Making Peace with What You Can Do

March 13th, 2010 | 2 Comments

Walking in the early spring air this morning, I got by with a light cotton jacket. Yet the weather remains cool and damp. Green fronds push up from the ground, but the skies are grey. Trees are full of birdsong, though the bare branches appear unchanged since winter.

This almost-spring feels nothing like winter, yet there is no blossoming. As if the earth is saying: This, today, is what I can do. I can bring forth this much, but for now I can go no farther.

And the slow warming is enough. The turning of the seasons is exactly this; nothing more is needed. There is no hurry, no catching up to do. All is sufficient.

***

It’s tempting to discount those efforts we are able to make. How do you make peace with the limits of what you can do?

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The View Through Old Glass

March 11th, 2010 | 3 Comments

Looking through old glass feels a little like standing outside of time. The wavery, watery pane distorts the view just enough to hold it in perspective, as a fleeting moment in the long passage of years. It holds the scene at a distance, even as it offers a reminder of life’s fragility. An old window softens the world.

The old glass reveals motion I cannot perceive otherwise: the imperceptible turn of the earth with its accrual of days into seasons, a year, a lifetime; the pull of gravity over time, drawing down the pane into ripples and waves, pulling at my body in the same way. All the moments count, no one of them more or less than another, which is hard to take because that’s not how we see our lives.

Time passes without our noticing, yet it leaves its mark. The view through old glass notes the brevity of a moment, even as it attests to the lasting change a moment’s passing leaves. It’s an image of the weight of the past, and of the vitality that sets this moment apart.

It shows our days to be part of a long unfolding, part of something larger. At the same time, it invites an appreciation of the moment as all we have.

If I could see the view through the other side of the glass, look through the curving lines of light at myself, would I understand something more about my life?

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Opening to the Sacred

March 8th, 2010 | 2 Comments

In The Case for God, Karen Armstrong talks about “this hinterland between rationality and the transcendent.” It’s the place where our thought, ideas, and intellectual life have taken us as far as they can, and we need a different kind of knowing in order to experience God.

The intellect is part of our spiritual path. It carries us past the limited notions of God that constrict our assumption of what religious life entails. It brings the fresh breeze of new ideas, which prepare us to see what we have missed. It shows the limitations we have put on God, and the experience of God, of which we were unaware.

But we can’t live into a new faith, or any faith, by intellect alone. An expanded idea of God doesn’t have much impact on who we are or how we live unless we develop a connection to God—asking, seeking, waiting, inviting, listening. In Armstrong’s words, “Religious insight requires not only a dedicated intellectual endeavor to get beyond the ‘idols of thought’ but also a compassionate lifestyle that enables us to break out of the prism of selfhood. . . . It require[s] kenosis, ‘negative capability,’ ‘wise passiveness,’ and a heart that ‘watches and receives.’”

Armstrong’s book mirrors this process. It summarizes and analyzes a long and complex history of how people have understood God. She places our current theological thinking in the context of history, the better to see how we arrived in this place and how best to move forward. Yet her work points to an understanding of God beyond definition or certainty, experienced in mystery, expressed in poetry and in love. It’s a book about what cannot be expressed in books.

Ideas are important; I thrive on them. Yet at a certain point ideas no longer satisfy. It’s like driving to the mountains to go hiking. At some point, you have to get out of the car.

I experience another kind of truth in the light turning gold as the sun rises, the purr of a cat under my hand, the voice of a loved one. These are openings to the sacred, to the sense of being deeply and truly alive.

I’m asking myself whether I’ve spent too much time reading theology and not enough reading poetry. Where is the balance between intellect and experience? Do you see one as more credible, or trustworthy, than the other?

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A Church of Unknowing

March 6th, 2010 | 2 Comments

I’ve just finished reading Karen Armstrong’s The Case for God (Knopf, 2009). It’s a big book to wade through, but the clarity and grace of her writing make it a pleasure. Even more, her ideas stimulate my own thinking. I won’t try to do a review or a summation, but here is one aspect that resonates with me.

One of the gifts of The Case for God is that Armstrong articulates clearly how the modern Western mind came to equate truth with certainty, knowledge with logic and definitions, and credibility with science. Even more, she shows how this way of thinking resulted in a notion of God disconnected from the heart of religious longing.

Rather than allowing language and logic to carry us to their limit, then point us toward the mystery that cannot be named or known, we settled for a list of God-traits. Our idea of God defined a being, with specific attributes, sitting at the next-higher level of creation. In Armstrong’s words:

The process that should have led to a stunned appreciation of an “otherness” beyond the competence of language ended prematurely. The result is that many of us have been left stranded with an incoherent concept of God. We learned about God at about the same time as we were told about Santa Clause. But while our understanding of the Santa Claus phenomenon evolved and matured, our theology remained somewhat infantile.

