short neck, you will really find that you are not free to draw a giraffe. You can free things from alien or accidental laws, but not from the laws of their own nature.”

When it comes to naming the characters in a story, whittling away hours searching for the correct name is a foolproof way to not end up writing the story. Ron Carlson tells about the stock names he uses when he starts any story, waiting for the drafts to reveal the name. It works like this for me. Like the focus on a camera lens, the name crystallizes when I can see the potential of the character emerge on the page.

To some extent, my wife and I did this with our three kids. We didn’t tell anyone the names until each child was in our arms. My thought then, as now, is everyone has an idea of what an Isaac or a Lucy or a Vivian should look like based on “accidental laws” surrounding an Isaac, Lucy, or Vivian they have known. Everyone has their own interpretation of “what’s in a name.”

Take a look at the controversy over the actress playing the role of Hermione in the London performance of the new Harry Potter story. This Shakespearean question of “what’s in a name?” still generates robust—and asinine, twittish: ‘but we have a certain picture from the movies!’—discussion. I am ecstatic that Hermione is being extirpated from the cold, dead hands of those who wish to cement the accidental laws of Art onto her. What will make Hermione Hermione in this new chapter of Harry Potter is that she simply “retain that dear perfection [read: potentiality] which [she] is owed.”

I had had a thing for the The Hardy Boys in seventh grade. I wanted to bask in the potentiality of the name Frank. In his “keen-ness” for details, his ability to get out of jams involving criminal syndicates (just flex your muscles and inhale when they tie the ropes around you!), his sense of adventure and justice. And so I was forever Frank to my teacher: my sister had her for class six years later and was asked how Frank was doing.

I have loved, relished, treated as sacramental, the naming of our own kids. And so when they draw homemade wands from inside the pockets they have somehow sewn into old blankets doubling as robes and they are casting spells in English accents while being chased by my father pretending to be Lord Voldemort (yes, I said his name), I notice how gloriously long their necks are.

“The Innocence of Trees,” the Generosity of a Grid

Agnes Martin (1912-2004) painted lines and grids and blocks of color. The exhibit of her work at the Los Angeles County Museum of Art, an extensive retrospective spanning the decades of her career, offers visitors a chance to view such simple things as these lines and grids and blocks of color.

The exhibit is on the third floor of the Broad Contemporary Art building. It’s spacious there, filtered light from the glass-covered roof filling the space with restrained luminosity. It’s a museum, so it’s a hushed space too, housing silent canvases and quiet spectators.

All of this—the quietness and light and the high ceilings and big white walls—works to present to us these strange, ineffable creations by Agnes Martin. Six by six foot canvases spread out and open before us. There’s The Rain, on which a gray-softly-smeared-with-grey background floats two blocks of mottled, emerging color—the top a dark blue, the bottom a brown-grey taupe. There’s Night Sea, a white grid of fragile, perfect half-inch rectangles over a muted sapphire blue. From her later work is Innocent Living, a gently stacked row of the softest hues in yellow, gray, blue.

June was a stressful month for me, for many reasons. But in any case, most of us don’t need “reasons” for stress—the rigmarole of upkeep can be exhausting in most seasons. So when I walked onto that third floor, there was a part of me that was frayed, nervous, elsewhere with my to-do’s.

And then, kind of like still ponds or warm pools of light, Agnes Martin’s paintings were waiting. But in using the metaphors of pond and pool, I do a disservice. It is really the paintings’ soft, profound emptiness of form that pours itself out into the viewer. The formlessness rolls across the room in soothing undulations, strange lullabies that catch a restless child off-guard. Martin herself wrote, in her famous poem “The Untroubled Mind”:

These paintings are about freedom from the cares of the world from worldliness

In her lack of form, in her deeply restrained palette of shape and color, it is as of she unearths deeper spaces for us to enter into. “My paintings have neither object nor space nor line,” she wrote, “nor anything—no forms. They are light, lightness, about merging, about formlessness . . . You wouldn’t think of form by an ocean. You can go in if you don’t encounter anything.”

We enter into the painting, and something is caught, ignited, remembered and recollected. The paintings somehow allow us to present ourselves, in the moment, with all the accumulated  moments pooled within us. The grid waits before us like a matrix of inner being, a delicate and endless structure designed for us to hang our moving, wrestling shapes of psyche onto.

