"The Sky where we live Is no place to lose your wings. So love, love, Love" ~Hafiz

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Saturday, March 29, 2008

Merton and This Little Point of Nothingness























Thomas Merton On The Ways Of God

I've read Thomas Merton, of course, but I had never actually heard him till now. And then a friend sent me these rare and recently posted Youtubes where you actually hear his voice. His lectures on Aquinas's "Ways Of God" are quite remarkable but there is something about the tone, the matter-of-factness, the openness and humor and occasional gruffness - so human and yet so obviously full of the divine. I have often wondered what Jesus himself sounded like, although I have in times of great darkness almost heard his tone. I hear that tone in Merton.

I know you probably don't have time today but if you are curious about what an open, beautiful faith Christianity can be, do yourself a favor. Part One is here; follow the Youtubes from there.

Permalink

****

From Merton's "A Book Of Days"

Make ready for the Face that speaks like lightning,
Uttering the new name of your exultation
Deep in the vials of your soul.
Make ready for Christ,
Whose smile, like lightning,
Sets free the song of everlasting glory
That now sleeps, in your paper flesh, like dynamite.

**
PSALM

In the center of our being is a point of nothingness
which is untouched by sin and by illusion,

a point of pure truth,
a point or spark which belongs entirely to God,
which is never at our disposal,
from which god disposes of our lives,
which is inaccessible to the fantasies of our own mind
or the brutalities of our own will.

This little point of nothingness and of absolute poverty
is the pure glory of God in us.
It is like a pure diamond, blazing with the invisible light of heaven.
It is in everybody, and if we could see it
we would see these billions of points of light
coming together in the face and blaze of a sun
that would make all the darkness and cruelty of life vanish completely.

I have no program for this seeing.
It is only given.

but the gate of heaven is everywhere.

Vegetable Orchestra























flying heart





Friday, March 28, 2008

Schizophrenia



















SCHIZOPHRENIA: INSIGHTS FAIL TO HALT RISING TOLL
Schizophrenia is emerging as the worst mental health problem facing the nation. Yet it has long been the most neglected.

Never before in American history have so many schizophrenics been seen on the streets of American cities, screaming aloud to voices only they can hear, proclaiming themselves God, warning passers-by that the Central Intelligence Agency has bugged their brains, or simply sitting, mute and withdrawn, sunk in an apathy so deep that no emotion crosses their faces.

But street people are only a part of the problem. Far more victims of this shattering disease are now in the homes of their families, in the nation's hospitals, in nursing homes, halfway houses or seedy hotels - either forgotten or given care that, health experts agree, has brought only limited relief of their suffering.

Signs of New Understanding


Read it all

Wednesday, March 26, 2008

Truth in a Grave


















"Easter says you can put truth in a grave, but it won't stay there."

- Clarence W. Hall




Tuesday, March 25, 2008

And This Peace Takes The Form of Forgiveness























Image from the mad priest

Go and read

Easter Sermon

by Kim Fabricius

who writes for the blog
Faith & Theology.

You might also check out his "Ten Propositions" lists for some interesting thinking and theological reflection.

A partial quote from the sermon:

"The peace they receive they must share, declare, and effect. And this peace takes the form of – forgiveness! Jesus says: “If you forgive people’s sins, they are forgiven; if you do not forgive them, they are not forgiven” (John 20:23). And though the construction looks like a conditional, as if forgiveness were discretionary – as if the disciples might grant forgiveness to this one but withhold it from that one – the key to Jesus’ command is its gracious sweep and urgency. Forgiveness itself is God’s judgement on sin, and forgiveness itself is the condition that makes justice possible. Wrath – whatever that might mean – must be left to the Father. This is John’s version of Matthew’s Great Commission."

"If being Christian trumped being American, British, or whatever, and if the church itself practiced a politics of peace, then at least we would have something to say to government that wasn’t the mere echo of its own loud voice."

Kim add also, in comments:

"Let me add some Rowan Williams to Herbert McCabe (from the second edition of his great Arius [2001]). After suggesting that God is not a "person" or "individual" like us, Williams continues: "If God is not an individual, God does not compete with us for space; if God is not an individual, God's will cannot be adequately understood in the terms of self-assertion or contest for control in which so much of our usual discourse of will is cast. The implications for theology, for ethics and for prayer and spirituality are enormous; and we are still discovering them." Indeed."

I also recommend "A FUNNY KIND OF CHRISTIAN "

from the Guardian (UK)

"Perhaps this is how we ought to be re-telling the story of Christ's passion. For ever since the cross became a piece of jewellery, it has been drained of its power to sicken. Even before this the Romans had taken their hated instrument of torture and turned it into the logo of a new religion. Few makeovers can have been so historically significant. The very secular cross was transformed into a sort of club badge for Christians, something to be proud of."

"The French anthropologist René Girard is the modern voice that has done most to explain the nature of this moral change. Human societies, he argues, are often held together by scapegoating. From the playground to the boardroom, we pick on the weak, the weird or the different as a way of securing communal solidarity. At times of tension or division, there is nothing quite as uniting as the "discovery" of someone to blame - often someone perfectly innocent. For generations of Europeans, the Jews were cast in the role; in the same way women have been accused of being witches, homosexuals derided as unnatural, and Muslims dismissed as terrorists.

The crucifixion turns this world on its head. For it is the story of a God who deliberately takes the place of the despised and rejected so as to expose the moral degeneracy of a society that purchases its own togetherness at the cost of innocent suffering. The new society he called forth - something he dubbed the kingdom of God - was to be a society without scapegoating, without the blood of the victim. The task of all Christians is to further this kingdom, "on earth as it is in heaven". "

**************************
Then the comments devolve into a wonderful free-for-all. You won't see the like in this country. The thin-skinned American columnists moderate comments to soft-peddle dissent. Disgusting.

***
Peter starts his 'ReUnion' Book with a poem by Emmet Fox:

LOVE


'Love is by far the most important thing of all
It is the golden gate of paradise
Pray for the understanding of love
And meditate upon it daily
It casts out fear
It is the fulfilling of the law
Love is absolutely invincible
There is no difficulty that enough love will not conquer
No disease that enough love will not heal
No door that enough love will not open
No gulf that enough love will not bridge
No wall that enough love will not throw down
No sin that enough love will not redeem
It makes no difference how deeply seated may be the trouble
How hopeless the outlook
How muddled the tangle
How great the mistake
A sufficient realization of love will dissolve it all
If only you could love enough
You would be the happiest and the most powerful being
In all the world.'

*****

Whiskey River

"When you feel that you are a lonely, put-upon, isolated little stranger confronting all this, you are under the influence of an illusory feeling, because the truth is quite the reverse. You are the whole works, all that there is, and always was, and always has been, and always will be."
- Alan Watts

"Who or what is experiencing one's experience? My Korean Zen master used to say: "What the hell is it?" His main koan was called a huado, or main word. It looks nice there, boldly calligraphed in Korean as a scroll on the wall. What it says is: "What is it?" That's his whole teaching. This gets to the bottom of our basic question: What is it? What the hell is going on? What is this? Who is this? That's what the translation of the huado implies. It is a fundamental existential question, turning our exploration inwards."
- Surya Das

*****
from "Who is IOZ?"


'
Like every other life, mine has had its share of hurts and disappointments, but I've never felt so utterly defeated, weak, and directionless, nor ever felt that the air was just too thick to breathe, nor that I might as well just stay in bed forever, until my stomach shrinks into itself and my heart shuts up in my ears. I nearly wept on the bus--the bus! I can't concentrate. I hurt palpably, as if deep water were crushing me. I feel utterly bereft, without worth or hope.

Now if this is how I feel after something so quotidian as a break-up; if I feel my frankly comfortable, untroubled life to be exploding into a thousand sorrows just because my lover and I reached an impasse that we couldn't negotiate together; if such bleakness, helplessness, and desperation as I've never felt in my life can come from something so insubstantial as having to buy new furniture or a new jacket because he's taking my favorites; if I am wracked by fear--real, true fear as I haven't felt since I was a child--about being alone for a while; then just how the fuck must it feel to be an Iraqi or an Afghani or a Palestinian? If it's bad to lose a lover in Pittsburgh, what must it be like to see your family killed, or your husband kidnapped, or your home destroyed in Baghdad?'


*******

Sunday, March 23, 2008

How Would You Like To Have This Easter Bunny?





















Astonishing Light

Hafiz


I wish I could show you
when you are lonely
or in darkness
the astonishing light
of your own being.


via Inward Outward

****

Wood S Lot

Anticsm!
Kevin McFadden
Manifesto Cries

...

Anticism is eight-elevenths Romanticism. Blake had he read the stalls of a public-school restroom. Wordsworth had he wandered lonely as a could and danced with folded faiths. The sly echo of the Byronic hero. Anticism arrives—like funk to a summer potato—when there’s something perverbial in the church and rotten in the state. It is shape-changing, change-shaping, a border-crosser, a gut-checker. It values listening before enlisting, twisted noting before setting it down.

Cleanse the doors of perception all you want, take the doors off the jambs: one is always hung by some frame. The way things are put is at least as important as the puttering of the putter. If the choices are self-consciousness or self-deception, Anticism considers the or.

What goes on origins in the morning, aporia in the afternoon, stupor in the evening?—The Riddle of Anticism!

"One cannot be deeply responsive to the world without being saddened very often."
- Erich Fromm


Erich Fromm Archive

The Two Voices of Erich Fromm: The Prophetic and the Analytic
Michael Maccoby

Fromm, Freud, and Midrash
Elliot B. Gertel


The Royal Life (Some Facts Altered)

DUBLIN

FOR a guy playing Henry VIII, Jonathan Rhys Meyers was looking very skinny in his jeans, relaxing in a trailer on the Irish set of Showtime’s steamy period drama “The Tudors.” The series, which critics could take or leave but many viewers are eating up (the costumes! the sets! the sex scenes!), returns for its second season next Sunday.

“I have got absolutely no physical attributes in common with Henry VIII,” Mr. Rhys Meyers acknowledged as he made tea. “So everything has to be more about his energy, more about power, more about confidence.”

He had just filmed a scene set shortly before Henry and Anne Boleyn’s wedding, which history tells us took place when the king was in his early 40s. Mr. Rhys Meyers is 30. “Henry is 30,” too, this season, he said with a playful gleam in his eye. “He’s going to stay 30 for a while.”

(Showtime’s “Tudors,” which begins its second season on March 30)

****

A Seeking Spirit has the best Easter Bunny Picture EVER.

***

Saturday, March 22, 2008

Rise























Listen to "If It Be Your Will" at "Dreaming In The Deep South" -- I listened to it 10 or 12 times yesterday and today and it's a song that haunts. Leonard Cohen , the prophet.

***
Easter Wings
George Herbert


LORD, who createdst man in wealth and store,
Though foolishly he lost the same,
Decaying more and more,
Till he became
Most poor:
With thee
O let me rise
As larks, harmoniously,
And sing this day thy victories:
Then shall the fall further the flight in me.

My tender age in sorrow did begin:
And still with sicknesses and shame
Thou didst so punish sin,
That I became
Most thin.
With thee
Let me combine
And feel this day thy victory
For, if I imp my wing on thine,
Affliction shall advance the flight in me.

NOTE:
The poem is written to appear as wings.

*****
That Nature Is A Heraclitean Fire And Of The Comfort Of The Resurrection

Cloud-puffball, torn tufts, tossed pillows ' flaunt forth, then chevy on an air-built thoroughfare: heaven-roysterers, in gay-gangs ' they throng; they glitter in marches.
Down roughcast, down dazzling whitewash, ' wherever an elm arches,
Shivelights and shadowtackle in long ' lashes lace, lance, and pair.
Delightfully the bright wind boisterous ' ropes, wrestles, beats earth bare
Of yestertempest's creases; in pool and rut peel parches
Squandering ooze to squeezed ' dough, crust, dust; stanches, starches
Squadroned masks and manmarks ' treadmire toil there
Footfretted in it. Million-fuelèd, ' nature's bonfire burns on.
But quench her bonniest, dearest ' to her, her clearest-selvèd spark
Man, how fast his firedint, ' his mark on mind, is gone!
Both are in an unfathomable, all is in an enormous dark
Drowned. O pity and indig ' nation! Manshape, that shone
Sheer off, disseveral, a star, ' death blots black out; nor mark
Is any of him at all so stark
But vastness blurs and time ' beats level. Enough! the Resurrection,
A heart's-clarion! Away grief's gasping, ' joyless days, dejection.
Across my foundering deck shone
A beacon, an eternal beam. ' Flesh fade, and mortal trash
Fall to the residuary worm; ' world's wildfire, leave but ash:
In a flash, at a trumpet crash,
I am all at once what Christ is, ' since he was what I am, and
This Jack, joke, poor potsherd, ' patch, matchwood, immortal diamond,
Is immortal diamond.

Gerard Manley Hopkins



Holy Saturday -- This Too Was A Gift

















Facade
Edmund Teske
Composite with Shirley Berman

Darkroom alchemist - photographer Edmund Teske
Mark Alice Durant


For The Record

Andrew Sullivan has posted the full text of Jeremiah Wright's (Obama's pastor)
sermon "Audacity To Hope". The following is a small piece of the sermon. Go to Sullivan's blog for the artwork and the text. If this pastor is to be held up to national scrutiny, we should look at a larger view of his theology.

What a deeply apropos message or Holy Saturday!

Shadow of the Hegemon

(Hannah is a biblical figure who suffered from barrenness; "Hope" is a painting of a battered and bloodied woman with a near-broken harp sitting on top of the earth.)