We need an understanding of God that holds up to our experience, and allows us to build a life around our faith. Armstrong points to the work of Gianni Vattimo and John D. Caputo as thinkers who embrace a way of seeing God that can speak to our time. She mentions in her notes a collection containing works by both of them, After the Death of God, edited by Jeffrey W. Robbins. I haven’t read it, but I’d like to.

This is how Armstrong describes Caputo’s view of our experience of God, and the unknowing that is “truth without knowledge”:

So how does Caputo see God? Following Derrida, he would describe God as the desire beyond desire. Of its very nature, desire is located in the space between what exists and what does not; it addresses all that we are and are not, everything we know and what we do not know. The question is not “Does God exist?” any more than “Does desire exist?” The question is rather “What do we desire?” Augustine understood this when he asked, “What do I love when I love my God?” and failed to find an answer.

An encounter with such mystery leaves us open, without certainty, thrillingly alive and humbled with awe. It points us to a reality that transcends our ordinary experience, calls us to be awake, and encourages us to seek ways of living out the ineffable truth that we are given.

Is it possible to live out this kind of truth in community? Can a church be built on faith that professes uncertainty and not knowing?

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The Taste of Chartreuse

March 3rd, 2010 | 3 Comments

In this season of almost spring (a time described beautifully by Amy Oscar at her blog: Story, Spirit, Seed), I find myself thinking about the taste of Chartreuse. The flavor suggests the greening of the earth, the scent of mown grass and fresh herbs, the return of the sun in spring. Even its luminous yellow-green color speaks of new life.

It’s still a bit early to retrieve the bottle from the dark recesses of the kitchen cabinet. But for the first time in months I remember it’s there, waiting. Its distillation of past growing seasons holds the memory and anticipation of spring.

Chartreuse and its secret recipe have a fascinating history, which lends a delicious mystique to the experience of drinking it. I first tasted the liqueur in the company of dear friends after we watched Into Great Silence together. The film shows the passing of a year in the Carthusian monastery of La Grande Chartreuse, where Chartreuse has been made for centuries.

To watch the film is to experience something of the monastic life, with its beauty and tradition, as well as its constriction and mundaneity. The film evokes both yearning for the spare beauty of the monastery and claustrophobia at its repeated routines. It has no speaking, no soundtrack, only a few frames containing a word or two of French. Sounds such as the creak of a monk’s kneeling bench are heightened, enveloped in profound silence. It’s a beautiful film of changing light and unchanging ritual. I was glad to share its silence with friends, and also glad to speak with them about it afterwards.

The elixir made by the monks is lovely to sip on its own. Mixing it with the clear, cold effervescence of club soda makes a wonderful drink as well, something like the taste of winter giving way to spring.

That transition is a process happening now, at least for those of us in the Northern hemisphere. But how do we know when to celebrate?

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Opening and Closing Rituals

March 1st, 2010 | 6 Comments

With the closing ceremony of the Olympics complete, we’re now released from the 2010 games. We take the stories with us, but it’s time to move on.  A closing ritual helps us go forward when something good is over. The games are declared closed, but the ceremony also points toward the next host city, and the gathering four years distant.

The pair of opening and closing ceremonies marks a container for the experience, elevating the events they frame. We need a moment at the beginning to say, “Let the games begin.” It helps us see the undertaking as part of something larger. We need closure at the end, a way to hold together the diverse events in a unified experience, making them part of us before we let them go.

Our lives hold many small rituals for beginnings and endings: lighting the Christmas tree, the last night of vacation, baseball’s opening pitch, a minister’s benediction, housewarmings, graduations, groundbreakings, memorials. We set those times apart because we know they’re important. At the same time, we are reminded they’re important because we set them apart.

Even our simple routines at the day’s opening and closing matter. These rituals reassure us as we gather strength in the morning. In the evening, looking back on our efforts for better or worse, they help us put the day to rest. Sunrise and sunset, though they rarely delineate our waking and sleeping, nonetheless offer a relevant ceremony. They form a vessel that contains our lives—a day—to lift up for a blessing, or healing, in grief or gratitude.

A day has meaning. It’s what a life is made of. So I’m considering ways to mark the day’s opening and closing with a small, sustainable, and meaningful ritual.

Does it work to make one up or does it need to evolve naturally? How does a ritual become meaningful?

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The Need for Retreat

February 26th, 2010 | 2 Comments

I’ve been working with other members of The KaBooM Writing Collective this week, planning a one-day writing retreat that happens tomorrow. It’s exciting to work with the possibilities that a day can hold, and I look forward to what will happen during those hours.

