Rebecca K. Reynolds

Honest Company for the Journey

Grace is Gossamer

















I used to whisper in my oldest son's ear at night,
"Love Jesus," and now I wish I hadn't done that
because it's a weighty thing to say;
it's too weighty.

It's the weight of a first born mother
telling her firstborn son to worship,
as if getting to know the Almighty were as simple to follow
as a recipe for chicken noodle soup.

Two teaspoons of unsalted butter.
Three stalks of chopped celery.
Two diced carrots.
Make them sweat, Son, before you add the broth.

It can't be done that way.

It's not that I'm a Calvinist, see,
but I've always done wrong by trying to make
my heart the Divinity chaser,
trying to make my love worth love,
trying to slap mud on rudimentary, homemade cathedrals
woven from split reeds I found in the woods.

I stay a little bit nervous
about bears,
and I'm not sure where that happened,
maybe in some Baptist church way back, way back
when some preacher was telling me that I might miss out
on glory.

Or maybe keeping your foot on the accelerator
is just a natural casualty of being a first born of a first born.
But no wonder my kind has always stood out in a field sulking
while some renegade kid comes home from a party
to a party --
because my kind digs holes, digs holes, digs holes
and expects heaven to come up wherever we plant it.

Sins of a parent go down three generations they say.
Trauma gets in the DNA and changes a person
inside out, and probably bad theology does the same.

Lord, forgive me,
for I tried to push the same gravity on my children
that I tried to carry inside myself
when Your yoke is easy
and Your burden is light.

Grace is gossamer,
sunlight caught in a spider's web,
it is lake water thrown from the tail of a carp,
and that is so hard for me to believe, no matter what you say.

I wish I had taken more deep breaths,
taken more cool baths.
just reveled,
just waited,
just watched glory before trying to make anything of it at all but wonder,
just whispered, "You are loved,
and Honey, that's the sweetest thing in all the world."

- - -

Art: Photo by my dear and gifted friend Carey Pace (www.careypace.com)

Never Give In

Recently I was talking about the state of America with several high school students. As I listened to them describing their feelings about the future, I heard evidence of what is probably the single worst casualty of our nation's war on culture. That casualty is despair.

These kids aren't ignorant. Most of them could articulate the issues threatening our country's moral backbone. Most of them  know that an avowed socialist is running for President and why it would be a bad thing for him to win. Most of them could tell you that abortions are killing real human beings, that the Affordable Care Act was ineffective, and that families are falling apart because of widespread immorality and relativism. They know that the public education system is full of progressive propaganda. They know that Iran is dangerous. They know that many of our current leaders are corrupt, and that many of those running for office attempting to replace them are corrupt as well. They comprehend so many of the warnings we've been shouting into the world, and they understand so many of the details of our present danger.

What they don't know is that anything can be done to thwart doomsday. They are numb from hopelessness.

I asked some these teens how many of them would fight for our country, and their answers were disturbing. Why would they risk their lives for a nation with so many flaws? I saw an odd expression on their faces as they spoke. I think it was shame. I think they were ashamed to be living in a country so broken.

My least favorite modern spiritual fad runs among certain urban, 20 or 30-something Christians. These young people, raised in some of the most peaceful, lavish years America has ever known, feel it is their duty to set patriotism at odds with faith. Their whole argument is poorly constructed, built upon a little bit of Bible and a lot of bifurcation fallacy. Even if the pendulum of American patriotism was once blind and over-zealous, these cads are now over-correcting citizenship into a gross, lukewarm apathy. The pearls of a blessing have fallen upon swine.

In attempts to tear love of Christ away from love of state,  these "Jesus-first" crusaders are diluting the holy, altruistic aspects of loving a nation properly, for when a people loses her allegiance she loses the gratitude that compels her to be a giver. She loses the drive to work to improve what is broken. She loses a sense of stewardship over a government which invites her to participate. She loses her commitment to a larger body that, if properly directed, can unite to accomplish global good. She loses a beautiful common vision for strength that God has used in the past to stand against forces of great evil in this world, and that He would likely use again for the same purpose in the future. She withdraws into the grossest of spiritual flaws: an elitism that causes her to pass on the opposite side of the road from a broken and bleeding man, lest she get any of his dirty patriotism on her holy garments.

Certainly the God who cares if a sparrow falls to the ground or how we speak about our neighbor cares about how we manage the power of our citizenship.  Of all people of all time, he has placed us in a situation where we are welcomed to influence legislation.

But instead of believing that love is a commodity that expands upon application, these crusaders have held it to their chests where it has withered. They have forgotten  what their grandparents knew, that by pledging to be part of one nation under God, we pledge to apply our selfless, gospel service to a larger community and to a larger world in need. The good news isn't just about being that social-justice-minded white girl who takes iPhone selfies in an impoverished third-world country, it's also about investing in a first-world country while opportunity knocks.

Yet there is a harder point to swallow still: it's not just the young progressives that are causing this disillusionment. It's not just the work of our current President either, though he has done his share of spreading negativity about our country.

One of the most deadly sources feeding this national cancer of negative rhetoric is the conservative who rants, and rages, and fears, and warns out of his belief in Jesus. In fact, people like me are the dangerous ones. I am what is wrong with this country. People with my values and my tendencies are trying to bring America back to greatness by bashing it to death.

We are slitting our own throats, see? While we attempt to spread the world about dangers facing our republic, we give in to despair. And that despair is what our children see. This despair is what our children believe.