The generosity of the grid—of the mind of Agnes Martin—is just that. These pieces have such restraint that they can become spaces for emptying and opening. Marin wrote, “When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision.”

Untitled #3 from 2003 waits for someone to approach it. The top section, a delicate shade of pale dove-wing gray with long, hand-painted lines going down, hovers over the bottom section, a soft, natural brown. The color is reminiscent of sand, wood, dirt, clay. It’s hard not to think of a horizon line. Shore and sky. Or a table in a quiet room, waiting for schoolwork and dinnertime. Or a desert, a long vista to travel, to travail, to mark with footsteps. Or a windowsill, looking out and out and out . . .

It fosters a deep gratitude, the painting does, for the scores of tracts inside of us, that we can meet such seeming emptiness with such rich play and recollection. It isn’t emptiness of course, but the kindness of an artist to make such an open space as it would seem so, one part of a two-way dynamic: the created locale waiting for the human counterpart to perch, enter, and perhaps, be restored.

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The exhibition Agnes Martin will be at the Los Angeles Country Museum of Art until Sept 11, 2016. 

Sugar Man and the Children of God

I pretty much went back to work. Nothing beats reality. —Sixto Rodriguez

It isn’t really his music, though to my mind, this talented musician holds his own against any modern artist, thanks to his potent lyrics and Dylanesque voice and aura. It isn’t even his unusual story, though the course of his life journey is the kind of Cinderella tale that just doesn’t happen in this calloused world, but only within the mythic cosmos of our wildest dreams.

It’s something else that makes me want to be like Sixto Diaz Rodriguez when I grow up, and that is his attitude after mysterious casts of fate prevented what should have been a rocket ride to stardom. Instead of the American dream, the Detroit native went back in his home city for the next thirty years, doing demolition work, living in relative poverty, and trying not to wonder too much what went wrong. The highs and lows of this magical tale are told in the award-winning 2012 documentary Searching for Sugar Man. Though the film is not the full account, by any measurement except the most cynical this is still a refresher course in miracles.

The world is rumored to be full of celebrities. Attitude alone sets Rodriguez apart as a great man and genuine grownup. When all was obscured and shadowed, he had the grace to accept his reality as good and acceptable instead of growing bitter over what could have been. At some point, he went from “being the outcast to… who he really was,” and this is where his story becomes our own. Every human being knows instinctively that what he appears to be in this transient life is far from the whole truth. The Christian faith is crammed with compelling arguments about just why this is so, and the apostle John lifts us out of our finite grasp of ourselves to remind us of what lies beyond the shadowed present:

Dear friends, now we are children of God, and what we will be has not yet been made known. But we know that when Christ appears, we shall be like him, for we shall see him as he is. (I John 3:2)

Until that appearing, I look to people like Sixto Rodriguez to remind me that the temporary struggle is as much a part of the Big Picture as any eternal outcome will prove to be.

Precision

A friend of mine who wants to put baseboards in his house was told what it takes to do good baseboard work: a thousand cuts. I can’t tell if that’s a type of hope, as even the best get to be the best through tedium not talent, or a type of torture, viz., death by a thousand maddening cuts.

I’ve spent this summer trying to make things:  I made a duck cage; I helped a friend put up a garage; I vinyl tiled a room checker board; I hung cabinet lights in wall recesses; I made a cardboard Pac-Man for the town parade. It’s been a summer of measuring and figuring and cutting.

And it’s fixing to drive me mad.

It’s all the precision: miss your mark, cut long or short, and the piece won’t look right at best and may throw off the entire structure at worst.

A great aunt of mine once engaged an essay I had written for a school publication first by applauding the effort and then by taking issue with a word I had used: epiphany. “I would have used a slightly different word,” she said, “something more precise.”  She wasn’t wrong. As a young writer I was tempted to fling words as opposed to measure them.

I still am.

In all sorts of ways, we take measure of the world with the words we use. We frame it or misframe it, in precise and sound ways or vague and off-kilter ones; with thin beautiful lines or smudged or gaudy ones.

“Persimmons,” by Li-Young Lee begins with the confusion of language.