Then, Dr. Sampson began to understand why the artist titled the painting "Hope." In spite of being in a world torn by war, in spite of being on a world destroyed by hate and decimated by distrust, in spite of being on a world where famine and greed are uneasy bed partners, in spite of being on a world where apartheid and apathy feed the fires of racism and hatred, in spite of being on a world where nuclear nightmare draws closer with each second, in spite of being on a ticking time bomb, with her clothes in rags, her body scarred and bruised and bleeding, her harp all but destroyed and with only one string left, she had the audacity to make music and praise God. The vertical dimension balanced out what was going on in the horizontal dimension.

And that is what the audacity to hope will do for you. The apostle Paul said the same thing. "You have troubles? Glory in your trouble. We glory in tribulation." That's the horizontal dimension. We glory in tribulation because, he says, "Tribulation works patience. And patience works experience. And experience works hope. (That's the vertical dimension.) And hope makes us not ashamed." The vertical dimension balances out what is going on in the horizontal dimension. That is the real story here in the first chapter of 1 Samuel. Not the condition of Hannah's body, but the condition of Hannah's soul—her vertical dimension. She had the audacity to keep on hoping and praying when there was no visible sign on the horizontal level that what she was praying for, hoping for, and waiting for would ever be answered in the affirmative.

What Hannah wanted most out of life had been denied to her. Think about that. Yet in spite of that, she kept on hoping. The gloating of Peninnah did not make her bitter. She kept on hoping. When the family made its pilgrimage to the sanctuary at Shiloh, she renewed her petition there, pouring out her heart to God. She may have been barren, but that's a horizontal dimension. She was fertile in her spirit, her vertical dimension. She prayed and she prayed and she prayed and she kept on praying year after year. With no answer, she kept on praying. She prayed so fervently in this passage that Eli thought she had to be drunk. There was no visible sign on the horizontal level to indicate to Hannah that her praying would ever be answered. Yet, she kept on praying.

And Paul said something about that, too. No visible sign? He says, "Hope is what saves us, for we are saved by hope. But hope that is seen is not hope. For what a man sees, why does he have hope for it? But if we hope for that which we see not (no visible sign), then do we with patience wait for it."

That's almost an echo of what the prophet Isaiah said: "They that wait upon the Lord shall renew their strength." The vertical dimension balances out what is going on in the horizontal dimension.

There may not be any visible sign of a change in your individual situation, whatever your private hell is. But that's just the horizontal level. Keep the vertical level intact, like Hannah. You may, like the African slaves, be able to sing, "Over my head I hear music in the air. Over my head I hear music in the air. Over my head I hear music in the air. There must be a God somewhere."

Keep the vertical dimension intact like Hannah. Have the audacity to hope for that child of yours. Have the audacity to hope for that home of yours. Have the audacity to hope for that church of yours. Whatever it is you've been praying for, keep on praying, and you may find, like my grandmother sings, "There's a bright side somewhere; there is a bright side somewhere. Don't you rest until you find it, for there is a bright side somewhere."

****

The Uses of Sorrow

by Mary Oliver

(In my sleep I dreamed this poem)

Someone I loved once gave me
a box of darkness.

It took me years to understand
that this, too, was a gift.

***


Friday, March 21, 2008

Crank, Gadfly & Loose Cannon























Poet, photographer and publisher Jonathan Williams dies at 79

HIGHLANDS – Jonathan Williams, poet, photographer and publisher who championed the avant-garde, the earthy and the unusual through his Jargon Press for half a century, died Sunday at Highlands Hospital. He was 79.

“His public persona was a real crank, a gadfly, a loose cannon,” said Thomas Meyer, a poet and Williams’ partner for more than 40 years. “But there was this extraordinary generosity.”

****

wood s lot

remembered by

Pierre Joris

Mark Scroggins

Ron Silliman

John Latta

O for a muse of fire: the iconoclasm of Jonathan Williams and the Jargon Society
profile of a Renaissance man
Tom Patterson

In a recent post to the Buffalo Poetics list, CA Conrad remarked that following Jonathan Williams' failing health was like watching a library slowly burn to the ground. The remark is not overstatement and the loss is heavier than most of us will immediately realize.
- damn the caesars

Thursday, March 20, 2008

Good Friday

Cross

...{Cross posted to Dreaming...}

GOOD FRIDAY: THE FEAST OF FOOLS

Christians commemorate Christ's death on that paradoxical day called Good, a paradox which has been reinforced twice in recent years by its coincidence with April Fools' Day. It is a coincidence with deep meaning. On Good Friday we celebrate the fact that 'God lets himself be pushed out of the world on to the cross' (Dietrich Bonhoeffer). It is the feast of the divine folly. Indeed in the New Testament the cross is seen, and its proclamation is seen , as an act of folly. St. Paul put it like this:

"For the message about the cross is foolishness to those who are perishing, but to us who are being saved it is the power of God. For it is written, I will destroy the wisdom of the wise and the discernment of the discerning I will thwart ... Has not God made foolish the wisdom of the world? For since, in the wisdom of God, the world did not know God through wisdom, God decided, through the foolishness of our proclamation, to save those who believe. For Jews demand signs and Greeks desire wisdom, but we proclaim Christ crucified ... For God's foolishness is wiser than human wisdom, and God's weakness is stronger than human strength. (1 Corinthians 1:18 --15)"

THE DARKNESS WHERE GOD DWELLS

In one of her meditations Simone Weil made the disturbing comment that the distance between God and God can only be viewed from above. It is easier, she suggested, to see oneself as God the Creator than as the crucified God of Jesus. Weil sees the cross as marking the infinite distance between God and God
.

***
If a central aim of the Christian life is to help people encounter and enter into the dark night of faith, then Christian worship needs to hold together lament and praise, grief and glory, the articulation and alienation from God and of desire for God. Much worship seems to be marked by a superficial cheerfulness which is deeply offensive to, and at the same time is of no help to, the person who is going through dark times. Authentic worship needs to avoid the one-dimensional temptation if it is to be true to the complexity of the human condition It is a dialectic of crucifixion and resurrection -- the lament of the self is its isolation and distance from God, and the canticle of praise in our joyful anticipation of the new life of the resurrection....

...
But it is important that Christians do not try to live constantly in 'Alleluia time' and ignore the darkness and 'the valley' which are still part of our experience in this world. The cry of pain, the public ritual processing of grieving, the ability to trust in one's pain and in other's pain within a solidarity of love: these are all necessary elements in a corporate spirituality. The Desert Fathers rightly stress the need for inward grief (penthos) in the hearts of all Christian people.

(taken from Kenneth Leech "We Preach Christ Crucified")

***

Judas, Peter

by Luci Shaw

Because we are all
betrayers, taking
silver, and eating
body and blood, and asking
(guilty) is it I, and hearing
him say yes,
it would be simple for us all
to rush out
and hang ourselves.

But if we find grace
to cry and wait
after the voice of morning
has crowed in our ears
clearly enough
to break our hearts,
he will be there
to ask us each, again,
do you love me?

**


*************

Arkansas Good Friday

I

Everyone knows what the cross means, or will
before long


It is the body

It resembles the first stick-figure depictions
of it found in caves (some
with the heads of birds)

Depictions reproduced to this day by young children
just learning to draw


Its aerodynamic properties ought to be obvious I suppose

to us,
the wingless


How many years we have been carrying it
And before too much longer it will reveal itself
the source of a forsakenness and agony
nobody would have dared foresee
I saw it
over twenty years ago

Every day as the darkness came down on New York
I went up to my father and saw

(More and more I meet him
in the mirror, it is his blood I have
to clean up if I shave—...)

And I was born just as I found him there

a little bald
toothless man
screaming,
not for long though
(I refer to Mother Morphine's left tit)


II

Now I'll tell you something you don't know, you hurt
by the past, just like me, crushed
by the future and blind
to the present,
blind
to the moment—

But there is nothing you don't know
I got up every morning here
a long way from home
and cried for ten minutes
then showered and dressed
and got back down to work
assisted, on occasion, by one or two magical mystery
pills


III

I can tell you this
Who dwarfs my pain I cling to
the genuinely broken
and poor
And I cling to the Before
The spirit face
behind the face
yearning for light
the water and the light
And I am flowing back to the Before, the infinite
years which transpired while I was not
here, and did not know
I was not

here...
I came just like you
from inconceivableness, the eternal
before-we-arrived, flowing
from God's mouth, and come here to say
"this world" and
"God," as if
they needed
names
And what lies beyond is no doubt the beginning
I wouldn't know but I'm going
to find out
The what lies beyond
this loneliness and panic
I call dying, time, remorse, this cold
and purifying
fire, which hurts so much, which burns
away the world and all I was
who walked and breathed and spoke
how real it all seemed
for a few years, but I was always
immortal and will be
once more, when I return
to the infinite time
which elapsed before I was conceived;
when the heavenward face is burned away
and its scared eyes
and its tears
and its euphoria, which no one can imagine
(wrong: someone in love can imagine!)
And I have heard God's silence like the sun
now I long to return to it
no matter my infantile clinging
to this gorgeous material of such early wisteria and
lilacs, the wind
in the redbud and light-giving new heart-shaped leaves
music visible if completely unheard, I'll return
The angel's going to raise his arms and sing that time is
no more
nor tears: that numbered
sea of them is gone—
now there is a new sea, a new earth, a new sky—
and I will know what to say at the end: What end?
And I can add I found this world sufficiently miraculous
for me, before I'm changed.


--Franz Wright

Poems for Holy Week























photo by Shalin
Poems for the season;

A few from FRANZ WRIGHT

(And HOLY SATURDAY by Rowan Williams paired with a fragment of ARKANSAS GOOD FRIDAY, again by Franz Wright)

***
A Poem called "One Kneeling and One Looking Down"

from Cruciality


"Part of my meditation on this Good Friday has been focused around a poem by Australian poet Les Murray. The poem, One Kneeling, One Looking Down, was inspired by an aboriginal legend in which a man was killed, and then raised from the dead by his two wives. In order for this ‘resurrection’ to happen, both wives had to agree on it. Murray’s poem depicts a moment of engagement between the two wives: the older wife wanting to have her husband back and the younger one resisting. Apart from the obvious echoes of the Easter narrative (not least the two women, the many impossibilities, freedom through death, etc), Murray’s piece also invites the reader to experience something of the fear and hope, sense of betrayal and renewed possibilities, that the Easter narrative explores. Of course, one does not want to push the echoes too far. Part of my meditation today was on ’seeing’, even re-writing, the poem’s episodes as a Trinitarian event in the life of God. In this, we not only have one kneeling (in faithful obedience) and one looking down (in pained delight), but also one holding him up in that kneeling posture. But again, one does not want to push the echoes too far …

Anyway, here’s the poem" :




ONE KNEELING. ONE LOOKING DOWN


Half-buried timbers chained in corduroy
lead out into the sand
which bare feet wincing Crutch and Crotch
spurn for the summer surf’s embroidery
and insects stay up on the land.


A storm engrossing half the sky
in broccoli and seething drab
and standing on one foot over the country
burrs like a lit torch. Lightning
turns air to elixir at every grab


but the ocean sky is troubled blue
everywhere. Its storm rolls below:
sand clouds raining on sacred country
drowned a hundred lifetimes under sea.
In the ruins of a hill, channels flow,


and people, like a scant palisade
driven in the surf, jump or sway
or drag its white netting to the tide line

where a big man lies with his limbs splayed,
fingers and toes and a forehead-shine


as if he’d fallen off the flag.
Only two women seem aware of him.
One says But this frees us. I’d be a fool -
Say it with me, says the other. For him to revive
we must both say it. Say Be alive. -


But it was our own friends who got
him with a brave shot, a clever shot. -
Those are our equals: we scorn them
for being no more than ourselves.
Say it with me. Say Be alive. -


Elder sister, it is impossible. -
Life was once impossible. And flight. And speech.
It was impossible to visit the moon.
The impossible’s our summoning dimension.
Say it with me. Say Be alive again. -


The young wavers. She won’t leave
nor stop being furious. The sea’s vast
catchment of light sends ashore a roughcast
that melts off every swimmer who can stand.
Glaring through slits, the storm moves inland.


The younger sister, wavering, shouts Stay dead!
She knows how impossibility
is the only door that opens.
She pities his fall, leg under one knee
but her power is his death, and can’t be dignified.


From Les Murray, New Collected Poems (Manchester: Carcanet, 2003), 450-1.


*****
and

final stanza of

Easter 1916

by W. B. Yeats

Too long a sacrifice
Can make a stone of the heart.
O when may it suffice?
That is Heaven’s part, our part
To murmur name upon name,
As a mother names her child
When sleep at last has come
On limbs that had run wild.
What is it but nightfall?
No, no, not night but death;
Was it needless death after all?
For England may keep faith
For all that is done and said.
We know their dream; enough
To know they dreamed and are dead;
And what if excess of love
Bewildered them till they died?
I write it out in a verse —
MacDonagh and MacBride
And Connolly and Pearse
Now and in time to be,
Wherever green is worn,
Are changed, changed utterly:
A terrible beauty is born.


William Butler Yeats, Easter 1916 first published in

Michael Robartes and the Dancer (1921) in

The Collected Works of W.B. Yeats, vol. 1, p. 182.


Tuesday, March 18, 2008

Lose Your Faith in the Machine god























Palm Sunday sermon: lose your faith!

A sermon by Kim Fabricius

I am thinking of Hans Holbein’s painting “Body of the Dead Christ in the Tomb”. The Russian author Dostoevsky saw the painting, in a museum in Basel, stopping on his way to Geneva, and forever after it haunted him like a nightmare. He describes it in his great novel The Idiot. The character Prince Myshkin says: “Why some people may lose their faith by looking at that picture!”