They aren't just listening to our concerns, they are listening to the way we express them. They are reading between the lines and noticing what we believe about how much this fight even matters, and what chance we have of winning it. Our frustration feeds their hopelessness. Our panic feeds their resignation. Here is where conservatives must repent and change.

Leadership is a positive thing. It casts vision. It doesn't freak out that danger exists, it is honest about risk and honest about why that risk matters. It moves with solid dignity, with confidence, and with deep purpose into challenges, because attitude is infectious, especially in times like these.

I have such fond affection for a speech that Winston Churchill gave on October 29, 1941 to the Harrow School. Most likely you have heard his quote, "Never give in." This speech is the historical context for that statement.

My favorite part comes at the end where Churchill changes the line of a song so that instead of referring to present struggles as "darker" times they are called "sterner" times. What emotional connotation is in this shift? Can you feel it? That single edit summarizes what I believe needs to happen within conservative America today.

Henry V is not one of my favorite plays, but it does offer a brilliant speech before a dangerous battle on St. Crispian's Day. The  men are outnumbered, and there will be many casualties, but Henry rallies the troops by showing them that this is a once-in-a-lifetime opportunity to be a part of something tremendous.

And we have a tremendous opportunity, too. I hear so many believers stating that they would like to live back in the good times of 1950, or 1900 or Regency England, or whatever time period they have decided would have made for a simpler, holier life. I defy all of that.

This is the very best time of all to be alive. I wouldn't trade it for anything. If I could, I would choose these battles, these enemies, this fatigue, this broken country. I love America. Despite her faults, I still believe in her dream. And if this is the sternest time our nation will ever see, let me live right in the middle of it! Show me what to do, and I will do it with all my heart. I would gladly die for my nation, and I would die regretting that I had only one life to give for a beautiful cause.

Are there challenges before us? Yes. Is God afraid of any of the issues at hand? No. Hasn't he planned from before time began to place us here among these battles, battles that will drive us to our knees for wisdom and for resources?

What else would we want to do with the few years we have on this earth? Would we rather live like leeches, complaining, disillusioned and whining, sucking on benefits bought by the blood of dead men who are now lying underground feeding worms? No. Give me this. Give me us. I could ask for no better company, we few, we happy few, we band of brothers.

God, help us find ways to name our present brokenness without inciting despair. Help us to be full of your vision for what our nation can become. Overcome our fear and our frustration so that when we speak, we cast strength and life into our fellow believers.

Remind us that children are listening not only to our words, but to our deeper fires. These days are not so dark after all; they are only stern. Thank you for the opportunity to trust you. I am glad to be here with you. Light my path. Lead me on.

RR

- - - - - -

October 29, 1941.

Harrow School
When Churchill visited Harrow on October 29 to hear the traditional songs again, he discovered that an additional verse had been added to one of them. It ran:

"Not less we praise in darker days
The leader of our nation,
And Churchill's name shall win acclaim
From each new generation.
For you have power in danger's hour
Our freedom to defend, Sir!
Though long the fight we know that right
Will triumph in the end, Sir!

Almost a year has passed since I came down here at your Head Master's kind invitation in order to cheer myself and cheer the hearts of a few of my friends by singing some of our own songs. The ten months that have passed have seen very terrible catastrophic events in the world - ups and downs, misfortunes - but can anyone sitting here this afternoon, this October afternoon, not feel deeply thankful for what has happened in the time that has passed and for the very great improvement in the position of our country and of our home? Why, when I was here last time we were quite alone, desperately alone, and we had been so for five or six months. We were poorly armed. We are not so poorly armed today; but then we were very poorly armed. We had the unmeasured menace of the enemy and their air attack still beating upon us, and you yourselves had had experience of this attack; and I expect you are beginning to feel impatient that there has been this long lull with nothing particular turning up!

But we must learn to be equally good at what is short and sharp and what is long and tough. It is generally said that the British are often better at the last. They do not expect to move from crisis to crisis; they do not always expect that each day will bring up some noble chance of war; but when they very slowly make up their minds that the thing has to be done and the job put through and finished, then, even if it takes months - if it takes years - they do it.

Another lesson I think we may take, just throwing our minds back to our meeting here ten months ago and now, is that appearances are often very deceptive, and as Kipling well says, we must "…meet with Triumph and Disaster. And treat those two impostors just the same."

You cannot tell from appearances how things will go. Sometimes imagination makes things out far worse than they are; yet without imagination not much can be done. Those people who are imaginative see many more dangers than perhaps exist; certainly many more than will happen; but then they must also pray to be given that extra courage to carry this far-reaching imagination. But for everyone, surely, what we have gone through in this period - I am addressing myself to the School - surely from this period of ten months this is the lesson: never give in, never give in, never, never, never-in nothing, great or small, large or petty - never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy. We stood all alone a year ago, and to many countries it seemed that our account was closed, we were finished. All this tradition of ours, our songs, our School history, this part of the history of this country, were gone and finished and liquidated.

Very different is the mood today. Britain, other nations thought, had drawn a sponge across her slate. But instead our country stood in the gap. There was no flinching and no thought of giving in; and by what seemed almost a miracle to those outside these Islands, though we ourselves never doubted it, we now find ourselves in a position where I say that we can be sure that we have only to persevere to conquer.

You sang here a verse of a School Song: you sang that extra verse written in my honour, which I was very greatly complimented by and which you have repeated today. But there is one word in it I want to alter - I wanted to do so last year, but I did not venture to. It is the line: "Not less we praise in darker days."

I have obtained the Head Master's permission to alter darker to sterner. "Not less we praise in sterner days."