In sixth grade Mrs. Walker slapped the back of my head and made me stand in the corner for not knowing the difference between persimmon and precision.

Among other things, “Persimmons” is about language and how it frames our existence, how words get tied into experiences, how they might remain distant or be shared intimately.

Other words that got me into trouble were fight and fright, wren and yarn. Fight was what I did when I was frightened, Fright was what I felt when I was fighting. Wrens are small, plain birds, yarn is what one knits with. Wrens are soft as yarn. My mother made birds out of yarn. I loved to watch her tie the stuff; a bird, a rabbit, a wee man.

By the end of the poem, Lee leaves “precision” behind in favor of “persimmons,” because writing is not like laying pipe or building a structure that we think will last forever if only it’s precise. Words open up possibility and imagination. “Persimmons” begins with the precision of language but it ends with art, with a father’s painting of persimmons, and his deep knowledge and associations with the word.

Some things never leave a person: scent of the hair of one you love, the texture of persimmons, in your palm, the ripe weight.

Poetry is the possibility through precision. Or beyond it.

Both ways, it’s a labor of a thousand cuts.

Two Stories

Raphael's last painting may very well be his greatest. It was completed in 1520 just before his death at the age of 37. In it we see Jesus hovering just above the surface of the earth. He is flanked by Moses and Elijah who join Him in His resplendent glory as Peter, James, and John look on. The setting is transcendent and beautiful and amazing and glorious. But it is only part of the painting. The lower half of this same painting depicts a scene of utter chaos. Toward the right is a demon-possessed boy. His eyes are rolled back and he is convulsing. He, too, is flanked by two figures, but they are not Moses and Elijah. Instead, they are the personifications of the oppressing spirits who defiantly stare down the other disciples. The followers of Jesus are flustered and unsure. They're looking at each other, and pointing at each other, and throwing up their hands in complete frustration.

According to St. Mark's account of this story, both events—the transfiguration and the failed exorcism—are occurring at nearly the same time. It is almost as if Mount Tabor itself stands as a character in the larger story, as Raphael moves us from Shekinah glory at the "top" of the mountain to the confusing chaotic mayhem at the "base" of the same mountain. And, if I'm honest, it is a tension I see often in my own life:

Sunday morning gives way to Monday morning. The sublime is overwhelmed by frustration. Glory is devoured by trial.

And yet there is grace.

These Marvelous, Speaking Bodies

These bodies, how they speak. How they signify, the mouth still. How their poise and rhythm scores a city sidewalk, their movements trace meanings on the moist air that separates us.

In high school my speech teacher stood before us in his green sweater vest and red knit bow tie and said, “You are never not communicating. Even the attempt to not communicate tells us something about your mind, your mood, your personality.”

My willful spirit revolted, my puzzler brain set to work on this conundrum, but it was insoluble. A hermit in the remote Amazon under a vow of silence has already told us what matters most to him.

Today I pulled my son behind my bike in a trailer, my oldest son riding his bright orange Schwinn several lengths behind us. Holding my arm so, I signal to all around me that we are turning right. Holding my arm so, we are turning left. I point, my son tightens his line along the right side of the street, or against the endless stacks of parked cars. I hold my palm out and point it down; we both slow to a stop.

Even on quiet streets, my senses busy themselves recording and analyzing the world around me. The breeze, faint but essential. The patches of shade cast by oak and maple trees. The grey fist of cloud that must be spitting these few drops of rain. The dog-walker on the sidewalk. The SUV up ahead with its blinkers on. The pickup truck that just turned onto the street behind us. It’s a leisurely, pleasant ride, but it remains my job to keep these boys safe, to preserve the patina of recreation, security. Things work out. We’re always okay. The world is safe and wonderful.

I cross streets slowly, standing on my pedals to make myself tall and obvious, while my son scurries across beside me. The cars notice my peculiar behavior, my odd performance. They consider, they look about, they see the child with me, and they wait for us.

Sometimes the boy lags, so I coast to the middle of the road and wave for him to come along. I can see the drivers turn their heads to seek the addressee of this gesture. My little performance instantiates a homely family drama, invites them in. They look, they see. A dad and his kids out for a ride. Perhaps not unlike they used to do. Perhaps not unlike they will do later today. We all pass safely.