This sermon doesn’t have three points, it’s got three words: Lose your faith! (I warned you I would be sacrilegious.) Yes, lose your faith. Lose your faith in God. For as the French mystic Simone Weil insisted, there is a kind of atheism that is purifying, cleansing us of idols. Lose your faith in the god that the cross exposes as a no-god, a sham god. Lose your faith in the god who is but the product of your projections, fantasies, wishes, and needs, a security blanket or good-luck charm god. Lose your faith in the god who is there to hold your hand, solve your problems, rescue you from your trials and tribulations, the deus ex machina, literally the “machine god”, wheeled out onto the stage in ancient Greek drama, introduced to the plot artificially to resolve its complications and secure a happy ending. Lose your faith in the god who confers upon you a privileged status that is safe and secure. Lose your faith in the god who promises you health, wealth, fulfilment, and success, who pulls rabbits out of hats. Lose your faith in the god with whom your conscience can be at ease with itself. Lose your faith in the god who, in Dennis Potter’s words, is the bandage, not the wound. Lose your faith in the god who always answers when you pray and comes when you call. Lose your faith in the god who is never hidden, absent, dead, entombed. For the “Father who art in heaven” – this week he is to be found in hell – with his Son.

No one puts it more starkly – or more honestly and truthfully – than Bonhoeffer. We must recognize, he wrote from prison, “that we have to learn to live in the world ‘as if God were not here’. And this is just what we do recognize – before God! God himself compels us to recognize it… God would have us know that we must live as men and women who manage our lives without him. The God who is with us is the God who forsakes us… Before God and with God we live without God. God lets himself be pushed out of the world and onto the cross” – and then down from the cross and into the grave. “He is weak and powerless in the world, and that is precisely the way, the only way, in which he is with us and helps us.” God a Super-Power? That god is a demon, the Devil. If that god is your Lord, this week is a call for “regime change” (Walter Brueggemann).

So, yes, lose your faith! For as with life, so with faith: only those who lose it will find it. Or rather may find it. Faith is a risk, and discipleship demands that we learn to live with insecurity and uncertainty, setting out on a journey without a map, with companions who are as lost as we are, following a leader who is always way ahead of us, beckoning mysteriously, “Follow me!”, and then vanishing just as we arrive. God is mystery, ineffable mystery, naming a reality that we know, but the more we know, the more we are forced to un-know and rethink everything we thought we knew.
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Monday, March 17, 2008

Savasana In Every Event























the poetics of asana


embodying metaphorical language in a hatha yoga practice


by tias little

In the Sanskrit language speech has tremendous power, for it is through speech that the spiritual aspirant can invoke the great and mysterious force that sustains all life. Speech is intimately associated with prana, the life breath of the body. By refining the breath, one can clarify speech, and by refining speech, one can clarify prana.

The ancient rishis, the mystical seers of the yoga tradition, held speech in the highest esteem. Speech was thought to be sacred, imbued with a curious power to awaken and animate the most profound and subtle life force hidden within. The mystical seers chanted cryptic hymns of devotional offerings to the deities of fire, water, earth and sky. The rishis’ vocal chanting was similar to pranayama training in that their breath and vocal intonations, along with the rhythm and meter of the Sanskrit verses, activated their prana. The mantras they chanted, as they called in the spirit that pervades all life, had the resonance of lyrical poetry.

The poetic power of Sanskrit and the potency of the language used by the ancients to articulate the yogic experience have inspired me to teach with a metaphorical imagination. Speech, like writing, is a creative process, and when I teach classes I draw from a palette of analogies, metaphors, similes and stories. As a student of literature, I was inspired by the voices of James Joyce, Fyodor Dostoevsky, T. S. Elliot and John Ashbery. Influenced by these and other poets and writers, I have been impelled to weave figurative and colourful language into my asana teaching.

One of my intentions as a yoga teacher is to inspire, and I find that metaphorical language can elevate the practitioner. The word metaphor is from the Greek meta, meaning beyond, and pherein, meaning to carry. Metaphors, like opening the eyes of the heart, carry or transport the listener from one meaning to another. They guide the listener from a singular meaning to, potentially, a plurality of meanings. Like yoga asanas, metaphors are meant to loosen.

I use inspirational language to help students get out of themselves, to loosen restrictions and cut through the cobwebs of sticky thoughts. For instance, when I teach meditation, I describe a rising cumulus cloud to encourage students to elevate and broaden their chest in order to circulate more air through their lungs. The image of the heat and billowy vapour rising inside a midsummer’s cloud provides a palpable sense of expanding lungs.

In the yoga tradition, there is an abundance of naturalistic metaphors to illustrate the body. The esoteric yogic anatomy of the body includes rivers of pulsing fluid (nadis), bands of shimmering light (susumna) and potentially blooming floral buds (cakras). The ancient yogis perceived in the subtle human body a richness and effulgence evident in the natural world. By evoking naturalistic metaphor today, the student of yoga awakens and animates the full energy dormant within.

Poetic language that evokes beauty and elevates awareness can increase one’s capacity for sensitivity and gratitude. In the practice of asana and meditation, language helps attune the practitioner to movements within the body and build greater awareness. Imagery that evokes great feeling generates bhava, a profound state of affinity, soulfulness, devotion and heartfelt connection.

Ascent Magazine
***

Taking class on Saturday at the local non-deluxe athletic facility, someone had turned the air-conditioning on, even though it was cold outside. The teacher asked the manager to turn some heat on before we started class.

During the first 15 minutes of an hour and a half class, the temperature plummeted even lower, the manager clearly misreading the thermostat and plunging our room temperature lower still.

The teacher had us standing and doing vigorous
vinyasa (yoga movement) such that after and hour , I said, (half joking) "Isn't it time for savasana?" (More or less meaning, can we lay down with our blankets and nap?) He said something like, "every yoga movement, every piece of yoga is savasana." Which struck me as very profound.
One of those "this is the heart of the practice" kinds of things. That I knew but had not yet stated.

After class we were talking about the concept of savasana. Part of the reason for the practice is to teach yourself to take all of life's stresses in stride. Stress isn't what's going on outside. Stress is what's going on inside. Outside can be tranquil and peaceful, while war rages inside. Or vice-versa. Not that it's easy, but it's possible.
After decades of often faint-hearted and neglected practice, I will say that I begin to see this as a possibility. That an inner state of savasana begins to come with the first intimations of "emergency." That the inner responses can be stilled and disciplined, but usually not so much 'after the fact.'

Which just means that, like practicing the piano, the time to begin practice is not the day before the recital. The time to practice savasana, the time to practice that inner turning and tuning is NOW. We know the stress will come, will continue to come, the stresses will continue to pile up, to hand us more difficulties. But our inner response to all this doesn't have to be unending fight-or-flight.

We always have an inner choice in how we respond.

The world of metaphor isn't just an interesting poetic idea. It becomes the world we inhabit, furnish and live in. The abiding metaphors that drive our lives, the give us the meanings of our existence populate our inner territory. "Go and dwell there" as the sages -- the old desert people say. Go and dwell there indeed.

Our inner palace, our inner place of beauty and of rest the place in us of salvation is built on the day to day thoughts, meditations and practices that we are already doing.
You're meditating on something whether you intend it or not.

The Kingdom of God is within you. Go there and roam.


****

Linking























Linking you to things to read elsewhere....

I spent far too long working on a post last p.m. which, alas, blogger bloggered. Vox however was fine, so it lives at Vox for now.


DITDS is a blog I use for some groups/classes that I facilitate.

Also, Darrell has a wonderful post up about his 'coming out' anniversary.


A wonderful , beautifully written letter from a High School student in Oklahoma City who lost his mother in our domestic terrorist attack. He responds to a state representative's statement that gays are a bigger threat to our nation than terrorists.)

Info about Eddie Izzard's new show.



Off to the races......

Sunday, March 16, 2008

Universe .. Chosen .. Splendor ..
















Ἐν ἀρχῇ ἦν ὁ λόγος,
καὶ ὁ λόγος ἦν πρὸς τὸν θεόν,
καὶ θεὸς ἦν ὁ λόγος.
οὗτος ἦν ἐν ἀρχῇ πρὸς τὸν θεόν.

πάντα δι’ αὐτοῦ ἐγένετο,
καὶ χωρὶς αὐτοῦ ἐγένετο οὐδὲ ἕν ὃ γέγονεν
ἐν αὐτῷ ζωὴ ἐστιν,
καὶ ἡ ζωὴ ἦν τὸ φῶς τῶν ἀνθρώπων.
καὶ τὸ φῶς ἐν τῇ σκοτίᾳ φαίνει,
καὶ ἡ σκοτία αὐτὸ οὐ κατέλαβεν.

Ἐγένετο ἄνθρωπος,
ἀπεσταλμένος παρὰ θεοῦ,
ὄνομα αὐτῷ Ἰωάννης·
οὗτος ἦλθεν εἰς μαρτυρίαν,
ἵνα μαρτυρήσῃ περὶ τοῦ φωτός,
ἵνα πάντες πιστεύσωσιν δι’ αὐτοῦ.

οὐκ ἦν ἐκεῖνος τὸ φῶς,
ἀλλ’ ἵνα μαρτυρήσῃ περὶ τοῦ φωτός.
Ἦν τὸ φῶς τὸ ἀληθινόν,
ὃ φωτίζει πάντα ἄνθρωπον,
ἐρχόμενον εἰς τὸν κόσμον.

ἐν τῷ κόσμῳ ἦν,
καὶ ὁ κόσμος δι’ αὐτοῦ ἐγένετο,
καὶ ὁ κόσμος αὐτὸν οὐκ ἔγνω.
εἰς τὰ ἴδια ἦλθεν, καὶ οἱ ἴδιοι αὐτὸν οὐ παρέλαβον.

ὅσοι δὲ ἔλαβον αὐτόν,
ἔδωκεν αὐτοῖς ἐξουσίαν τέκνα θεοῦ γενέσθαι,
τοῖς πιστεύουσιν εἰς τὸ ὄνομα αὐτοῦ,
οἳ οὐκ ἐξ αἱμάτων οὐδὲ ἐκ θελήματος σαρκὸς
οὐδὲ ἐκ θελήματος ἀνδρὸς ἀλλ’ ἐκ θεοῦ ἐγεννήθησαν.

καὶ ὁ λόγος σὰρξ ἐγένετο καὶ ἐσκήνωσεν ἐν ἡμῖν,
καὶ ἐθεασάμεθα τὴν δόξαν αὐτοῦ,
δόξαν ὡς μονογενοῦς παρὰ πατρός,
πλήρης χάριτος καὶ ἀληθείας.

* * *

At the origin was the Word,
And the Word faced God,
And the Word was God;
This faced God at the origin.

Through Him all things came to exist,
And without him nothing that exists existed.
What existed in him was vivifying,
And the vivification was a light to men,
And the light shone into the darkness,
And the darkness did not cope with it.

He was in the universe,
And through Him the universe existed
Yet the universe did not recognize Him.
He came to his chosen ones,
Yet His chosen did not welcome him.
But to all those who did welcome him
He gave the privilege of being God’s offspring.

And the Word became human flesh
And bivouacked with us.
And we have seen his splendor,
A splendor of God’s only Son,
Supreme in favor and fidelity.

Since of his supremacy
We all have our share,
Favor answering favor.

John 1:1-14 (ca. 90 CE)(English transl. Garry Wills, following Raymond E. Brown, The Gospel According to John)

* * *

The italicized words form the “staircase” of linkage in a style common to early Church hymns. The thesis presented by Brown and advanced by Wills is that the Gospel of John originally began with the account of John the Baptist which starts after verse 14. In later editions, however, an early Church hymn was affixed to the beginning. The hymn text was modified at four separate points to provide transition to the story of the Baptist and to avoid the confusion that the textual juxtaposition might otherwise have created.

From No Comment Scott Horton's Blog.

[Permanent link]

Books

















From Scott Horton's NO COMMENT

Six Questions for Garry Wills on ‘What the Gospels Meant’

In a review in the New York Times, John Leonard once wrote that Garry Wills “reads like a combination of H. L. Mencken, John Locke and Albert Camus.” That seems a good summary for this writer of exceptional depth, and long-standing contributor to Harper’s Magazine (he authored nine articles), though his writing clearly is closer to Camus and Locke than Mencken. Garry Wills started his career as a drama critic for William F. Buckley, Jr., at ‘National Review’ and built his reputation with ‘Nixon Agonistes,’ a work that landed him high on the Nixon enemies list. Along the way he emerged as a brilliant scholar of the rhetoric of America’s Civil War era, and he won a Pulitzer Prize for his masterful analysis of Lincoln’s Gettysburg address in ‘Lincoln at Gettysburg.’ But Wills’s academic career started with a passion for classics, and he has most recently returned to that. Wills is a leading expert on the Greek of the Christian scriptures, and he has put his skills as a textual analyst to work in a series of penetrating studies of sacred texts: ‘What Jesus Meant,’ ‘What Paul Meant,’ and the last in the series, and the subject of this interview, ‘What the Gospels Meant.’

1. Let’s begin with the end. You answer your own question: “How to read the Gospels? As a whole, with the reverence they derive from and address, yet with the intelligence God gave us to help us find him.” That’s clearly the approach you’ve taken in this whole series of books dealing with Christian scripture. But since the time of David Strauss at least there has been caution about applying the tools of scientific inquiry to points of faith, a fear that it strips away the mystery that surrounds questions of faith, and that it will inevitably lead to a debunking, to the view that “God is dead.” By putting the Gospels in the setting of the communities in which they arose, aren’t you stripping away the mysteries? How do you cope with this criticism?

[Image]
Garry Wills

Since I believe in the divinity of Jesus, there is no way I can reduce the mystery of that fact. To look at the history and nature of the gospels does not do so. To present ignorance of the history as a mystery to be revered is an exercise in false religiosity. As Augustine said, God wants us to use our reason in reading Scripture; otherwise he would not have given us reason in the first place.