Do not let us speak of darker days: let us speak rather of sterner days. These are not dark days; these are great days - the greatest days our country has ever lived; and we must all thank God that we have been allowed, each of us according to our stations, to play a part in making these days memorable in the history of our race.

The Uncanny Valley

The face is terrifying -- a waxed doll with features that seem almost natural, but not quite. Staring at her is like staring into bad dream. She is surreal. Distorted. At a quick glance, I felt my brain straining to process her appearance, first leaning toward engaging her as another human, then bristling at the horror that she and I are not really the same after all. In fact, she is a 117-year-old mannequin head, created for use in in a cosmetology class. (Credit: http://cindyellison.blogspot.com/2011/05/thursdays-adventures.html)
There is an aesthetic term for the freakish tension we feel when looking at an image like this. “The Uncanny Valley” describes revulsion that results from a human-like object which seems nearly real but isn’t. Sometimes I feel this uncomfortability in wax museums or while watching the baby in Pixar’s short “Tin Toy.”



The website “Creepy Girl” (http://www.cubo.cc/creepygirl/) also manages to be disturbing because of this same reason.

What is it about visual inauthenticity that puts us on guard? Why is a false face a trigger? What spiritual lessons can we learn from looking at how The Uncanny Valley works inside us?

To explore this, I want to take you on a rabbit trail. The path we will take is a bit quirky because we're going to go way back in time, past Pixar and internet sites, past wax museums, and even past cosmetology models.

We're going to go all the way back to the end of the Gothic era and take a look at four sculptures that were created within about two hundred years. Over that time span the art world changed significantly in ways that impact our culture still to this day. If we are observant about these changes, we can find truths in those four sculptures that relate to how you and I should communicate to the world.

The first two sculptures were created by an early Italian Renaissance artist named Donatello (1408–1409 and 1430–1440). The third sculpture is by High Renaissance Artist, Michaelangelo (1501-1504). The last is by an artist who helped launch the Baroque period named Bernini (1623–1624).

Donatello’s first “David” was created when he was a young man in his twenties. Though the marble work of this sculpture is beautiful, there's something about the form that feels dull, and the facial expression feels vacant. Remnants of Gothic stiffness are evident. When you see this David, you probably don't feel like it's about to speak to you, and it might be difficult to imagine that such a wooden young fellow would have had the vigor or mobility needed to sever that big giant's head.

Donatello’s second “David” came several decades later, and though he keeps the contrapposto stance (when a figure's weight is on one leg), there’s a bit more warmth and flesh to this piece. Still, when I look at this sculpture, I see nothing of the masculine David that I know from Scripture in it.

Frankly, I can't imagine this pretty boy guarding sheep all night in the dark. I can't imagine him being all that interested in Bathsheba... whether she was gorgeous and bathing naked on a roof or not. This David seems to represent the artist’s ideals for young male beauty, and that's about it. In both of these images, we find the artistic restraint of the Early Italian Renaissance.


Next comes Michaelangelo’s “David,” which is one of those pieces of art that most people recognize, even if they haven’t had much art history.  It’s a perfect example of the sculpture of the High Renaissance.  Classical Greek and Roman influence is evident, and Michaelangelo's "David" seems to hang in the balance between inanimate and animate life. This David looks like he could move, but we know that he will not. He is too composed, and nothing about him threatens to break out of his solid, stone form.


I don’t care for this sculpture much. I value the artistry of it, of course, but like so much of Michaelangelo's art, the form seems to overpower what the form represents. 


If you are familiar with the ceiling of the Sistine Chapel, you probably remember that famous image of "God" and Adam touching fingers at Creation. It's common fodder for meme-making atheists for a reason. Even nonbelievers sense that Michaelangelo has reduced the transcendent Almighty to a regular old man. I think this painting would be almost comic if it didn't somehow feel irreverent-- for Michaelangelo's God is nothing at all like a burning, other-wordly real God, whose holiness might slay us if we stared upon Him.

Yet during Michaelangelo's time, the spirit of humanism was raging, and the strength and beauty of humanity was exalted. In the zeitgeist of the Renaissance, part of our humanity was diminished -- the full truth of how humans are weak as well as glorious. We are fallen as well as bearers of imago Dei. 

In Michaelangelo's "David" I cannot find a passionate, honest poet, a warrior, a lover, a doubter, an overlooked last child in a family full of hearty brothers. I see only the beautiful, physical form of an ideal man. "David" is so generic, so material, that I feel nothing but a flat admiration for the sculptor's ability when I see him.

After Michalangelo a movement developed in art which we call Mannerism. The Mannerists looked at Michaelangelo’s work (and the works of other Renaissance artists) and tried to push the techniques of the masters to the next level. However, instead of exploring nature or life for inspiration, the Mannerists zoomed in primarily on existing art. What resulted was over-stylized and false. There was too much focus on "how" and too little focus on "what." Encylopedia Britannica writes that this era demonstrated:
"an obsession with style and technique in figural composition often outweighed the importance and meaning of the subject matter. The highest value was instead placed upon the apparently effortless solution of intricate artistic problems, such as the portrayal of the nude in complex and artificial poses. Mannerist artists evolved a style that is characterized by artificiality and artiness, by a thoroughly self-conscious cultivation of elegance and technical facility, and by a sophisticated indulgence in the bizarre. The figures in Mannerist works frequently have graceful but queerly elongated limbs, small heads, and stylized facial features, while their poses seem difficult or contrived. The deep, linear perspectival space of High Renaissance painting is flattened and obscured so that the figures appear as a decorative arrangement of forms in front of a flat background of indeterminate dimensions."

