Declaration of a different reality

markheyer

Thomas Merton, writing in the early 1960’s, observed:

Here is the great temptation of the modern age, this universal infection of fanaticism, this plague of intolerance, prejudice and hate…

This, said Merton, flows from the crippled nature of those who are afraid of love, afraid to dare to become human. He goes on,

…it is against this temptation that we must labor with inexhaustible patience and love, in silence, perhaps in repeated failure, seeking tirelessly to restore, whenever we can, and first of all in ourselves, the capacity of love and understanding…

It’s this capacity, he concludes, which makes us bearers of the Divine image.

It was something of this “image” that the father of Heather Heyer reflected when he spoke of the Charlottesville riots, and said of his daughter’s killer,

And my thoughts with all of this stuff is that people need to stop hating and they need to forgive each other. I include myself in that forgiving the guy that did this. He don’t know no better. I just think about what the Lord said on the cross. Lord, forgive them. They don’t know what they’re doing.

I don’t know how–so close to the event–this father found the resources to say what he did about his daughter’s murderer. And I can’t help but wonder how he feels today, or what he thinks now that the world, as it does, has moved on. And yet, there it is, like a  palm tree in a desert, sticking out there in all its naïve simplicity, a declaration of a different reality.

So often today Christianity resembles the vestigial wings of Kiwi’s: of no real consequence except as an evolutionary curiosity. Too often, the term Christian is abjectly embarrassing because it’s used as either a moral cover, an ethical club, a personal warranty for an afterlife, or another name for nationalism. And “Nationalism,” as ethicist Stanley Hauerwas has somewhere said, “is a religion, and war is its liturgy.”

But then, up through the layers of dross comes some otherwise overlooked voice speaking the mystery of the real Christ, the mystery of seeing and receiving the “other,” even an enemy, as fellow pilgrim.

Here’s Merton again,thomas-merton

Christ…did not come to bring peace to the world as a kind of spiritual tranquilizer. He brought to his disciples a vocation and a task, to struggle in the world of violence to establish his peace not only in their own hearts but in society itself.

To work for peace beyond our private world is hard, dangerous, and as recent events and events throughout history show, even deadly. Of course, to find and maintain peace within ourselves is also hard. But persons at peace within themselves is where communal and cultural peace begins. Yet, paradoxically, internal peace comes as we model those who are themselves peaceable. Such is the movement of human connection, such is the pulse and flow of human community, such is the radiating current of the I-Thou mystery. I think this is what Bruce Cockburn meant when he sang, “To the motion be true.”

We need people like Mark Heyer. We need models. Of course I never had the chance to meet Thomas Merton, but I consider him a friend and mentor. Year’s ago, when I spent several days wandering Manhattan on foot, my first search, despite my admiration, was not the beat poets, but Merton’s flat on Perry St. in the heart of Greenwich Village, where he lived before entering the monastery. When I was in Bangkok, where Merton died, I followed his “tour” of images and temples, as outlined in his book The Asian Journals. Merton was/is still, a model of peace who embraced his faults and modelled his own life after the spirit of peace he found reflected in the life of Jesus.

AVT_Luce-Irigaray_8370Neither do I know the French philosopher and veteran feminist, Luce Irigaray, but for me, her words strike a decidedly Mertonesque tone, or better, an incarnational tone. (Irigaray returned to her Christian tradition, although her nuanced form of Christianity would hardly be accepted all the Faith’s eminent, self-appointed regulators.) She writes (as quoted in Kathrine Keller’s On the Mystery),

If our culture were to receive within itself the mystery of the other as an unavoidable and unsurmountable reality, there would open up a new age of thought, with a changed economy of truth and ethics.

And what a massive IF this is, yet what a resplendent vision! To speak it out loud is radical, to try to embrace it, revolutionary.


 

American Empire at Sunset Glen

americanempireDown at Sunset Glen, in the palliative care wing, hooked up to a ventricular assist device, American Empire is bitching and moaning about the grey food and the horrible, just horrible, Puerto Rican nurse who keeps scheduling enemas that never happen.

But it’s Monday, movie day, and American Empire is pumped to see the home movie that the Pearly Gates Film Guild has been working on for, well, “too effing long, if you wanna know.”