2. Much of your approach starts with the language of the earliest texts, which you tell us is a sort of pidgin, or marketplace, Greek—not a language steeped in great literary or philosophical tradition. What does the style of language tell you about those involved in producing these texts and the purposes for which they were prepared?

Since koine Greek was the language of the Roman Empire, and the gospels were written in the Diaspora, not in Jerusalem, the gospels show how rapidly the Jesus movement exploded into the “outside” world and addressed people across a wide spectrum of cultures in the Empire.

3. You have presented the view, based largely on textual analysis, that the original texts present a view of women that is far more accepting of them and their role in the church than later evolved in the established churches, which you term “misogynistic.” Can you give some examples of this? How do the church hierarchies cope with scholarship that undermines their views about the role of women?

Recent popes have defended the subordinate position of women in religious activity by saying that Jesus did not ordain women as priests. But neither did he ordain any men as priests. There are no priests in the letters of Paul or the gospels. Paul never calls himself, or Timothy, or any of those he writes to, priests. He does call a number of women his “co-workers,” the term for his fellow evangelists. He says there were women prophets, and one woman, Julia, was an apostolos (”apostle”), his own highest title.

4. You write “Jesus’ calm bearing under trial and torture and execution is a model for his followers as they face their own ordeals.” You put this in the context of the persecution of the early church in Syria and the Gospel of Mark. Can you explain what evidence you see for a Gospel related to a suffering Jesus and what this meant at the time of its preparation?

The gospel of Mark, whose community was clearly divided under persecution, notes that Jesus’ own family turned against him, giving a model of perseverance under the most discouraging circumstances.

5. The opening verses of John must be among the most powerful and poetic words of Christian scripture. You tell us that this text is likely a “hymn” and that it has been edited to serve as a preface to a text that begins with the story of John the Baptist. Can you explain the basis for this interpretation?

Raymond Brown’s analysis of the opening of John’s gospel is brilliant. He points out that the poetic structure is broken by prose inserts, connecting the hymn with the treatment of John the Baptists that follows it. He concludes that the gospel most likely began with the Baptist material (as Mark’s does), but that these connective sections were added when the poem was placed at the outset of the gospel.

6. You had a long relationship with William F. Buckley, Jr. Can you tell us how you met him and describe your relationship with him?

[Image]

I sent a satirical article on Time style to National Review in 1957, when I was a graduate student. Bill asked to me to come see him in New York and we became friends as I wrote for the magazine and advised him on Catholic matters. But differences over Vietnam and the civil rights movement led to a break between us that was healed only by his sister Priscilla, who rightly said that our friendship was too precious to throw away. I am grateful to her for bringing us back together before his death.

Buy a copy of ‘What the Gospels Meant’ at your local bookstore, or online here.

[Permanent link]

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wanderlust
> > a history of walking

book cover

BY REBECCA SOLNIT

VIKING

NONFICTION

318 PAGES

- - - - - - - - - - - -
By Andrew O'Hehir

April 27, 2000 | Discussing an eccentric 18th century peripatetic named John Thelwall in her new "Wanderlust: A History of Walking," Rebecca Solnit writes that he suggests "something of a pattern: autodidacts who took the trinity of radical politics, love of nature, and pedestrianism to extremes." While I'm pretty sure Solnit herself has a formal education, her astonishing range of reference and her indefatigable curiosity suggest the passion of an autodidact, and in every other respect she fits the pattern, too. Whether she takes this trinity to extremes is a matter of interpretation, but you could argue that even the attempt to write a history of walking -- arguably the defining human activity -- is itself extreme. Why not the history of talking, or breathing?

Of course, as Solnit points out, she has written a history of walking, not the history, which is all but infinite. Her history is, as she puts it, "an idiosyncratic path traced ... by one walker, with much doubling back and looking around." That's accurate, if a little modest; "Wanderlust" is a delightful, mind-expanding journey that strays from Søren Kierkegaard's Copenhagen and William Wordsworth's Lake District to the top of Everest and the New Mexico desert, from the first hominids to walk upright (whoever and wherever they were) to contemporary women who face the hazards of solitary walking. It's a journey led by a guide of tremendous erudition and just as much common sense, capable of slipping almost imperceptibly from the personal mode -- she describes several entirely non-metaphorical walks -- to the analytical and back again without appearing self-indulgent. (Full disclosure: I've had several friendly conversations with Solnit but don't know her well.)

Historically, walking has had many functions; for most people most of the time, of course, it was the only method of getting from one place to another. As Solnit says, "walking is a mode of making the world as well as being in it," and it allows us to know "the world through the body and the body through the world." This is not merely a theoretical construct. One of Solnit's principal concerns is that the connection between the body and the world that walking exemplifies has begun to fade as we spend more and more time isolated in technologized cells -- SUVs, offices, suburban homes -- and trapped in a culture that sees unstructured time alone in the world as inherently unproductive.

In search of the multiple meanings of walking in (mostly) Western culture, Solnit begins with the Athenian philosophers -- although no one really knows whether they walked to think -- and moves on through Jean Jacques Rousseau, Kierkegaard and Wordsworth, who collectively promulgated the romantic idea of solitary rambling as a contemplative exercise. Her layperson's exegesis of the anthropological and anatomical debate on bipedalism, or the question of when and why our ancestors first rose up on two legs, is a masterpiece of wit and economy. It's amusing, if not all that surprising, to learn that these discussions seem to be shaped as much by contemporary concerns about gender roles as by science.

The breadth alone of the material that Solnit has absorbed would have thwarted me; she's read obscure 19th century memoirs of walking tours, histories of mountaineering, feminist theory, studies of urban design, Victorian novels and Beat poetry. She knows more about the history of labyrinths and about the Renaissance mnemonic device called the memory palace than any normal person should. She's at her very best, I think, when her passion for history and landscape meets her progressive politics. Her mini-chapter on the late 19th and early 20th century right-of-way battles between working people and aristocrats in England's Peak District, in which the refined taste for natural beauty implied by the English landscape garden became democratized, is rich with brilliant observation and detail. Correspondingly, she's weaker as a literary critic and an urbanist; her chapter on the literature of walking in London and New York feels thin by comparison.

Her fine chapters on pedestrianism as a forum for protest and rebellion, from Paris to Prague to San Francisco, and on the methods of social control that have often prevented women from being walkers lead her finally to Las Vegas, of all places. It's typical of Solnit's daring and of her lyrical, unquenchable optimism that she sees hope in America's most suburbanized, most theme-parked city. On the crowded sidewalks of the Strip, with its synthetic volcanoes, pirate ships and Venetian canals recalling the 18th century pleasure palaces of Europe, she finds evidence that "the thirst for places, for cities and gardens and wilderness, is unslaked, that people will seek out the experience of wandering about in the open air to examine the architecture, the spectacles and the stuff for sale, will still hanker after surprises and strangers."

In the end, the guiding spirit of "Wanderlust," the lonely traveler always in view on Solnit's horizon, is not Wordsworth or Rousseau but Walter Benjamin, whose rambles through the streets of Paris had the sense of wonder, the air of open-minded exploration and imminent discovery, of Solnit's own journey. Solnit observes the sexism and snobbery inherent in Benjamin's idea of the fl�neur, the idle, solitary gentleman strolling through the crowds, but she can't quite resist it. In describing Benjamin's writing she seems to be half-consciously describing her own: "more or less scholarly in subject, but full of beautiful aphorisms and leaps of imagination, a scholarship of evocation rather than definition."
salon.com | April 27, 2000


Thursday, March 13, 2008

Ancestral or Otherworldly Sleepers

















Whiskey River

link

"Day by day we all meet events that seem to be most unfair, and we feel that the only way to handle an attack is to fight back; and the way we fight is with our minds. We arm ourselves with our anger and our opinions, our self-righteousness . . . And we think this is the way to live our life. All that we accomplish is to increase the separation, to escalate the anger, and to make ourselves and everyone else miserable."

- Charlotte Joko Beck
Everyday Zen

***
Waking the Sleepers

Woe to the coward that ever he was born;
That did not draw the sword before he blew the horn

~ Traditional Scots Rhyme

There are many stories concerning giants (or King Arthur and his knights) sleeping under a hill. The sleepers are really guardians who should not be woken until there is a great and national need. A fool-hardy man discovers their sleeping place, usually when seeking buried treasure that is supposed to be lying with the sleepers. Greed takes him in, but at sight of the awesome warriors and their gear, confusion grips him. He blows the horn to wake them but fails to draw the sword that lies nearby to indicate the real urgency of his need. The sleepers stir and ask, "Is it time?" The foolish man has nothing to say for himself, and is indicted with the rhyme above. He is never able to find the cavern again.

In every country, there is a similar tale of sleepers whose purpose is to be the vangard of defense in national crisis -- ancestral or otherworldly sleepers who are contracted to be guardians and protectors of the land. They should not be woken unless we really need them. Those who invoke the sleepers out of greed or curiosity get neither gold nor knowledge. This applies also to those whose spiritual practice is entirely self-serving, who undergo a kind of metaphysical assault course wherein all traditions are ransacked for their spiritual treasures in order to provide soul-credits at the finish line.

There are many aspects of ancient traditions that are in a period of sleep, retreat, or transformation -- aspects that are best left sleeping now. Not only atavistic and barbarous practices that are no longer a part of our world, but also deep and abiding truths that will one day awaken and come to aid of those in centuries yet to dawn.

Who are the abiding sleepers in your tradition? Meditate upon the purpose of their sleep.

~pg. 93
The Celtic Tradition
Caitlin Matthews

***

IF THERE IS NO JOSEPH

I will have sweet patience (12:83). Bright flames inside make a soft glow without. Enlightenment knows how laughter hides inside grief. Only if you love can you feel absence.

If there is no Joseph for you, you're not alive. Jacob felt so happy with his son that his crying out for the stain-colored coat still breaks everyone's heart.

~ The Drowned Book
Bahauddin
trans. Coleman Barks & Joan Moyne

****

BLESSING FOR WORK

May the light of your soul bless your work
with love and warmth of heart.

May you see in what you do the beauty of your soul.

May the sacredness of your work bring light and renewal
to those who work with you
and to those who see and receive your work.

May your work never exhaust you.

May it release wellsprings of refreshment,
inspiration, and excitement.

May you never become lost in bland absences.

May the day never burden.

May dawn find hope in your heart,
approaching your new day with dreams,
possibilities, and promises.

May evening find you gracious and fulfilled.

May you go into the night blessed,
sheltered, and protected.

May your soul calm, console, and renew you.

~ John O'Donohue
To Bless The Space Between Us


Tuesday, March 11, 2008

Universality of Global Silence
















photo by Shalin

"The criteria for success: you are free, you live in the present moment,
you are useful to the people around you, and you feel love for all
humanity."
- Sri Sri Ravi Shankar

++++++

A global silence

“As we now go about Americanizing the globe – excuse me – as we now go about extending the benefits of universal human rights that have been discovered by a universally valid procedure of rational communication, perhaps we ought to be aware of which differences we silently obliterate, and perhaps we ought to remember that the universality of a cosmopolitan language is necessarily also accompanied by the universality of a global silence.”

—William Rasch, Sovereignty and Its Discontents: On the Primacy of Conflict and the Structure of the Political (London: Birkbeck Law Press, 2004), p. 129.

++++++++

Ideology, predestination, and the stories we tell


In one of his fascinating little fragments, the Jesuit thinker Michel de Certeau describes the social function of narratives: “Information, a private code, innervates and saturates the social body. From morning till evening, unceasingly, streets and buildings are haunted by narratives. [The narratives] articulate our existences by teaching us what they should be…. Seized from the moment of awakening by the radio (the voice of the law), the listener walks all day through a forest of narrativities, journalistic, advertising and televised, which, at night, slip a few final messages under the door of sleep. More than the God recounted to us by the theologians of the past, these tales have a function of providence and predestination: they organize our work, our celebrations – even our dreams – in advance” (The Certeau Reader, p. 125).

I rather like this connection between cultural narratives and predestination. Certeau’s “more than” here is not mere rhetoric, but it seems exactly right. The classical Christian belief in an all-determining providence was at the same time a belief in the hiddenness of the divine determination. True, you interpreted all your daily circumstances through a specific theological lens, but in this very act of interpretation you were presupposing a gap between “appearance” and “reality” – or rather, your consciousness itself was this gap.

In contrast, the “forest of narrativities” of which Certeau speaks is much more predestining, since here the gap between appearance and reality collapses. The cluster of narratives which organises our consciousness and even our dreams – that is “reality”; reality is that representation. This disappearance of the gap between reality and appearance is close to Slavoj Žižek’s definition of ideology: “ideology is not simply a ‘false consciousness’, an illusory representation of reality, it is rather this reality itself which is already to be conceived as ideological” (The Sublime Object of Ideology, p. 21). Or as Žižek memorably puts it in his marvellous film, The Pervert’s Guide to Cinema, the illusion of the cinema screen is more real – it has more material “density”, more effectivity – than reality itself.

There is nothing “more real” than the stories we tell ourselves; it’s stories all the way down. And the church exists to tell a different story – to create spaces, for instance, “in which alternative stories about material goods are told” (William Cavanaugh, Theopolitical Imagination, p. 94), so that a different kind of social order can emerge. Or to return to Certeau’s remarkable insight – “even our dreams” are organised by ideology – perhaps, as Christians, we need to ask ourselves whether we dream differently.