I find Mannerist art some of the most miserable art ever created. It is so self-aware that it barely communicates anything at all. For example, look at this painting by Giorgio Vasari. Does it move you when you see it? Does it feel sincere to you?

When you attempt to connect with it, do you feel any sort of gap between what you know about Christ's heartbreak in Gethsemane and what is presented here visually? Does this show you our Lord's weeping, his sweating of blood, his crying out to his father for mercy? What do you feel about this happy-go-lucky Christ, arms-wide and face serene? Is He in emotional agony? And why is a male Honey Boo Boo popping out of the clouds with a golden goblet? If a non Christian encountered this picture, what are the chances that he or she could understand the main conflict Jesus experienced in the garden?


Can you see how over time, as artists attempted to create art that was perfect in itself instead of art that was sourced in sincerity of experience, they ended up producing artificiality? They created false art that evokes an Uncanny Valley-type response in the viewer. When we try to take such bad art down inside us, we feel like we are being lied to. Hold on to that thought for a moment, because we'll come back to it.

The "David" that I relate to most was created by a sculptor named Gian Lorenzo Bernini. Bernini and a painter named Caravaggio launched one of the most important movements in art, the Baroque Era.

These two guys chased something more like naturalism. They showed humans being human, and you can see that in this sculpture, can't you? It is absolutely audacious in light of what has come before. Look at his posture! Look at his expression!

Bernini's "David" is the sort of man who could have cried out in prayer,
"I am poor and needy! Hurry and come to me, God!" He is the sort of man who could have danced with abandon in the streets after a victory. He is the sort of man who could be tempted by a woman. He is the sort of man who could have failed, and repented, and learned to trust God all over again. Look at his face. See how different it is from the blank stare of Donatello's first "David." This David moves out of a stiff, established space into my realm. He threatens to burst out of his rock, and breathe, and yell. I want to wipe the sweat off his face. I want to sing about God's power with him!

The Baroque era of sculpture tended to be stormy and passionate. Dynamic. Mighty. Brilliant. Energetic. Tense. The gap between idealized spirituality and a vulnerable human acting in God's strength is gone. Yes, Bernini's "David" is beautiful, but that beauty doesn't matter in light of the larger narrative expressed here. This is about more than just beauty; it's about the fuller truth, told well.


When I think about how Christians try to share their faith with the world, I see some of us working like Mannerists. We are almost authentic. We are almost honest. We are almost human. But in the gaps between what we are and what we are trying to be, we can sometimes give the impression that we are lying.

I can understand why that happens; in fact, I've done it myself over the years. Sometimes life is painful behind the scenes. Our finances are strained, our marriages are lonely, we are afraid about our children and the future of our country. We grow disappointed in friends and leaders. We wonder what those disappointments mean. There are things we want to believe about God that (in truth) we are doubting this week.  Our hearts break, and it becomes more and more difficult to go deep into God for one reason or another. Before we know it, our obedience gets snarly.

Still, we tend to keep on saying the same holy things so that people won't notice we are quivering under the surface. We tell ourselves that it's just a passing mood, anyway. There's no need to 
cause destruction by blasting our instability all over the place.


But when that passing mood stretches out into
a long, dry season, we can end up presenting a distorted projection of God into the culture. We can find ourselves encouraging others to drink water from a well that we haven't dipped into for a long time. We try to project what we should feel instead of what we do feel, and our words begin to get tinny and hollow. Nonbelievers can tell that we aren't being entirely straightforward.  Like that creepy, smiling mannequin at the top of this post, our hypocrisy frightens people away instead of drawing them in to the gospel.


My friend Pete Peterson has said something like this: “Write what’s true. People can tell if you are lying.” And he’s right. For the most part, humans are intuitive creatures, and – for many of us - triggers tend to go off if someone isn’t being honest.


When I read the New Testament, one of the things that strikes me is the absence of pretense of any sort. Even though writers like Paul, Peter, Timothy, and John had such different personalities, they all seem comfortable in their own skin. They yielded to a living God who moved through their unique voices to do the specific work He had prepared for them. In modern times, the evangelical church tends to exalt the CEO-type leader. However, there was room in the early church for the leadership of a philosopher like John, for a logician like Paul, for a gentle soul like Timothy, and for a reactionary force like Peter.

I would imagine that each of the apostles experienced the sorts of temptations that typically follow those
types of personalities. Maybe Timothy struggled with passivity and Peter struggled with a hot temper, for instance. However, if I could hear specifics about the private temptations of those men, I don't think I  would be shocked. I think the private struggles those men faced probably aligned somehow with the public personas they offered.


I think that because their optimism isn’t forced. Their exhortations are not unrealistic. While reading their writing, I can tell that these are men who have been made to see their own limitations and who have learned faith in the midst of difficulty. People like that project a different sort of ethos, don't they? We trust them, because we can tell they are trustworthy.

In recent years, it seems like one Christian leader after another has been exposed for hypocrisy. These men are smiling on television one day, urging us to be faithful in our marriages and families. The next day, they are exposed for secret wrongs. We've experienced this duplicity over and over until we now flinch at anything that rings of artificial, cheesy, or pretentious "Uncanny Valley Christianity."  

That suspicion is uncomfortable, but it's not necessarily bad. It reminds us that human efforts to create religion are pointless. It shows us that we are unable to sustain a religious machine in our own power. It teaches us that a living God is essential to this equation we are working. It urges us to remember that Jesus holds our identities firmly in his worth so that even during the spiritual "troughs" (C.S. Lewis) our expressions of hope, of fear, and of worship can still resound with honesty.