Ricardo the nurse wheels A. E. — with defibrillator, ventilator and all — into the home’s tiny cinema, props him up with pillows stuffed with cotton balls and eagle feathers and gives him his mid-morning Coke Big Gulp.

A. E. nods and the lights go down and there he is, short pants, almost cherubic, playing in a big, bright, bountiful yard. Then, orchestral crescendo, and there’s A. E., knees and elbows all bloody, and hollering, Manifest Destiny! “The things kids pick up,” laughs A. E.

Then it’s a string of jump cuts, fades and cross-fades through a montage of slavery, Indian removal, expansionism, imperialism and plenty of wars; all with cutaways of the early republic, the constitution, the great awakening, abolitionism, emancipation, women’s suffrage, civil rights, woman’s rights, LGBTQ rights. But in the denouement, flickering scenes in monochrome variously show a regressive bully, ageing addict, narcissist, celeb-cultist, fundamentalist, con artist, thief, opportunist and crazed pensioner, living on deregulation, bailouts, corporate tax cuts, and shares in the military industrial complex. And in the final scene: a radiating grey mist and clouds of blue-bottle flies. The whole shebang, the civic aspirations, the moments of nobility, the jealousies, the rages, the heart condition, the mania, all the pathos and bathos and waning ethos mashed together in under 90 minutes.

“Definitely not a feel-good ending,” says A. E. as the lights come up, “but the editing was out of this world, the best!”

Ricardo wheels A. E. back down the hall schlepping along the steel tree of drip bags and tubes; then leaves a copy of Nevil Shute’s book, On the Beach, at his beside, some stab at a last hope. But for naught, American Empire has forgotten how to read.


(This post owes its schema to August Kleinzahler’s poem, The Hereafter, and its genesis to the unabating mental and moral erosion of this American administration, which prayerfully will not end us all, On the Beach. )

When you’re walking

When you’re walking Ogden Point breakwater at sundown, covered in yellow light, watching the silhouette of the Olympic Mountains sharpen under a near-full moon that’s climbing above the Dallas Road cliffs, holding hands with Deb, her palm cool on yours, and you pass a young couple fishing, a small lamp beaming between them as they cast their lines into a sea so still that the rigged spoons ring out as they clap the water; when a small dog bounces on the concrete walkway as she watches a great blue heron, full of patience and standing on an island of bull kelp studying a place just beneath the surface of the ink-green ocean, and when you approach the lighthouse at the end of the breakwater and see its orange flashes soaked up by the dusk, while a pilot boat pliés past toward a container ship to help steer it through the Strait of Juan de Fuca, and a girl with dyed deep-red hair, courting only quietude, glows down on the rocks while watching the far shore transform under a bruised peach sky, and at her back the moon runs its nickel ribbon along the salt water kissing every ripple on its way to meet the water in your own eyes…you can believe that all the world is without strife.


verginiabwatercolour

Watercolour by Virginia Brubaker

These strangled prayers for peace

I’m alone on the beach, but for a thousand driftwood friends, some reasonably good throwing rocks, and a cigar for rumination.

Waveincovesm

I’m sitting on an ancient bleached log, blowing Nicaraguan smoke over the Juan de Fuca Strait, worrying about earthquakes, hurricanes and nuclear war. (The word worry, by the way, is a mash-up of some old English and German meaning to ‘strangle’, or ‘seize by the throat and tear’.)

I would have made a terrible Buddhist (as it is, I fail the bar of half-assed Christian), so attached am I to suffering the-anticipated; fretting some feverish future. (You can catch my act, a gloomy Billy Bragg singing: Way over yonder in the dimming gr…een, ain’t nobody that can fret like me, ain’t nobody that can fret like me.)

To fix this I decide that worry is a form of prayer: so here I am, in solidarity with the rest of the world’s worriers, storming the gates of tomorrow, preveniently seizing, strangling, worrying peace-on-earth into being…

and sitting in this fragrant acrid cloud
I watch the light play on the waves
and like some augur of old
I pine
for a sign:
perhaps some solicitous sand crab
to move my parked imagination
into the bright eelgrass of presence
so hold to my heart
peace as a possibility.