****
The 'guinea-pigging' of vast swathes of the population has, up till now, solved two problems: the 'time' problem (namely, how to avoid addressing the underlying reasons for mental health problems), and how to create new markets amidst the flourishing of generic drug production, particularly outside of the US and Europe. Clearly the interiorisation of unhappiness is far more profitable than the outward realisation that perhaps misery has nothing to do with you personally and everything to do with the world in which you live.
- infinite thØught
(via wood s lot)
***



A new issue of Big Bridge

An Anthology of Bay Area Women Writers
Edited by Katherine Hastings

from
Memory Is Pictures Inside You

rivers coursing through before language
the way Moonlight whimpered as he watched
the movie in his sleep. Something
is happening, his four legs are following
the story line. One part of the brain works
as a camera, taking pictures, another part
puts it together. Edits. Which part
is the soul? O Tower of Babel, whoever is
the Self? We can't remember
everything, we can't forget anything

Poems by Sharon Doubiago

(from wood s lot)

***
Supernatural Sounds and Enlightenment Silence
Christopher Grasso reviews Hearing Things: Religion, Illusion, and the American Enlightenment by Leigh Eric Schmidt
The modern Questioner still asks, but Vedder's sphinx is blank and silent. For Leigh Eric Schmidt, in his fascinating new book, Hearing Things: Religion, Illusion, and the American Enlightenment, Vedder's stark vision of spiritual alienation is emblematic of "the oracular silences that had descended upon some modern listeners" (130). Enlightenment science and modern rationality re-tuned the ear, nullifying what were once considered to be the voices of oracles, angels, or God as trickery or madness. But that is only half of the story, for even in today's secular America millions still claim to hear divine voices and supernatural sounds. Schmidt's book traces the complex relationship of these two historical processes: how modern science disciplined aural perception, and how popular spiritual practices that place a premium on spiritual "hearing" persisted nonetheless.
______________________________________


A Preface to Silence:
On the Duty of Vigilant Critique Norman K. Swazo

Shmuel, the chronicler: Memory...everything is in memory.
Moshe, the madman: Silence...everything is in silence.
-- Elie Wiesel, The Oath

...philosophy is perhaps the reassurance given against the
anguish of being mad at the point of greatest proximity to madness.
-- Jacques Derrida, "Cogito and the History of Madness," Writing and Difference

...it is wiser not to trust entirely to anything by which we have once been deceived.
-- Descartes, "First Meditation," Meditations on First Philosophy

***

wood s lot



Sunday, March 09, 2008

Ready to Love Others

















Photo by Shalin



Becoming Free

Thich Nhat Hanh


Let go, and respond to the immediate needs around you. Don't get caught in some false perception of yourself. There will always be another person more gifted than you. And don't perceive your position as important, but be ready to serve at any moment. If you can let go of who you think you are, you will become free---ready to love others. If you learn to see your impermanence, you will be able to live for the moment and not miss opportunities to love by pushing things into the future.

****

John O'Donohue (1954 -2008): Our Friend Among the Dead

{Head Butler}

“Endings seem to lie in wait,” John O'Donohue wrote. His certainly did. He died in his sleep, January 3, 2008, on vacation near Avignon. He was just 53.

****

His bedrocks were his faith and “the Celtic imagination,” which, he said, “represents a vision of the divine where no one or nothing is excluded.” The blend he created was pure joy: “I think the divine is like a huge smile that breaks somewhere in the sea within you, and gradually comes up again.”

***

By the fact that we live, we are blessed; by the light that shines in our hearts, we have the power to bless others and be blessed by them. Is there a purer, more elementary form of the divine in action?

He asks: What is a blessing? His first answer is formal, and expected: “A blessing is a circle of light drawn around a person to protect, heal and strengthen.” But then the poetry enters: “It is a gracious invocation where the human heart pleads with the divine heart.” And then there's the magical factor: “When a blessing is invoked, a window opens in eternal time.”

We need to impact one another's lives in this spiritual way, he writes, because the process of living in a post-industrial, media-drenched world moves us further and further from our innate wholeness. Only direct action can breach the distance. Happily, it takes no special training to bless one another. It's just a matter of gathering yourself --- and finding the words.

***

Our longing for the eternal kindles our imagination to bless. Regardless of how we configure the eternal, the human heart continues to dream of a state of wholeness, that place where everything comes together, where loss will be made good, where blindness will transform into vision, where damage will be made whole, where the clenched question will open in the house of surprise, where the travails of life's journey will enjoy a homecoming. To invoke a blessing is to call some of that wholeness upon a person now.

Death was nothing to John O'Donohue --- a silent friend who walks beside us all our days. And on the other side? “I believe that our friends among the dead really mind us and look out for us,” he wrote. “Often there might be a big boulder of misery over your path about to fall on you, but your friends among the dead hold it back until you have passed by.”

***

The following from John O'Donohue

A BEAUTY BLESSING

As stillness in stone to silence is wed
May your heart be somewhere a God might dwell.

As a river flows in ideal sequence
May your soul discover time is presence.

As the moon absolves the dark of distance
May thought-light console your mind with brightness.

As the breath of light awakens colour
May the dawn anoint your eyes with wonder.

As spring rain softens the earth with surprise
May your winter places be kissed by light.

As the ocean dreams to the joy of dance
May the grace of change bing you elegance.

As clay anchors a tree in light and wind
May your outer life grow from peace within.

As twilight fills night with bright horizons
May Beauty await you at home beyond.

{From John O'Donohue's

Beauty, the Invisible Embrace ~
~Rediscovering the true sources of compassion serenity and hope}


****

AND

FOR A NEW BEGINNING

In out-of-the-way places of the heart,
Where your thoughts never think to wander,
This beginning has been quietly forming,
Waiting until you were ready to emerge.

For a long time it has watched your desire,
Feeling the emptiness growing inside you,
Noticing how you willed yourself on,
Still unable to leave what you had outgrown.

It watched you play with the seduction of safety
And the gray promises that sameness whispered,
Heard the waves of turmoil rise and relent,
Wondered would you always live like this.

Then the delight, when your courage kindled,
And out you stepped onto new ground,
Your eyes young again with energy and dream,
A path of plenitude opening before you.

Though your destination is not yet clear
You can trust the promise of this opening;
Unfurl yourself into the grace of beginning
That is at one with your life's desire.

Awaken your spirit to adventure;
Hold nothing back, learn to find ease in risk;
Soon you will be home in a new rhythm,
For your soul senses the world that awaits you.

~John O'Donohue
From "To Bless the Space Between Us"


{To buy “To Bless the Space Between Us: A Book of Blessings” from Amazon.com,

click here.}

(cross posted to Dreaming in the Deep South)

***

Saturday, March 08, 2008

The Anesthetic From which None Come Round














Six Questions for David Rieff, Author of ‘Swimming in a Sea of Death’

David Rieff, a well-recognized author in his own right, is also the son of Susan Sontag, one of America’s defining writers and essayists from the contemporary period. Sontag experienced three difficult bouts with cancer, succumbing in the last one in the last days of 2004. Rieff has portrayed his mother’s final months in ‘Swimming in a Sea of Death,’ a beautiful and very somber memoir about mortality. I put six questions to David Rieff.

1. You call this book a “son’s memoir,” but of course it is a memoir in which your mother is the subject—in her final, painful march to death. But your recollection seems a bit fitful—for instance, you say you decided not to take notes as you knew the process was underway. Tell me something about the process of this book. When did you decide to write it? Was that a change — you seem to suggest a decision not to write? What led you to write it? Was the process of writing it therapeutic for you, did it help you come to grips with the loss of your mother?

[Image]

My recollection is probably considerably worse than fitful. By not choosing to take notes, I expect that I’ve guaranteed that I’ve misremembered some things. Whether that affects the quality of the book isn’t for me to say (in any case, I’ve always thought that once a book is published, it belongs to its readers not its author — as it obviously is in any case once the writer has died).

The decision not to take notes seemed obvious to me at the time. I did not want to avail myself of that detachment that writers are blessed or cursed with — the sliver of ice in the heart, as P.D. James once put it. Of course, there are many forms of detachment and in a hospital if you can’t avail yourself of some of them, you go crazy. But writerly detachment was, as I say, something I wanted to avoid.

As far as writing Swimming in a Sea of Death goes, it just sort of… happened. I had not intended to write a book, and when I wrote an article about my mother’s death that, in some ways, was the ‘freeze dried’ version of the book for the New York Times Magazine about a year after she died, I thought that was the end of it. But obviously I had more to say, even if finding myself writing the book surprised me.

You ask about the therapeutic, and rightly so. But I’m not sure I can answer that very well or that I have any great insight into my motivations. But, hazily, I have the sense that had I been able to ’say goodbye’ to my mother — by which I mean talk about the past, tell her I love her (I couldn’t really even do that, at least in a deep register, since she would have understood perfectly well that I was also saying ‘you’re dying’) — I might not have written it. To borrow the title of Simone de Beauvoir’s book about Sartre, there was no ‘ceremony of goodbyes.’ So perhaps that’s what Swimming in a Sea of Death represents for me.

2. A secondary theme of your book goes to medical professionals and their role in this process. I was really struck by a physician you identify only as “Dr. A” who seemed to view your mother as a disease case study, not a human being. The professional is supposed, of course, to operate at some level with a measure of detachment from the persona of the patient. But Dr. A seems oblivious to the personal needs of his patient, in particular, he seems not to understand the need for hope. You contrast Dr. A with others, like Dr. Nimer. Of course, older generations of doctors would have told relatives about the disease and lied to the terminal patient. Is your complaint that Dr. A was a competent physician but a bad human being, or is it deeper than that? Was he a disaster at “bedside manner” and therefore a bad physician? What should a patient expect from a physician when it comes to the presentation of nauseously grim facts?

I have no reason to think Dr. A was a bad scientist or an incompetent physician. Quite the contrary: he is a man of outstanding reputation, widely (and my doctors tell me justly) admired in the profession. I do think he was a terrible clinician though, because my view is that the ability to give comfort to patients is a sine qua non of being a good clinician. This is obviously not the same as saying he’s a bad person; on that, I have no knowledge and no right to an opinion. In any case, it is a great deal to expect that doctors be good scientists, good clinicians, and good psychologists. Indeed, what I found extraordinary, given how hard it is to be all three (and also how badly prepared doctors are by their training for the human interaction), are the number of physicians who succeeded in being just that. I don’t know if my mother was simply lucky to be Stephen Nimer’s patient or not. But it’s hard for me to believe that there are that many Stephen Nimers out there.

3. We always associate the quest for truth with the essence of great writing. But this book steers in a strange direction—it points to relief from the truth, at least when that truth is the inescapable finality of death. You say your mother wanted to know the truth about her condition, but not really. She wanted to hear that there was hope. That concept of hope can easily be cast in religious terms, but for her that certainly was not the case, it seems to be more like Ernst Bloch’s concept in The Principle of Hope, namely something that provides the foundation for artistic creation and happiness. And in your mother’s three bouts with cancer, that is the difference, isn’t it—the final one was without meaningful hope, and hence she didn’t really want the truth. Do I understand this correctly? Was hope essential for her art and her writing?

I don’t really know if my mother construed her work in terms of hope (though she certainly knew the Bloch book). In a sense, I think that while she was identified throughout her career — and to a considerable extent identified herself — as one of the most “European” of American writers, her mot d’ordre was Fitzgerald’s quintessentially American assertion that there are no second acts in American lives. And then, my mother’s love of the world, her insatiable curiosity, made it so hard to leave it. No surprise there. We know from the Buddhist and Daoist traditions (and I suppose from the Stoics as well), that the more you take pleasure in things, the harder it is to be deprived of them. And as I write in the book, my mother in some profound sense thought of mortality as a kind of murder.

4. I recall your mother saying in the late eighties after a successful round with cancer, that she thought the experience of battling with cancer was a positive, deepening, meaningful experience. Her work reflected it. Rilke of course also was plagued by long rounds with disease and wrote that each convalescence was a source of new, deep human experience, furnishing new inspiration. But it’s interesting that he puts the emphasis on the recovery, not on the illness. Was your mother able to produce anything yet unpublished through this horrible experience? When can her readers expect to see it?

No, my mother never was able to write anything about her MDS. She talked about doing so once she got out of hospital. But of course, she never did get out of hospital.

5. You quote a poem by Philip Larkin called “Aubade,”

"And specious stuff that says no rational being
Can fear a thing it cannot feel,
not seeing that this is what we fear—
no sight, no sound,
No touch or taste or smell,
nothing to think with,
Nothing to love or link with,
The anesthetic from which none come round.

It also has an amazing ending, “Postmen like doctors go from house to house.” This is a dark and beautiful poetic lament of the utter finality of death, an understanding that rejects the solace of religion. Why did you pick it, and how does it ring true with your mother’s experience?

Well, it seemed an obvious choice. ‘Aubade’ is the greatest single statement I know of being unreconciled to death — or, again, as I think my mother would have thought of it, of mortality as murder. Certainly, what Larkin expresses in the poem is absolutely what my mother thought and felt and feared. As for religion, well, for my mother that was never an option or even a temptation. She was an atheist to the core of her being.

6. When Thomas Mann was challenged about his fondness for grounding characters in some identifying illness, he responded with a quote from Victor Hugo, “l’humanité s’affirme par l’infirmité.” The human specimen is imperfect, and an illness is thus the very proof of its humanity, it should make a person more approachable in the artistic vision, even though the conventional thinking would say just the opposite. Your mother was a subtle and multifaceted writer and she covered many fields, but it seems that her writing about disease—driven by personal experience—is emerging as her best known work. Is that a mistake? What are the two or three works by your mother that you would have a young college student read today?

[Image]

I think that my mother’s two books on illness — Illness as Metaphor and AIDS and its Metaphors — are indeed among her most important works. Certainly, if one judges books by their utility to people, I think those two works have had an extraordinary, and positive effect for many, many people, above all in their anti-Reichian de-culpabilization of disease. But I think the novel The Volcano Lover is a very good book indeed and will last, to use the writer’s cliché. I also think some of her denser essays — on Canetti, on Benjamin, on Leni Riefenstahl, and the late essay on translation, “The World as Global India” — will endure. As for the Hugo quote you cite, I wish I could believe that humanity affirms itself through illness and infirmity, but I don’t. Like Nietzsche’s phrase that whatever doesn’t kill you makes you stronger, it seems to me to be the most arrant wishful thinking.