We don't have to make a single thing up. We don't have to fudge or cut corners. His life and his love are enough. We don't need to copy shallow, religious language that we have heard others speak. We don't need to flash false smiles. We can be simple and sincere in the presence of God and in the presence of humanity. He's big enough that we don't have to fake anything.


Remember the story of Uzzah? He tried to catch the Ark and keep it from falling. We don't have to do that here. We can trust God to make even our hard truths and hard times beautiful. By this sort of active, honest dependence, we can let go of false, strained religious effort and speak sincerely into a culture that despises artifice.

In Labor



Your dad was reading the Count of Monte Cristo when I went into labor, so he brought it along with him, and we finished those last two chapters in the hospital.

My belly grew hard and round to purge you;
those crescendos (hallelujah!) of sharp seizings,
those trumpet blasts of focus
which call a young woman to man up
and face the love arriving to undo her.

I did not scream
when the technician stuck a needle in my spine six times
trying to find a gap and laughing because I was a tricky one.

The cramps left in a hot, sweet rush,
and then everything was quiet and easy.

I thought it would hurt more than it did,
but I found a loophole;
my moment of perfect agony
never came.

Oh, a first baby moves from a flutter to a kick,
to a charging coal train.
He becomes iron gears and fire,
angular and defiant,
stretching a pretty, soft, flat belly
into some alien form,
into a circus oddity.
I became a two-headed chicken.

There is a moment every young mother
stops to look at all she has done
and sees that a decision was made for her.
She didn't know, see?

That there is no easy way
to ever become not pregnant again,
no backspace,
no exit ramp.

We stand there with our bare, sweet, unlined faces
looking into a mirror
and see that we have been overtaken.
We see that life will take its tearing and its cutting
out of our blood and our water.

And it seems impossible
that we have become a mother by such comedy.

The secret of our kind
is that two kids roll in the sheets,
and then a woman's lungs become the lungs of another.

We are commandeered,
transformed into nursers,
comforters,
immunizers,
and determiners of destiny.
We become the archetype,
the mountain,
the boulder,
the sea,
and the moon.

They handed him to me,
nine pounds five --
no, I'm wrong --
nine thousand pounds,
and I could not breathe
because of his fingers.

He stretched them out into the wide world
bold red and perfect,
little knuckle divots betraying him,
for he declared himself an ox,
Hercules,
and Samson.
But I sanitized the shopping cart, nonetheless.

And now all these years have gone
so I labor again.
Oh, these hot waves of fear!
The water and the blood!

Last night he called six hours away,
sopping wet from riding a bike in the rain
in the dark.
No helmet.

He was trying to sneak in to a concert,
so happy,
so free,
so dangerous.

But I wrote and said,
"Get a taxi. I'll pay."
"Don't ride with a freak.
The world is full of freaks! Don't forget!"
"I love you."

And here the seizing comes,
the labor pains,
Oh! The labor pains!

I remember how this goes,
though this time I am brought to my knees
without anesthesia.

- - -
Art: "Mathilde Holding a Baby Who Reaches Out to the Right" by Mary Cassatt


My Biggest Fear















My biggest fear isn't poverty, 
though I wouldn't care for it much.
It isn't being alone,
or having a gun held to my head,
or socialists,
or Monsanto, 
or nuclear bombs.

It's some hipster guy in Nashville with a divinity degree;
he's disillusioned and 40 lbs overweight.
He talks out his nose because he's
bored with diSpENSATIONALISTS,
bored with the rapture,
bored with Kirk Cameron,
bored with America,
bored with inerrancy, 
bored with elections;
He's too smart for all that.

He knows better
so he posts about new restaurants on the strip,
and science fiction,  
and graphic novels
while sincere, simple folk 
take all the risks, doing battle
with their worn out, rusty garden tools.

Because it is risky, you know,
all this information,
all this chaos;
everything feels like a trap.
Being wrong will get you tweeted,
statused,
memed,
or mocked at some bowling alley --
40 lash-ed and disrespected, 
exposed for the quixotic,
sentimental fool you are, 
always watching at the sky,
waiting on the second coming.

It's the poor boys from poor families who make soldiers,
always been that way.
The kids who got nothing else have to join the army,
have to get out there on the fronts,
get all bloody and dirty,
get all messed up in a messed up war on behalf of the innocent
while that hipster guy in Nashville is drinking a $5 coffee,
thinking thoughts you wouldn't understand about pacifism, 
community,
and theology
when he's not checking out the bargain t-shirts
on thinkgeek.com

- - -

Art: "The Café" by Ernst Ludwig Kirchner (1904)

The Dignity of Guilt

One of the most intelligent young thinkers I know isn't too keen on the idea of grace because he says it makes for bad math. He hasn't worked through to the other side of that problem yet, but his struggle exposes an important question that many Christians seem to have missed. How can blame be absolved?

Some theologians attempt to tidy up the mysteries of God by declaring that all of our choices are overpowered by His sovereignty. They teach that faith is fully a product of God and that humanity is left with very little to do but play out salvation and damnation like puppets on strings, stuck within the confines of time.

Though I agree that God is sovereign, I think there are also dangers in pushing too much too hastily under that umbrella. When we err in that direction, we can lose the God-given dignity of our culpability.