If you showed us a statistic about how much of our social fabric depends on unspoken assumptions, nonverbal gestures, glances of acknowledgment, a nod of the chin, we’d never believe you. It’s too irrational, too loose to analyze, to impossible to quantify.

Some intolerable pragmatist within us would counter that everything has an explanation in self-interest, in the denial of death. Those unwritten laws that bind us to our fellow humans comprise merely the unanalyzable surplus of existence, what matters only after we meet the needs of the day.

I don't think it is Pollyanna-ish to reject the logic of exchange as a metaphor for reality. To reject the cynic’s certainty that suffering defines what’s “really going on.” It’s Pollyanna-ish to accept these views and still to believe we can survive on our sunny dispositions.

It’s a bold, countercultural act of faith to believe that the world is gift, abundance, relationship, story. Every time we step out the door we are like the bird that hops from its nest, certain that with an habitual gesture some invisible force will sustain it, and not wrong to think so, though the world spins it toward its center.

Without that force, we would be little more than a car dealer’s wind-blown dancing stickman, flapping without meaning. And yet, miraculously, even the dancing stickman says, “I am here.”

But the man on his bike, hauling a trailer, says so much more: “I am a father, riding down the streets of my city with my children. I beg your patience as we pass, just as, I hope, I will one day wait for you.”

And I have been the driver in the car, brought to a harder stop by the appearance of the bicycling family, suddenly made aware how absorbed I had become in my own agenda, to the exclusion of my care for the world. The father watches me, understands that I have seen them and will wait, gives me a quick nod with his chin. “Thanks, buddy. We’ll be on our way, now.”

And they pass like ducklings, picking a path to a place they hope, with good reason, to arrive at safely, where they will greet a loved one with the gestures and touches that both ground us and lift us up.

Acts of Love

Giuseppe Crespi (1665–1747)

Womp, brio, alembic, the Albigensian Crusade. Each of these terms was lost on me recently as I tried to read. Each propelled me back to the surface of the page against my will, where I bobbed helplessly, far from reference, cursing my ignorance, the younger self that chose the appearance of intelligence over the disciplined work of reading. How many books did I pretend to read in high school, how many did I skim to glean the keys that might unlock a grade, or the impressed nod of a teacher? Close to thirty years later, I am still paying for those adolescent sins of omission. It was with a jolt, therefore, that the next day I heard my colleague Noah say the following in a faculty meeting at the high school where I work: "The desire to seem is the only thing that's lessened me in the presence of truth." He was recalling Camus, he told us. "Love is the opposite of seeming: in it, we reveal ourselves, not to seem, but to give." We'd been talking about our identity as a school. What was it, we wondered together, that defined our place? Words were offered and considered: service, rigor, hospitality, community. We discussed the term "classical school"— what did that mean, exactly? What about "Christian"?

Our headmaster and Latin teacher, a man who begins our every school day with a prayer that we may "learn to be more selfless and less selfish," praised our words thus far, and posited another: humility. Our math teacher said we teach discernment; she said we seek to see the human heart so we may see the need for redemption.

“The pyramid served one man," Noah said. "The power, the rule system, was vertical. All served the Pharaoh. But the Great Conversation occurs in a different space." We were sitting around the giant oak table in the parlor of the Victorian House that served as one-half of our campus (the other half being the house next door). "We look at each another: we talk, we share ideas. And behind us—"here, we became aware of the bookshelves lining every wall—"are ghosts, and they're speaking too." I recalled the days when Noah was a student in my class, seated at this very table—how much I learned from his deep reading in so many of the books that now were at our backs. "In this place, we may not end up agreeing, but we will end up seeing," he said.

It is difficult, even terrifying, to see and to be seen. It requires strength and faith to hazard an adventure into the unknown, to try to posit a wayward thought, to do the work required to speak with precision and authority, to trust that those who are looking back at you (fellow students, teachers; George Eliot,Flannery O'Connor) are themselves honest, fellow seekers. It's not easy, but its end is to end all seeming, which is to say it participates in the condition of love. They are gifts, these people, these ideas, these words we cannot yet understand. To look up alembic is an act of love.