Pick up a copy of David Rieff’s ‘Swimming in a Sea of Death’ at a bookstore near you or order a copy online here.

[Permanent link]

Lessness, Slowness, Ephemerality, Failure














Art’s Economic Indicator

And this year we have a Whitney show that takes lowered expectations — lessness, slowness, ephemerality, failure (in the words of its young curators, Henriette Huldisch and Shamim M. Momin) — as its theme.

A biennial for a recession-bound time? That’s one impression it gives. With more than 80 artists, this is the smallest edition of the show in a while, and it feels that way, sparsely populated, even as it fills three floors and more of the museum and continues at the Park Avenue Armory, that moldering pile at 67th Street, with an ambitious program of performance art (through March 23).

Past biennials have had a festive, party-time air. The 2004 show was all bright, pop fizz; the one two years ago exuded a sexy, punk perfume. The 2008 edition is, by contrast, an unglamorous, even prosaic affair. The installation is plain and focused, with many artists given niches of their own. The catalog is modest in design, with a long, idea-filled essay by Ms. Momin, hard-working, but with hardly a stylistic grace note in sight. A lot of the art is like this too: uncharismatic surfaces, complicated back stories.

There are certainly dynamic elements. A saggy, elephantine black vinyl sculpture by the Los Angeles artist Rodney McMillian is one. Phoebe Washburn’s floral ecosystem is another. Spike Lee’s enthralling, appalling HBO film about Katrina-wrecked New Orleans is a third. In addition, certain armory performances — a 40-part vocal performance organized by Marina Rosenfeld; Kembra Pfahler and her group, the Voluptuous Horror of Karen Black commandeering the Drill Hall — should make a splash.

But again, the overall tenor of the show is low-key, with work that seems to be in a transitional, questioning mode, art as conversation rather than as statement, testing this, trying that. Assemblage and collage are popular. Collaboration is common. So are down-market materials — plastic, plywood, plexiglass — and all kinds of found and recycled ingredients, otherwise known as trash.

Jedediah Caesar, one of the show’s 29 West Coast artists, encases studio refuse — wood scraps, disposable coffee cups, old socks — in blocks of resin for display. Charles Long makes spidery, Giacometti-esque sculptures — the shapes are based on traces of bird droppings — from plaster-covered debris. Cheyney Thompson cannibalizes his own gallery shows to make new work. With thread and a box of nails Ry Rocklen transforms an abandoned box spring into a bejeweled thing, iridescent if the light is right.

“Whitney Biennial 2008” runs through June 1 at the Whitney Museum of American Art, 945 Madison Avenue, at 75th Street, and through March 23 at the Park Avenue Armory at 67th Street.

Thursday, March 06, 2008

How Much Energy Wasted in Living a Closeted Life




































A Bishop Unveiled God’s Secrets While Keeping His Own


As is customary during Lent, the sermon at St. John the Divine Cathedral on Sunday touched on the themes of seen and unseen truths, knowing and not knowing what is before one’s very eyes.

It was not intended as a veiled reference to the disclosure this week that Paul Moore Jr., the late, revered Episcopal bishop who became a national figure of liberal Christian activism from the cathedral’s pulpit in the 1970s and ’80s, had lived a secret gay life.

“I’m an old English major, and I can overlay meanings on anything, but in this case it was just the Sunday sermon,” said the Rev. James A. Kowalski, who delivered the words.

In an elegiac article in the March 3 issue of The New Yorker magazine titled “The Bishop’s Daughter,” the poet Honor Moore describes her father, Bishop Moore, who died in 2003 at 83, as alternately passionate and elusive, capable of deep “religious emotion,” yet just beyond her emotional reach. It was only after he died, she said, that she fully realized that he had had gay relationships during his two marriages, the first of which produced his nine children.

Bishop Moore was a famously outspoken Christian voice. His truth-to-power pastoring spanned almost half a century, including as leader of the Episcopal Diocese of New York from 1972 until his retirement in 1989. He marched with the Rev. Dr. Martin Luther King Jr., was among the early opponents of the Vietnam War, railed at presidents and mayors for ignoring the plight of the poor, and, shortly before his death, took the opportunity of his last sermon at St. John the Divine, the seat of the diocese at 112th Street and Amsterdam Avenue, to deliver a scathing attack on President Bush and the war in Iraq.

The revelation of his hidden world comes at a time of deep tension within the Episcopal Church of the United States over the issue of homosexuality. Since the church ordained an openly gay bishop in the Diocese of New Hampshire in 2003, a dozen congregations in various parts of the country have withdrawn from the American branch of the church and aligned themselves with theologically conservative African or South American branches of the worldwide Anglican Communion, of which the Episcopal Church is a part.

Those African and South American branches have described homosexuality as “an offense to God.”

At St. John the Divine, where inclusiveness toward those of all backgrounds and sexual orientations has long been fundamental to the culture of the congregation — in part as a result of Bishop Moore’s leadership — the reaction was more complicated.

“I’d like to say that we all have secret lives — and that’s why we come here,” said Mary Burrell, a longtime member of the congregation. “We are all sinners, trying to find our way.”

Everyone interviewed after Masses on Sunday praised Bishop Moore as a towering leader of his era. And nearly equal numbers said that because of the cultural mores of the time in which he lived, Bishop Moore may have deprived his family of the kind of intimacy that his daughter, at least, missed as a child. In her essay, she describes her father’s religious devotion — and perhaps the furtiveness necessitated by his other life, which was unknown to her at the time — as “a landscape, like a dream, a place to which my father belonged and from which my mother and I were excluded.”

Anne Wroten said she was saddened at the thought of “how much energy is wasted in living a closeted life, how much is lost in the forming of bonds with loved ones.”

Some were less kind, like Marsha Ra, who said, referring to the memoirist Ms. Moore, “I’m just so glad I never had children.”

Some were more fatalistic, in a positive way. “You know, if he hadn’t kept it secret, there would probably be nine fewer children in this world,” said Fred Imbimbo.

But few seemed to miss how the day’s sermon and readings resonated with the story of Bishop Moore as told by his daughter. The sermon was based on the Gospel story of Jesus restoring a blind man’s sight. It is a parable about recognizing the Messiah in the person of Jesus, but it is also about “opening our eyes and looking straight at the facts,” Mr. Kowalski said during his sermon. “Being able to see clearly what is in front of us.”

Howard Hadley, 62, a member of the church choir who considered himself a friend of the late bishop’s, said it came as no surprise to him to learn that Bishop Moore had been involved in gay relationships.

“It was the times he lived in. That’s the sad fact. But there was never any doubt in my mind about him,” said Mr. Hadley. “People who say they didn’t know? Well, you know, people see what they want to see.”

The writer of “The Bishop’s Daughter” might say that, in some cases at least, people see what they are invited to see.

******

Having worked for and been intimately connected with many men and women who lived closeted lives and at some point 'unmasked' -- there is a deep disservice done to those who are expected to 'not ask and not tell.' 'How much energy wasted?' indeed ! How much life wasted, and for what? The great irony about the "gay episcopal bishop" is that his (Gene Robinson's ) great sin was to tell the truth. How many gay bishops, priests , popes and what-have-you built the Christian Church over the centuries? The Church gave the "unconventionals" a place to be and to contribute. The step forward here seems to be the daring notion of living an honest and congruent life.

Clearly that's a step too far for a good many people.



Wednesday, March 05, 2008

Into Doings, Cravings, or Dreamings
















(From Faith & Theology)

On the realness of money

“For me, money has displaced the pivotal concepts of twentieth-century European philosophy, such as being, time, difference, repetition, subjectivity, signifier, lack, void and universality, as that which most demands thinking.”
—Philip Goodchild, The Theology of Money (Canterbury Press, 2007), p. 26.

“There is but a single ontological problem: ‘What is money?’”
—Philip Goodchild, “Capital and Kingdom: An Eschatological Ontology,” in Theology and the Political: The New Debate, ed. Davies, Milbank and Žižek (Duke UP, 2005), p. 130.


posted by Ben Myers

****
(from my notes from "Money and the Meaning of Life" by Jacob Needleman)

MONEY AND THE MEANING OF LIFE

“Usually our concerns about money reduce themselves to getting or managing it, and there are countless books about that aspect of the money question. But it is almost impossible to find serious and useful thought about the relationship between the quest for money and the quest for meaning. What is the role of money in the search for consciousness, in the pursuit of that transformation of the self spoken of by the great teachers and philosophers of all epochs and cultures? “

“...It is necessary to break out of our conventional concepts of God as a merely external being. The point is that within ourselves there exists the possibility and even the necessity of experiencing and serving something unimaginably great and inconceivably real. The structure of human nature is without sense or meaning unless the idea of this inner possibility is understood....”

“Somewhere within every human being there exists an intimation of this possibility and often even a wordless, obscure longing for contact with this something. It is a longing, a wish, a call, that throws into question every other aim and purpose of our lives. We do not hear that call very often or very distinctly, but when we do hear it, we see that it comes from a part of ourselves that is disturbingly unrelated to the rest of us.”

Paraphrasing the words of Goethe’s Faust, “two selves dwell within our breast.” One part of us is meant to live and function in the world we see around us -- to eat, sleep, and produce our children, to answer the challenges of the natural and social world: in the words of Solomon in the Book of Ecclesiastes, to be born and die, to kill and to heal, to build and destroy, to weep and to laugh, get and lose, keep and cast away. This is human life “under the sun,” the world that we see and know and call real. But God, the “something,” is above the sun, above all that our eyes can see and our mind can name, and there is a higher part of ourselves that senses that and calls to us. We are two-natured beings. Such is the ancient teaching.”

...”Time disappears into outer action or inner impulses. Into doings, cravings, or dreamings. But human time is conscious time. And this has been lost, destroyed. In its place there is now animal time (doing, moving about, preying on others, eating, building, killing, etc. ); plant time (dreaming, languishing, imagining); or “mineral” -- that is, mechanical -- time: the time of devices such a s clocks and computers. What we call logical thinking is often just an internal version of these lifeless machines. Implicitly, we even take pride in the mechanicity of our thinking when, forgetting the metaphorical origin of the usage, we refer to a computer’s “intelligence.” This is mental time, “mineral” in its rigidity and sterility. We lay this logical cement over organic life out there and in ourselves. Carried to its extreme, this becomes the mindset that measures the whole of human life solely by the “bottom line.”

“In the Old Testament the lower world is called Sheol. Here there are no images of raging fire. No cacophonous sounds. No sulfurous fumes. Sheol is simply and solely the place of shadows, dark, weak existence, continually fading, ever-paler life. Sheol is the realm of diminishing being.

Sheol is the condition of human life proceeding with ever-diminishing human presence. It is the movement toward absence, the movement away from God--for let us carefully note that one of the central definitions of God that is given in the Old Testament is conscious presence. Moses asks God, “What shall I say to the people of Israel? Whom shall I say has sent me with these commandments?”
The answer he receives, as mysteriously today as it has ever been: “Say unto the children of Israel, I AM has sent me unto you.” (Exodus 3:14)

Sheol -- the lower world or hell of the ancient Hebrews -- is the condition of ever-increasing distance from I am, from one’s own conscious presence in the midst of life. It is this state of the human psyche that is -- for us -- the most relevant definition of hell.....”


*****

American poet Dorothy Parker: "If you want to know what God thinks of money, just look at the people he gave it to."

{ha ha. From comments @ Faith and Theology}


Twenty-three Years Later


I extinguish those treasured candles,
My magical evening is finished, -
Executioners, pretenders, messiahs
And, alas, prosecutors’ speeches,
Everything went by.—Now I dream of you.
Having danced out your lot at the arc,
Behind the rain, the wind, the snow,
Your shade is now above immortal shore,
Your voice is coming from the depths of darkness.

Indefatigably, by name!
You are calling me yet again … “Anna!”
Telling me, like before,—“you.”

May 13, 1963, Komarovo
Cold, wet, light rain

Anna Akhmatova, Через 23 года
(1963)(Marina Korsakova-Kreyn transl.)


*******

Tuesday, March 04, 2008

When Things Became Exciting
















Emory University Magazine:

Visible Darkness

By bringing to light the biological basis of depression, researchers across the University are on a quest to personalize treatment and alleviate anguish

By Mary J. Loftus

Depressed rats—or, at least, rats that have been bred over several generations to exhibit depressed behavior—act in ways that are remarkably similar to clinically depressed people.

They isolate. They move more slowly. They sit in a corner of the cage instead of exploring. They aren’t as quick at cognitive tasks. They show little interest in food or sex.

As animal models go, this is about as good as it gets. Still, researchers are hesitant to claim that the rats actually are depressed.

“Depression is a complicated disorder,” says Assistant Professor Kerry Ressler, a researcher at Yerkes National Primate Research Center. “We are at a point with psychiatric disorders where medicine was a hundred years ago when, say, doctors diagnosed a ‘swollen leg.’ There are probably twenty different subdisorders that have a common pathway we call ‘depression.’ ”

To define the malaise of depression by a constellation of physical symptoms seems reductionist, even simplistic. Some of the best minds in the world, in expressing their own struggles with depression, crafted metaphors that capture the near-existential nature of the disorder: Vincent Van Gogh’s deep, dark well, Winston Churchill’s black dog, Sylvia Plath’s bell jar, William Styron’s “darkness visible . . . the despair beyond despair.”

Once Emory researchers enter their labs, however, they leave the world of metaphysical speculation for a more measurable universe of fMRIs, gene sequences, and C-reactive protein levels.