By admitting that we can choose wrong, we are also declaring that we were made with a God-given dominion over ourselves and this planet. This is not just a theoretical concept, we can find it empirically. Our responsibility for our actions is embedded within the universe like a law of physics.

When pool ball A moves toward pool ball B and makes contact, pool ball B rolls. And when person A moves toward person B with a gun and ends a life, we do not laugh and say, “Well what do you know? Isn't that an odd coincidence?” We press charges. We enforce consequences. We respect the personhood of the murderer enough to hold him responsible for what he has done.

Society understands this. Look at those we excuse from blame; they are either children or fools. If a criminal is of sound mind and ripe age, he is expected to pay for his wrongs. When we charge him, we are declaring that he should have done better. We are declaring that he could have done better. We are working from the subconscious understanding that beings made imago Dei have been given freedom enough to work good or evil on the earth, and that good should be chosen and evil punished. One of the most honorable declarations we can give to a human is a declaration of guilt. This statement says, “You have done wrong, but you could have done right instead.”

That is why feminists, of all people, should be leading the charge against abortion used as birth control. For hundreds of years society didn't think enough of women to give them freedom to manage their own potential. Feminists Gilbert and Gubar wrote a brilliant piece called "The Madwoman in the Attic," in which a lengthy explanation of the measures society has taken to objectify women is explored. Men were so threatened by feminine power that they pushed the gender to extremes; women were either perceived as angels or monsters. Objectifying females made them more manageable.

Granting women the right to abort their children feeds on a similar disrespect. It suggests that women are primarily passive creatures who cannot control their sexuality or its consequences without needing escape plans that abuse others. Once again, females are treated as objects, victims, children, or fools who cannot be entrusted with the dignity of blame or repercussion.

Men are not belittled in this way. We trust men to be responsible for their sexual urges and the related consequences of their desires. Society does not tell men that they are not strong enough to control their desires, and therefore that they are allowed to rape women. We trust them enough to believe that they can refrain from doing things that would cause damage to others. Every time a man is prosecuted for sexual abuse, he is also told that his essential humanity should have made a better choice. To sentence a man for a sexual crime is to show him respect.

Abortion as birth control is legal, in part, because our society does not trust women to have the wisdom and strength to refrain from sexual behavior that may ultimately lead them to harm their conceived children. It exists because there is a cultural understanding that women are too weak to manage sexuality and its consequences like adults. Despite all the progress of the feminist movement, the legalization of this procedure proves that women are is still considered lesser beings.

Going back to the larger picture of culpability, I still have many questions still about how God’s sovereignty works. If God is truly outside of time, He sees all that was and will be simultaneously. Words like “predestination” suddenly appear quite different when chronology is removed from the equation. Yet regardless of how these mechanics function, one thing is clear. God allows man to be accused of His own wrongs.  When we fail, He honors us enough to allow us to bear our own guilt.

This is why Christianity offers a higher view of humanity than modern or Eastern constructs which attempt to make sin obsolete. That assumption does not liberate us, it belittles us.

Christians are accustomed to talking about the generosity of God’s grace, but rarely do we see the respect in His appearance on earth. God doesn’t just pick humans up like worms caught in a rain puddle and toss us into the grass. He died for us because we were strong enough to be found guilty.

By the death of Jesus, we are shown the full gravity of our bad choices. We see in His suffering what we deserved, not because we were fools, but because we were thinkers and choosers. In the broken body of Christ we find the dignity of accusation. What happened to Jesus is what should befall every human being who has been entrusted with the intellectual, physical, and emotional resources to create and cultivate upon the earth — but who has chosen instead to steal from it and abuse it.

Christ came to die for us because we were weak. He also came to die for us because we were strong. Our glory means that we could not just be pardoned; we needed a cosmic exchange: the blood of a God for the blood of the wayward children of a God.

- - -

Art: "Self-Portrait in Hell" by Edvard Munch (1903)

The Dressing Room

School starts next week, so I'm sitting in a stall across from the stall where my teenage daughter is trying on clothes. I can see her bare feet, toes pointed together like I keep mine when I'm not sure about things. Every few minutes she opens the door to show me another pair of jeans, and I smile and say, "What do you think?"

The floor is laminate with black and white speckles. It looks like television static unless you get too close, and then the shapes start to make faces. Pop music is droning over the speakers, mostly men with breathy voices singing about women they've either conquered or can't forget.

There's a sticker on the three-angle mirror that says, "We love bargains as much as you do. Shoplifters will be prosecuted." It's an if/then statement. If you steal from us then there won't be any good stuff for anybody.

When I was a kid that warning made me think of missionaries who got burned alive and stoned, because I couldn't keep prosecuted and persecuted straight. Still, I figured that whatever happened to thieves served them right.

That was before I realized there were so many more ways to steal than stuffing a sweater in a purse and sneaking it out the door. Three decades later, and I'm old enough to know that everyone is tempted to take something forbidden at some point -- illicit affection, or tainted admiration, or dishonest employment, or improper pleasure. Now when I look around and see all that gets stolen, I wonder that there are any bargains left in the world at all.

"Does this look okay?" my daughter asks, popping out of her stall. "You're beautiful," I answer, which is true, no matter what she is wearing. "What do you think?" I ask. She disappears, unsatisfied.

A few weeks ago we were in another dressing room together when a woman started talking to me. I don't get dressed up any more than I have to, but she said I looked like the sort of person who knew how to pick out clothes. She needed a dress to wear to her niece's wedding, and she wanted my help deciding between two. I told her I didn't know much, but I'd give her my opinion.