Retreats of any length are all too rare. A week or month is the classic model, and good to aspire to. But it’s not easy, and often not possible, to check out for so long. Shorter retreats are more accessible, though finding even a single hour out of the day’s course can be a challenge. An entire day is a pretty big deal for most of us, and I appreciate those writers willing to set that time aside.

Claiming any time at all requires attention and commitment. Even the intention to retreat is evidence of a change we’re already making.

Once we do that, a retreat unfolds differently from everyday hours. It’s a time entered hopefully, with openness to surprise; it’s lived out expectantly, but without an agenda. Retreat is a time we prepare for, but without planning what will transpire. It’s a time of asking a question and waiting for the response; allowing something new to happen and paying attention to the movement of the spirit.

We need to enter that mindset often to keep our spiritual and creative life nourished. Prayers and practices in everyday life help. But looking back I see important growth, in both my spiritual and artistic life, from the renewal that comes from retreat. Time taken off from “being productive” ends up generating the most productivity of all.

So I see the day as full of possibilities. We’ll enter our writing through the doorway of the senses, bringing life to words by being centered in the body. We’ll ground ourselves in a particular moment through focus on the physical, sensory experience of being alive. The context of a day of retreat adds another element as well: a chance to connect to the spirit that breathes life into our lives and our work.

The question I’m asking is, What new opening will the day bring?

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Divine Inspiration and Everyday Incarnation

February 23rd, 2010 | 2 Comments

These days I’m living in the tension between inspiration and productivity; between drawing water from the well and hauling it home to cook and wash. There are so many things I want to do, but the hours and energy of the day are spent before I can see to them all. I love being in touch with the creative spirit, yet I’m overflowing with plans and ideas that I can hardly carry out. It’s hard to bridge the gap between ideal and actuality, vision and incarnation.

I’m also trying to remember that this challenge is a blessing. I’ve had my share of wandering in the wilderness, wondering where the path was leading. Chances are I’ll experience the wilderness again. But for the time being I have meaningful work to do—an assortment of conversations, projects, and explorations. On the surface they seem unconnected, yet together they impart the sense of gathering energy.

It’s good to feel that generative flow—what we call the Holy Spirit at work. It has been moving all along, bringing me to this place, but now it’s easier to see. Gratefully, I’m trying to pay attention to the work I need to do. And I’m trying to go with the flow.

What if we could always remember that we’re being led to the place we need to be? That we are part of the ongoing work of incarnation?

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Learning to See

February 20th, 2010 | 3 Comments

I enjoy taking pictures. It’s a pleasure to look at the world with an eye toward framing a photograph, and in that state of mind I tend to see more. Someday I might take a class or invest in a better camera, but in the meantime I just snap photos of what looks interesting.

So during a recent stay in an eighth floor hotel room I was glad for its view of the city, especially at nightfall. But when I pulled back the curtain with camera in hand, I found the scene obscured by water droplets and condensation. No good. With the window sealed so that it couldn’t be wiped clean, I would have to find another vantage point.

As I gathered my things for a trek down the hall, it seemed a lot of trouble to traipse around in search of a clearer window. But the light at evening had drawn me to look outside, the color and pattern of towers and skies held my attention, and I couldn’t resist trying to capture the image.

In looking for a better view, however, I was rejecting what I had already found beautiful. Photography helps me notice what’s in front of me, but it’s still easy to miss things. In this case I had only seen the foggy window as an obstacle and not part of the scene. I want to open my eyes and pay attention to the world I’m walking through. But that’s hard to accomplish with preconceived ideas about what’s worth looking at.

So I returned to the window and observed how the water on the glass reshaped the light from outside. I considered how the pane of moisture softened my perspective on the city. And I realized that for one evening, in that particular place, I didn’t have to resist the uniquely filtered view.

Is there something in front of you that you might cease resisting?

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The Message in a Misquote

February 18th, 2010 | Click to Comment

I learned from reading at Sacred Miscellany that the popular wisdom rendered as “Music has charms to soothe the savage beast” is actually a misquote of the original, and more interesting, “Musick has Charms to sooth the savage Breast,” from a play by William Congreve.

We learn to fight the beasts “out there,” scarcely acknowledging the struggles taking place within our psyches. No wonder we’ve misread the line. Yet, as Paul knew, the demons within our own breast are always present, and deprive us of peace with far more consistency than the snarling enemies out in the world.

Our culture’s outer directedness has altered the line, but we pass along the misquote because we’ve experienced the truth of the original. Music does have the power to calm and comfort us. It offers courage and inspiration. Music can touch us profoundly in a way that nothing else can. Even if we’ve never faced down a tiger using a stereo speaker, we believe it will soothe the savage beast because we know it has soothed us.

George Winston’s December CD is one I return to again and again for its power to soothe through the clarity and tranquility of his piano. What soothes your savage breast?

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