And these depression studies—taking place at Emory and other top research institutions around the country—are discovering specific correlates to depressive illness on all fronts: neurological, molecular, genetic, and behavioral.

Advances developed through depression research are sure to have far-reaching implications. Major depressive disorder is the most common of all psychiatric disorders. As many as 10 percent of Americans are diagnosed with clinical depression annually, and roughly 9 percent of men and 22 percent of women will have at least one episode of severe depression in their lifetime. Suicide accounts for more deaths each year than homicide or AIDS, according to the National Institute for Mental Health (NIMH).

Thomas Insel, former director of Yerkes and current director of the NIMH, states in his most recent budget report to Congress that his agency’s priority is to support research that identifies the biological basis of mental disorders to more precisely pinpoint targets for prevention and treatment. “This means understanding the neural basis of the illness at all levels,” he says.

Insel points to several recent groundbreaking studies on depression that found:

  • The formation of new neurons might be hindered in those with depression, and antidepressants are in part effective because they help stimulate neuron production.
  • Several genes have been implicated in susceptibility to schizophrenia and depression.
  • A gene variant that is especially common in people with depression is associated with a higher level of brain activation in response to threat or stress.

An explosion of research on the physiology of depression is providing hope that the disease can be treated more effectively. While the current best available treatment—a combination of antidepressants and psychotherapy—works for just half of those with depression, a new era in defining, typing, and treating depression is at hand. The goal is to create personalized therapies based on individual subtypes of depression.

Some Emory researchers study depression itself, while others come at it through corresponding disorders or emotions—fear, anxiety, post-traumatic stress, inflammation, heart disease, epilepsy. Special populations with depression are being considered by Emory researchers as well, including children, teenagers, veterans, new mothers, octogenarians, and adults who have been abused as children.

Studies have shown the risk of developing depression to be about one-third genetic, two-thirds environmental.

Experiencing trauma or abuse as a child raises the likelihood of having depression as an adult, especially in individuals with a genetic vulnerability. During this tender, formative time when the young body’s stress response axis is being created, it seems it can also become skewed—calibrated at too sensitive a point.

“These genetic predispositions and environmental influences likely act upon the neural circuits that mediate stress and fear responsiveness and affect modulation,” wrote Ressler and colleague Charles Nemeroff in a recent research review on the physiology of depression and anxiety disorders. “With sufficient stress, these systems likely shift to a dysregulated state leading to increased stress and fear responsiveness.These hypersensitive limbic pathways likely lead to experiences of defeat, anxiety, anger, negative mood, and aggression.”

Of body and brain

Nemeroff, the Reunette W. Harris Professor and chair of the Department of Psychiatry and Behavioral Sciences, has focused his latest research on the relationship of depression to illnesses such as cardiovascular disease.

“Depression is a systemic illness not just of the brain, but of the body,” says Nemeroff, who maintains a clinical practice as a psychiatrist ten hours a week and has treated such high-profile clients as CNN founder Ted Turner, former L.A. Times publisher Tom Johnson, and Atlanta business executive and philanthropist J. B. Fuqua for depression.

“There are peripheral manifestations of depression as well as behavioral and neurological ones. It puts people at risk of developing other diseases. In fact, the American Psychiatric Association now includes depression as a risk factor for the development of heart disease. It increases the risk of myocardial infarction, congestive heart failure, hypertension . . . depression is as significant a risk factor as cigarette smoking.”

People with depression are more likely to have blood clots, heart rate variability, chronic inflammation, and a decrease in bone density.

“Depression kills thirty thousand Americans a year by suicide,” says Nemeroff, who in December was named president of the American Foundation for Suicide Prevention. “But it kills many more through heart disease, stroke, diabetes, and the fact that depressed people are less likely to seek help for medical diagnoses and to adhere to medical treatments.”

In the next fifty years, he says, several breakthroughs can be expected.

“Identifying gene variants that confer vulnerability will result in the emergence of a new field: preventive psychiatry,” said Nemeroff, who along with other Emory researchers presented his findings to the Dalai Lama at the October 20 conference Mind and Life XV: Mindfulness, Compassion, and the Treatment of Depression. “Elucidating the causes of mental illness will lead to novel treatments. We will also see breakthroughs in understanding the biology of resilience, now poorly understood. And in contrast with our largely trial-and-error based system, treatments will be individualized, based on genomics and brain imaging.”

The smell of fear

Kerry Ressler’s research begins where such work usually begins: in a room with small rodents.

Ressler, an amiable, soft-spoken scientist who studies fear, was recently named one of fifteen new Howard Hughes Medical Institute Investigators—considered to be the nation’s top physician-scientists who will ensure that basic research discoveries are translated into improved treatments for patients. He is the first practicing psychiatrist to gain such a designation.

“The fear response in a mouse is the same as in a human, so we understand the circuitry,” he says, walking down a flight of stairs from his bright, airy office to his dark, cloistered lab. “The areas of the brain involved in emotional learning and expression are similar across mammals from mice to men.”

Overactivation of the amygdala— an almond-shaped mass of neurons in the brain’s limbic system—has been implicated in depression and anxiety disorders. “It’s not the thinking, executive brain that’s involved, it’s the old, emotional parts that get out of control,” he says. “More and more things we see as pathology are actually evolved brain systems in habit formation.”

Fear, Ressler believes, is intimately linked to depression and other mood disorders, especially those that stem from traumatic experiences or stress-response conditioning. And because it is an instinct, fear can easily be taught to rodents using conditioning.

Ressler sometimes conditions mice to be afraid of specific odors. The sense of smell has proven to be a very powerful emotional trigger, since it tends to bypass the higher-functioning, cognitive processing areas of the brain.

“Odors are one of the most salient cues for being afraid, in mice or humans,” he says. “In working with Iraq veterans, there is a fear response to the odor of burned tires. With Vietnam veterans, it’s rice or rain.”

What was once a beneficial reaction—an appropriate fear response to an external stimulus signaling danger—got “stuck” and now can’t be mediated, as in post-traumatic stress disorder.

This maladaptive response occurs in depression, too, Ressler reasons. Everyone gets sad; everyone has bad days. “But depression is a bad day gone a hundred-fold over the top that can’t be turned around,” he says. “Depression can be cyclic and spiraling.”

Ressler’s research into the molecular biology of fear already has had a therapeutic impact. With colleagues Michael Davis and Barbara Rothbaum, Ressler has developed a treatment that has proven successful for anxiety-related disorders like fear of heights and social anxiety disorder. They discovered that using d-cycloserine (DCS), a drug originally developed for tuberculosis, in combination with exposure-based psychotherapy diminished the underlying fear response more rapidly than psychotherapy alone.

The first clinical trials were so encouraging that more than ten additional clinical trials are under way to examine the effect of DCS on post-traumatic stress disorder and other anxiety and fear-based disorders.

Ressler, who is codirector of the Post-Traumatic Stress Disorder (PTSD) program at Grady Memorial Hospital in Atlanta, has expanded clinical trials to include both war veterans and inner-city residents in Atlanta who have been traumatized by exposure to violence.

“We’ve taken complete histories—medical, pharmacological, trauma, and abuse history—of 1,200 people, and our goal is three to four thousand,” he says. “Early findings are that the rates of PTSD in this highly impoverished, minority population is about 20 to 30 percent—as high as for Vietnam vets. Sixty percent have been attacked with weapons, 30 percent of the women have been sexually assaulted. About half personally know someone who’s been murdered.”

Rates of depression in this group can be as high as 30 percent—much higher than in the general population.

Ressler’s research illustrates how life events and genetic influences can combine in complex ways, leading to depression or protection from it. “We know that childhood abuse and early life stress are among the strongest contributors to adult depression. Research can ultimately help us learn how we might be able to better intervene against the pathology that often follows.”

Epileptics and melancholics

At least one physical illness has long been associated with depression: epilepsy. In the fourth century BCE, Hippocrates noted that “melancholics ordinarily become epileptics, and epileptics, melancholics.” While this link has been anecdotally observed, however, research has been scant.

Assistant Professor David Weinshenker of the Department of Human Genetics uses genetic models combined with pharmacological tools to study such questions as whether depression and epilepsy are associated, how antidepressants work, and other aspects of neurobiology.

“Doctors used to think, well, of course patients with epilepsy are depressed—they have a serious physical illness and are depressed about it. But it ended up to be bidirectional—people with a history of depression, or a family history of depression, were more likely to get epilepsy as well. This led us to believe that they share some of the same underlying mechanisms.”

Weinshenker, ensconced in an office in the Whitehead Biomedical Research Building decorated with bright artwork by his two sons, has focused his studies on norepinephrine (NE)—one of the most abundant neurotransmitters in the central and peripheral nervous systems.

“NE is best known for controlling aspects of the sympathetic nervous system, including regulation of cardiovascular function and energy metabolism,” he says. “However, it also has profound effects on brain regions that control mood and seizures. Because NE in the brain is both an antidepressant and anticonvulsant, we hypothesize that a loss of NE could contribute to both epilepsy and depression.”

Weinshenker and colleagues are currently attempting to create animal models of epilepsy and depression interaction. They are testing seizure susceptibility in rats bred for depression-like behavior, and for depression-like behavior in epileptic rodents. They also are studying mice that have been genetically altered to completely lack norepinephrine, to assess the contribution of NE to the comorbidity of these diseases.

Doctors still commonly treat epilepsy as the primary illness and depression as secondary, Weinshenker says—that is, if they deal with the depression at all. But, he notes, if you ask people with epilepsy how they are faring, their quality of life depends more on the status of their depression than on the status of their epilepsy.

“So it’s incredibly important to treat the depression, not just to ignore it and treat the epilepsy because it is the ‘physical’ illness,” he says. “To complicate matters, there are antiepilepsy drugs that can cause depression, and anti-depressants that can cause seizures. It’s a juggling game to treat one without making the other worse. There is no first-line treatment for both.”

It’s important, Weinshenker says, to evaluate the effects of both conventional and new antidepressant therapies on seizure susceptibility.

His hope is that advances in the treatment of both illnesses may finally break the long-standing link between epilepsy and melancholia.

Soothing an inflamed immune system

To find Andrew Miller’s office, walk up the staircase of the Winship Cancer Institute, past the floors labeled “Courage,” “Hope,” “Imagination,” and “Translation,” to “Discovery”—a suite of labs and offices devoted to collaborative research. Dry erase boards between doors in the hallway are filled with formulas, quotes, and recent findings.

“I’m somewhat off the beaten path in that we are one of the pioneering groups exploring the role of the immune system in depression,” Miller says.

When the innate immune response becomes activated, often due to illness or injury, Miller says, it releases cytokines, which can get into the brain and change its chemistry and the functioning of the neuroendocrine system.

“Bottom line,” says Miller, “is that this changes behavior, and this behavior change looks exactly like depression.”

The discovery that stress itself, in absence of actual harm or injury to the body, could turn on the innate immune response, was “when things became exciting,” Miller says. “This opens up a whole series of new treatments for depression that target the immune system.”

Inflammation, he says, is now seen as a common mechanism for many diseases, from heart disease to diabetes, and perhaps cancer.

But it is the connection between inflammation and depression that fascinates Miller, with its potential for novel treatments. Measuring an individual’s inflammation levels is as simple as taking a blood test, he says: C-reactive protein (CRP) is a key indicator. A CRP of about three indicates inflammation at a clinically significant level; above ten indicates infection or autoimmune disease.

“CRP levels provide a biomarker, which is a key step toward individualized therapy,” he says. “Doctors could measure someone’s CRP levels like they measure triglyceride levels or cholesterol levels.”

Stressors that cause inflammation can be psychological or social—demanding jobs, difficult relationships, poverty, physical threats, war, natural disaster. Physical stressors such as illness or injury also raise CRP levels and should be ruled out before psychosocial stressors are identified as the cause, Miller says.

Emotional and physical stressors such as abuse and neglect early in life can also create chronically elevated CRP levels, he says. “Chronic stress causes the body to adapt and to run inflammation at higher levels,” Miller says. “The body is sensing that the environment is unpredictable or unsafe, and that it could be physically injured or attacked at any time. This causes the immune system to be on red alert.”

Antidepressants seem to have some effect on the immune system, at least in the lab, although systems that target inflammation directly may be the way to go in the long run, says Miller.

There is a downside, however: “Because these treatments may leave people vulnerable to infection, they have a more significant risk. We would probably start with depressed patients who are resistant to standard antidepressant treatment.”

Since reducing stress would be the ultimate prevention, Miller says, drugs need not always be the answer.

“You can ease stress with exercise, meditation, yoga . . . even acute stress, like watching a scary movie or riding a roller coaster, reduces chronic stress,” he says. “When something is exciting or exhilarating, it stresses you in a good way.”

Miller sees these stress-busters as “soothing interventions for a hot, inflamed immune system.”

Putting the pieces together

Neurologist Helen Mayberg compares her research on the brain to trying to put together “a large jigsaw puzzle where all the pieces are in the box, but there is no picture. You may have a section of pieces that fit together. But don’t throw away the pieces that don’t fit, because after a while, a pattern starts to emerge.”

While leading theories of depression focus on psychological or biochemical causes, Mayberg has spent two decades investigating the specific brain regions that mediate mood and emotions. “Certain regions seemed especially critical,” she says. “These findings provided the foundation for a new approach to treating depression—directly modulating these circuits using deep brain stimulation.”

The first study using deep brain stimulation to treat depression, led by Mayberg, a professor in the Departments of Psychiatry and Neurology, with former colleagues at the University of Toronto, provided encouraging evidence that deep brain stimulation surgery can help some intractably depressed patients in dramatic ways.

It can take months for patients to respond to antidepressants or psychotherapy. Electroconvulsive therapy (ECT) is effective in about 60 percent of remaining cases, but these patients have a high relapse rate—50 percent over six months.