She was anxious about this wedding because a new thyroid condition had caused her to gain 30 lbs, and while she talked, she kept apologizing, pressing her hands into her stomach and hips while the tags on her dress flipped around. She said that if only I'd met her a few years ago, I would have seen the real her.

I didn't see anything wrong with her at all. She was lovely. But since she wouldn't believe that, I told her that I had jiggly arms underneath my shirt, and then I shook them to show her and she relaxed a little bit.

After she turned around a few times I said, "Well go try on the other one, and let me compare." The second one was splendid, and I made a big fuss over it, even though I could tell she liked the first one better.

She decided to buy them both, and I knew that meant the morning of the wedding would come and she would stand in her bedroom trying each dress on ten times, feeling like they both were mistakes, and then she would start to feel like she was a mistake herself. But in that dressing room she let me coo and cluck over her because the world is dangerous, and we need somebody to believe in us before we get out in it. People talk about how mean women are to each other, and sometimes we are.  But in dressing rooms and waiting rooms we tend to be safe. We know when to keep our claws in.

I remember the first time I had a mammogram, how that nurse led me to a room where a bunch of us sat in a line, obediently covered in those candy pink flannel wraps, holding our breasts to our chests and flipping through magazines that we didn't care anything about. We were all embarrassed and scared. The older women were kind to me, and I tried to be polite, but I couldn't tell you anything I said to them, because I was too nervous to think.

I tried to be brave, but I cried when my turn came, in part because it hurt so much, but there was something even worse than the pain. This was the first time in my life I'd felt like nothing more than a piece of flesh. I'd had intellectual problems with secular humanism before my mammogram, but standing there in that room with a massive x-ray machine, I caught a glimpse of what it would mean for a person to be nothing but organized cells. All at once I caught the horror and the indignity of atheism.

The technician took hold of my body as if it were meat and smashed it between plastic, told me to hold my breath while a piece of metal was pushed up into my collar bone, and then she got a worried look she wouldn't explain, did it all a second time, and sent me to sonogram. I lay there on that table shaking, explaining to the radiologist that I had to be okay, because I had little kids at home. I got out my phone and showed him and the nurse a picture of my family, as if they could slam a button and fix reality if I were persuasive enough.

I don't know why that was so traumatic. Nobody was cruel. Nobody was impatient. Still, I could tell that whatever my news was, good or bad, it would be added to a chart and filed through a computer. Every woman in that waiting room, no matter what her story entailed, was business as usual.

I've jumped through this hoop several times now, and I've only seen one woman in that waiting room wear the pink gown as if a mammogram were just another appointment in a busy day. She was some sort of professional with a real haircut and her nails done, and she wouldn't even look at me in the eyes. Maybe power came easier for her than fear. All the rest of us have walked softly in those spaces, and we have become one another's daughters and grandmothers, mentioning children, and grandchildren, and saying silent prayers for one another, and meaning them.

A beautiful Asian woman is walking out to look in the big dressing room mirror. I would guess that her lineage might be connected somehow to the southern part of China. I once spent three weeks in China, and I was amazed that even in those hot, crowded streets most of the women moved with a marked gracefulness. Their feet were hardly subject to gravity. Perhaps this gal in the dressing room has lived in America all her life, but she moves with that same fluidity.

She turns around to look at her backside in the mirror with her hair in a floppy ponytail and her pretty mouth in a scrunch. She places her hands on her rump two or three times looking over her shoulder. I don't know what she's worried about. She's perfect. I would tell her that if she asked me what I thought, but she doesn't.

There is a pile of jeans in the floor in my daughter's stall. A few of the huge tags are visible, and one promises her a better backside if we buy them. My daughter and I laughed at that when we pulled them off the rack; it's such a stupid gimmick. Still, they were on sale, so she's trying them on. She's a sensible girl, middle child, gentle and generous.

Another tag shows a purple-faced woman singing into a glittered microphone. A stadium full of listeners is waving at her. I suppose they wouldn't sell many jeans offering to help teenage girls dominate biology class.

The preacher talked this morning about how women should be taken seriously by the church, but I wasn't paying too much attention because I was helping my little boy trace around my hand on the bulletin and wondering how the skin on the backs of my hands got so wrinkled.

"Woe to the Pharisees," the preacher said, and then he talked some more and we prayed. I looked down while closing my eyes and saw the veins inside my ankles. I have those big Dorris family veins, which bothers me, so I had to take a breath and remember that such things are vanity, vanity. 

They tell women not to think about any of this. They say that if we hide our hearts in Jesus deeply enough that everything we aren't will fall into a tidy place, and sometimes that's true. Maybe it's always true if we keep going in. But I've also seen brilliant young girls stay lonely for years while snotty, greedy beauties get rescued and re-rescued. I've seen decent men leave good wives for bad girlfriends.

"There is life for woman without a man," we are reminded, and that is absolutely correct. But it's one thing to decide to fly solo, and another to be betrayed and have to change plans. There are awful deaths that God grows some women through, classrooms that nobody would choose on their own. Women who learn real praise and security through such times have passed through war.

I don't like it when religious people sexualize holy things, and a lot of modern worship seems to be moving in that direction lately. When worshippers start swaying around, burning off earthly longings and frustrations, I get uncomfortable. Sometimes it seems like they are trying to get emotional kicks out of an imaginary divine boyfriend. But when you take out all that's wrong with sensuality in worship, there is something beautiful and mysterious about the idea of the church waiting for a bridegroom. I think that's why the Bible gives us that image. I don't understand the metaphor completely, but I do think it means that the sorts of heartaches that are brutal on this earth won't end on this earth. And I think it means that women are more than x-rayed meat, and wrinkles, and dress sizes, and thyroid conditions, and toes pointed together while looking into a mirror.