Dylan: The Times They Are A-Changin’

“Ah, but I was so much older then I’m younger than that now."     —Bob Dylan

My brother began listening to Dylan when he was 17. That means I heard iconic lyrics like: “Well, they’ll stone you when you’re tryin’ to be so good/They’ll stone you just like they said they would” and “Once upon a time you dressed so fine/You threw the bums a dime in your prime, didn’t you?” drift through the house when I was 14. The guitar and harmonica, Dylan’s sometimes smooth, sometimes raspy voice wove their way through my mind and for years resided in the grooves of fond memory. I was immersed in “Blowin’ In the Wind,” “Tamborine Man,” “Lay Lady Lay,” “Don’t Think Twice, It’s All Right” as they spun their familiar sounds from the turntable. Recently, feeling homesick for those songs, I listened to them again. I was surprised to find that the Dylan I knew opened to new and deeper levels.

It wasn’t just that I was older. During this same time I went back to listen to other music I inhabited as a teenager. Returning to Carole King and Carly Simon, for instance, felt just the same as it did in the past. But Dylan’s music now spoke in ways I never heard before. How is it that even his old songs can still be fresh today? Italian author Italo Calvino offers a simple point about what makes a literary classic: “A classic is a book which has never exhausted all it has to say to its readers.” Dylan’s work is new over time because it is deeply meaningful.

It continues to have something to say because Dylan has always been open to change, not holding himself to a constraint others wanted to impose. He got a lot of grief for it. He was constantly moving artistically, from writing topical songs like Woody Guthrie’s, to protest songs, to flashing image songs, and he famously switched from acoustic to electric guitar. He probably would never consider himself brilliant, but there is brilliance in his lyrics, music, and knowing not to hold onto categories, but to allow himself the freedom to chase change and ambiguity.

Dylan’s style could change because he is true to his inspirations. Among the many are Herman Melville, Lewis Carroll, James Joyce, Dylan Thomas, Arthur Rimbaud (“When I read [Rimbaud’s] words the bells went off.”), and Paul Verlaine.

After passing through the familiarity of nostalgia, I found in Dylan so much of the poetic soul of the Beats. When he was 18, someone gave Dylan a copy of Jack Kerouac’s Mexico City Blues. Dylan said the book blew his mind. When poet and friend Allen Ginsberg asked him why, Dylan told him, "It was the first poetry that spoke to me in my own language." Ginsberg continues to explain Kerouac’s influence on Dylan: “So those chains of flashing images you get in Dylan, like ‘the motorcycle black Madonna two-wheeled gypsy queen and her silver studded phantom lover,’ they're influenced by Kerouac's chains of flashing images and spontaneous writing.” In Dylan’s “Desolation Row” (1965) he blends these images and more: beauty parlor, circus, Bette Davis, Romeo, Hunchback of Notre Dame, iron vest, Noah’s rainbow, Einstein, a monk, pennywhistles, and mermaids. The Beatles were taken with Dylan’s lyricism and style. George Harrison says of The Freewheelin’ Bob Dylan album, "We just played it, just wore it out. The content of the song lyrics and just the attitude—it was incredibly original and wonderful."

As his audience attempted to confine him, Dylan resisted with all his creativity. In a 1966 Playboy interview, Dylan is asked, “Mistake or not, what made you decide to go the rock-'n'-roll route?” Dylan responds with an explanation that was more like an improvisational riff. He spun a tale of images that included a card game, crap game, pool hall, Mexican lady, Charles Atlas. It flows in a pastiche of people and plots and scenes. When he’s finished, the interviewer says, “And that's how you became a rock-'n'-roll singer?” Dylan replies, “No, that's how I got tuberculosis.” Dylan talks in imaginative circles and was often considered “contrary” by journalists because he knew that many people were not willing to listen to, and probably would not understand, his views on the artistic process.

In the same 1966 interview, Playboy reminds Dylan that he told someone he had done everything he ever wanted to do. “If that's true,” the interviewer asks, “what do you have to look forward to?” Dylan replied, “Salvation. Just plain salvation.” Dylan’s work, as it continues to speak, does offer a kind of salvation. As one author puts it, “it is in the nature of beauty to suggest the divine and the eternal.” I’m so glad I followed nostalgia’s pull to Dylan and found more of the place where beauty saves the world.