So Mayberg and her team were stunned when some deep brain stimulation patients reported an immediate and spontaneous lifting of their symptoms. Even more promising, more than half of the patients emerged from their depression and remain well four years later.

Now Mayberg is replicating and expanding the deep brain stimulation study at Emory, with principal psychiatrist Paul Holtzheimer and neurosurgeon Robert Gross, using a wider array of patients.

Deep brain stimulation involves the constant stimulation of a specific brain circuit. Patients are awake and alert even at the time of implantation and first testing. It has been used to treat a variety of neurological disorders including epilepsy, Parkinson’s, and dystonia, but never—until now—depression.

The key to deep brain stimulation is determining the optimal site to stimulate. Depressed patients show no obvious brain abnormalities on tests such as MRIs to guide such target selection, says Mayberg. Like many psychiatric disorders, depression is thought to result from complex interactions among genes, stress, chemistry, and brain circuitry.

Mayberg and her colleagues, however, decided to focus on a particular brain region—the subcallosal cingulate, also called Brodmann Area 25—that seems to play a critical role in regulating negative moods in both healthy and depressed individuals.

Her team implanted thin wire electrodes in patients’ brains in this area; the other end was connected to an implanted pulse generator that directed the electrical current. Four of the first six patients—who had not responded to any other form of treatment—completely emerged from their depression. In fact, several deep brain stimulation patients reported a visceral response, experiencing an abrupt shift in perception in the operating room.

“Patients described a sudden disappearance of something negative: a sense of intense calm and relief, a clearing of mental heaviness, the disappearance of a void, the fading of a burrowing dread in the pit of the stomach,” says Mayberg. “Getting sad is not abnormal; staying sad no matter what is going on around you is—and we call that depression. The goal with deep brain stimulation is not to prevent sadness, but to allow patients to experience appropriate sadness without getting stuck.”

Monday, March 03, 2008

Whipped Ocean






































WHIPPED OCEAN....SOMETHING WE'LL NEVER SEE.... Suddenly the shoreline north of Sydney were transformed into the Cappuccino Coast . Foam swallowed an entire beach and half the nearby buildings, including the local lifeguards' centre, in a freak display of nature at Yamba in New South Wales . One minute a group of teenage surfers were waiting to catch a wave, the next they were swallowed up in a giant bubble bath.

The foam was so light that they could puff it out of their hands and watch it float away.
Boy in the bubble bath: Tom Woods, 12, emerges from the clouds of foam after deciding that surfing was not an option .

It stretched for 30 miles out into the Pacific in a phenomenon not seen at the beach for more than three decades. Scientists explain that the foam is created by impurities in the ocean, such as salts, chemicals, dead plants, decomposed fish and excretions from seaweed. All are churned up together by powerful currents which cause the water to form bubbles. These bubbles stick to each other as they are carried below the surface by the current towards the shore. As a wave starts to form on the surface, the motion of the water causes the bubbles to swirl upwards and, massed together, they become foam. The foam 'surfs' towards shore until the wave 'crashes', tossing the foam into the air.

Whitewash: The foam was so thick it came all the way up to the surf club .
'It's the same effect you get when you whip up a milk shake in a blender,' explains a marine expert. 'The more powerful the swirl, the more foam you create on the surface and the lighter it becomes.' In this case, storms off the New South Wales Coast and further north off Queensland had created a huge disturbance in the ocean, hitting a stretch of water where there was a particularly hig
h amount of the substances which form into bubbles. As for 12-year-old beachgoer Tom Woods, who has been surfing since he was two, riding a wave was out of the question. 'Me and my mates just spent the afternoon leaping about in that stuff,' he said.
'It was quite cool to touch and it was really weird. It was like clouds of air - you could hardly feel it.'

*****


Making it difficult

“The loyal and uncritical repetition of formulae is seen to be inadequate as a means of securing continuity at anything more than a formal level; Scripture and tradition require to be read in a way that brings out their strangeness, their non-obvious and non-contemporary qualities, in order that they may be read both freshly and truthfully from one generation to another. They need to be made more difficult before we can accurately grasp their simplicities…. And this ‘making difficult’, this confession that what the gospel says in Scripture and tradition does not instantly and effortlessly make sense, is perhaps one of the most fundamental tasks for theology.”

—Rowan Williams, Arius: Heresy and Tradition (2d ed.; London: SCM, 2001), p. 236.

******

Sometimes we get so accustomed to a story, that it becomes merely familiar. We forget it's strangeness, we can't hear it any more.

Just the other day I was watching my dog watch me, and suddenly, the idea of living with an animal became very strange to me. That we would be in a room, looking at each other each with knowledge of the other, despite being different species' just seemed nothing short of miraculous.

Part of the work of the liturgy, or genuine prayer, or silence, or theological reflection, or preaching, is to hear the same words again for the very first time.
To approach the familar, the ordinary, that which is second nature, with new eyes and new ears so that we are capable of meeting a stranger on an old well-worn path.

If reason is heart and mind working together, the immediacy of our body and our beating heart is a moment-to-moment invitation to bring myself to 'beginner's mind' in every encounter. Easier said than done because that kind of mindfulness takes a great deal of energy. Now that I've said that , maybe it's not true. Maybe just the frame of mind that comes with fatigue, disappointment and the end of one's rope takes you to a place where a different experience of the same words is possible. Maybe it's hearing the same story, but in a different language, or a different cultural context.

It's a comfort to be affirmed in our beliefs. Part of me want to be reassured, comforted. It's the desire to be safe, to know the end of the story before we look at it. Why watch a movie when you know that it's going to end badly? Why not join groups that are made up of people like me? There's that dynamic tension between needing safety and belonging and journeying out into a calling, into the space out beyond what is comfortable and predictable. It's hard to not assume that we already know what others think and believe. It's hard to remain open.

In the comments following the Rowen Williams quote at Faith and Theology, comments
from Andre`

"
Here Bonhoeffer's comment that christology - and by implication, all theology - is an exercise of distraught reason is to the point. And this is what Williams is saying - that the gospel, which stands over against our efforts to make sense of it, is the place where we become undone (but also remade). It's precisely this process of breaking and healing - what Augustine calls a "purgatio mentis" - that seems to be missing in (some theology). (Such theologians) are confident that they know what the gospel is and what the world is; Williams, like Augustine and Bonhoeffer, and closer to home, like Donald MacKinnon, believes that it is that confidence itself - that sense that I already know - which is placed under duress by the gospel. The upshot of this is not the suppression of dissenting views, but rather the practice of a form of intellectual humility which is shaped by patient attention to (and, through the Spirit, participation in) the divine humility manifest in the life, death and resurrection of Jesus.

*****

"Let us go forward with the heart completely attentive and the soul fully conscious. For if attentiveness and prayer are daily joined together, they become like Elias' fire-bearing chariot, raising us to heaven. What do I mean? A spiritual heaven, with sun, moon and stars, is formed in the blessed heart of one who has reached a state of watchfulness, or who strives to attain it."

~ PHILOTHEUS OF SINAI (d. 297)
From CHRISTIAN TEACHINGS ON THE PRACTICE OF PRAYER

***
W H E N Y O U C A N E N D U R E

When
The words stop
And you can endure the silence

That reveals your heart's
Pain

Of emptiness
Or that great wrenching-sweet longing,

That is the time to try and listen
To what the Beloved's
Eyes

Most want
To

Say.

~Hafiz

War Is A Church
















War is a church.
Memory is a church on fire.
War and the idea of war
Will eat the tomorrow out of our bones.
(culled from "The Sin Eaters" by Sherman Alexie)
Kathang-Pinay

The 'guinea-pigging' of vast swathes of the population has, up till now, solved two problems: the 'time' problem (namely, how to avoid addressing the underlying reasons for mental health problems), and how to create new markets amidst the flourishing of generic drug production, particularly outside of the US and Europe. Clearly the interiorisation of unhappiness is far more profitable than the outward realisation that perhaps misery has nothing to do with you personally and everything to do with the world in which you live.
- infinite thØught
Terrorized by 'War on Terror'
How a Three-Word Mantra Has Undermined America
Zbigniew Brzezinski

A new issue of Big Bridge

An Anthology of Bay Area Women Writers
Edited by Katherine Hastings

from
Memory Is Pictures Inside You

rivers coursing through before language
the way Moonlight whimpered as he watched
the movie in his sleep. Something
is happening, his four legs are following
the story line. One part of the brain works
as a camera, taking pictures, another part
puts it together. Edits. Which part
is the soul? O Tower of Babel, whoever is
the Self? We can't remember
everything, we can't forget anything

Poems by Sharon Doubiago

*****
The above from Wood S Lot
http://web.ncf.ca/ek867/wood_s_lot.html

***
I've been exhausted today, and full of soreness. I've mostly slept and read and slept, and then some yoga, then some egoscue, then some cooking, then some music.

Didn't make it to church.

Both sons in NYC, I'm a wreck.

I love the wood s lot blog.

Good Lord. Intelligence! Discernment!

God help us sort out this perilous position that we've engineered for ourselves among our fellow humans.

There is more incredible postings up at Scott Horton's place. I'm too exhausted and sore to read them Now .....
But I will.

**

Saturday, March 01, 2008

From the Tangled Web of Thought and Sinew























"The ego is the dualist inside of us. "It is the habit," James Carse says, "of seeing ourselves over and against someone else." That 's exactly what the ego wants to do. To my ego, my wealth, my intelligence, my moral goodness, and my social class are what they are only in contrast to the person next to me. But the still center, my true self, does not need to oppose, differentiate, or compare itself. That's why it can live out of this primal kinesthestic knowing.
To the extent our soul is alive, we are satisfied with the "enoughness" of the present moment and are in touch with reality."

***

"To live in the present moment requires a change in our inner posture. instead of expanding or shoring up this fortress of "I" -- the ego -- which culture and often therapy try to help us do, contemplation waits to discover what this "I" consists of. What is this "I" that I'm trying to shore up and expand? Who is this self I take so seriously?

When Jesus is led by the Spirit into the wilderness, the first things that show up are wild beasts (Mark 1:13). Contemplation is not first of all consoling. It's only real."

~Richard Rohr
Everything Belongs


***

L O V E I S T H E F U N E R A L P Y R E

~HAFIZ

Love is
The funeral pyre
Where I have laid my living body.

All the false notions of myself
That once caused fear, pain,

Have turned to ash
As I neared God.

What has risen
From the tangled web of thought and sinew

Now shines with jubilation
Through the eyes of angels

And creams from the guts of
Infinite existence
Itself.

Love is the funeral pyre
Where the heart must lay
Its body.

***

"Each of us comes forth from God in the Word and stands before him, unique in his own nature, in his own particular being, a unique expression of the divine Being; and each of us has to return to God in the Holy Spirit, in a movement of love by which we surrender ourselves to God, allow God to possess us. Our temptation is to stand upon our own dignity, to center on our selves and refuse that movement of return, of self-surrender. Sin is a failure of love, a failure to respond to the movement of grace which is ever drawing us out of ourselves into the divine life. When we refuse to respond, to acknowledge our nothingness and need, then we close in on ourselves, we become separated from God and eternal life and see ourselves as isolated selves, each shut up in our own existence and in conflict with other, alienated from our real Self, living in a world of illusion."

~BEDE GRIFFITHS (1906 -1993)
English Benedictine monk
Christian Teachings on the Practice of Prayer

***

"In every encounter, God asks: "Adam, where are you? Where do you stand? How is it with you?" To answer this question, a person must be willing, lucid, transparent. Once someone has left behind the habitual prayers of childhood and has entered into the personal encounter, there is no way back. He must live in the light of God and expose and entrust himself to the light ever more unconditionally."

~ADRIENNE VON SPEYR (1902 - 1967)
Swiss mystic, physician, and writer
Christian Teachings on the Practice of Prayer

***

I saw a friend today who just had a facelift.
It was a sort of shock, because it gave her the appearance of someone who had lost memory of the past. Or had become a person without a past somehow. That's a lot to go through to mildly change one's appearance.

It made me remember one of my great-aunts , Helen. She was my father's aunt, and lived a few blocks uptown from us in the town I was born in. She had never married, worked as a newspaper reporter, lived in a strange Victorian house with books stacked floor to ceiling in every room. She kept dozens of cats and had a record players upon which she played only records of bagpipes.

On Sundays, sometimes after church, I'd be invited to go with her and her church lady friends to the Hillcrest Restaurant for lunch. It was always a privilege to go places with her and to be included in intelligent conversation. I remember all of those "old" ladies treating me always with great fondness. I can still recall their faces, many of them.

I guess I never grew up thinking of a face as something to be criticized, a feature that was 'flawed'. My aunt Helen was no beauty. She had a huge overbite, a mustache , was short and stooped, and had straight black hair pulled straight back. But I loved the emphatic way that she talked, punctuating her conversation with emphatic gestures, so definite, so much herself. What other face would suit her but the one that she already possessed?

It's not so much that I'm 'against' face lifting. (As if I could afford it if I wanted to do it.)
It's that the idea of it seems to me to be laden with a kind of unhappiness inferred that would lead my thinking in another direction. It I were so unhappy with how I looked to others, I would wonder why my attention was on that rather than the sense of being connected to my own core, my own inner . If my face is odd , asymmetrical or unpleasing, it's always been that way, it's a portrait, an icon of my ancestors, that's who and where I am in time and space.

And I do believe, I truly believe, that the light of God, the light of Christ makes all people beautiful.
"What has risen
From the tangled web of thought and sinew

Now shines with jubilation
Through the eyes of angels"

Amen.


*******


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Don't set sail!/Tomorrow the wind will have dropped;/And then you can go,/And I won't trouble about you. -from "The History of Love" Nicole Krauss
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