A little girl in an aqua dress pops out of a dressing room stall. She's maybe nine. She has a perfect suntan and white blonde hair that looks like it's been in the swimming pool all summer long. Bright blue eyes.

"This looks good, Mom!" she cheers before she even looks in the mirror. When she finally sees herself, she grins and twirls around.

Her mother sounds tired. "You have to pick one or the other. We're just getting one." The girl knows the lyrics to the pop song on the radio, and she starts singing them into the mirror. I don't like seeing it. She's too little to sing songs like that.

My own daughter opens her door with a look of relief on her face. This pair of jeans looks great, and she knows it.

"You're beautiful," I tell her. She glances in the mirror, turning back and forth, and I wonder if she sees the whole truth, that she is the sort of woman who is strong, and creative, and powerful, and tender. She is daring, and curious, and glorious. Watching her life makes me remember that even while we are all puttering around here, trying on the stuff of this earth, we are also waiting for a new one.

"I like those," I say. "What do you think?"

"They'll do," she says. Then she looks at me and smiles.

- - -
Painting: "Young Woman at the Mirror" by Berthe Morisot (1880)


The Universe in a Cube of Cheese

My eighteen-year-old son is a math whiz. He’s the kind of kid who learns Calculus 2 from some website, then lands a perfect score on the AP test without ever taking the class. Meanwhile, I’m still struggling with five times seven.

Was it really fifteen years ago when I bought a gallon bucket of plastic counting bears to teach him addition? Now he’s dragging me to the kitchen table at midnight and patiently drawing out diagrams on paper napkins, unpacking the glories of the numerical universe one step at a time.

He’s a born teacher, massaging higher math into the vernacular until my fog lifts, waiting for that moment when I gasp because I finally understand! All at once I see what he means and why it matters (Hallelujah!). I see why this concept is beautiful, why he wanted me to see it; then just as fast all the light passes away, and I’m back in the dark.

I don’t know math well enough to hold on to that kind of truth, but for a half second it was mine, and the flash of insight changes me, even as it fades. It wakes me up and makes me ache to get it back again. It lingers like a perfect melody that you heard in a dream but you can’t remember well enough to sing once you wake up.

Sehnsucht is a German word that comes close to what I mean, a yearning for something beyond our reach. C.S. Lewis referred to this desire as “the inconsolable longing in the heart for we know not what.” It’s more forward-looking than nostalgia, more solid and more hopeful than sentimentality. When Sehnsucht strikes me, it feels like I am rising up through the thick, choking waters of the earth into a cleaner air.

Philosophically, we can trace Sehnsucht back to George MacDonald, and back again to the German romantic philosopher Novalis. However, I want to save all that for another essay at another time -- for now I'd like to just name the thing and move on to the heart of what I mean to say about it.

This week JD has been teaching me about the possibility of a fourth physical dimension. We have all been taught about the three obvious dimensions: length, width, and depth. You may have also heard that the fourth dimension is time. However, JD’s been digging around in theories about a fourth physical dimension -- a realm like depth, but beyond depth.

I’ve sensed this possibility intuitively since I was a child, but I didn’t have good images for it until reading George MacDonald’s Lilith, and I didn’t think it was scientifically feasible until watching NOVA’s The Elegant Universe, a documentary about string theory.

I also felt shadows of a fourth dimension while studying the discipline of philosophy. The transition from old, historical rationalism (think logical proofs) through David Hume’s more modern empiricism (think scientific method) left me hungry. In fact, Hume knew his own gaps. He knew it was impossible to bridge the expanse between what is real and what we perceive to be real (AKA: the mind-body gap), which means that it’s very difficult to prove anything at all.

It's not practical to linger in that futility very long. Those who take it too seriously seem to land in a sulking existentialism, but that's not where it has to stop. Instead of pouting that we can’t nail everything down, it's also possible to stay properly small and properly curious in a mysterious universe. As the old song goes, ‘tis a gift to be simple, tis a gift to be free, tis a gift to come down where we ought to be.  Is it so terrible to recognize that our five little senses and our three pounds of brain might not have the ability to master all that is?

There's something healthy about admitting the possibility that “Holy, Holy, Holy” isn’t redundant, but only the straight line of the edge of a cube? A multi-dimensional... trans-dimensional God ... is likely to distort when we attempt to hammer him into a post-Enlightenment flatland.

Yesterday I listened to a mathematician describe the blasted, necessary intersection of a Klein bottle. A Klein bottle is an edgeless object that can exist in four-dimensional space, but when we try to form it in a three-dimensional world, we have to insert a seam to even hint at what the thing would be like in a larger reality. As I listened to this man describe how a three-dimensional model could never truly suffice, I heard in his frustration the frustration of a theologian trying to unpack God to a materialist.

Another four-dimensional object has been named the hypercube, a 4D version of a square. Generous researchers have tried to create computer simulations of the hyper cube, and there are several videos online that allow us to watch them rotate. When I see the rotation, I understand four-dimensionality for a moment, then lose it again. It's so difficult to think beyond our own experience.

However, the stretch to comprehend this has still been good for me, and I'm going to share with you some of the shadows of possible truth that I’ve collected while stretching. Some of you are more mathy than I am, and you can write and correct me where I am in error, but we must start somewhere, so I'll take a stab at it.

Actually, let’s make it a story. But instead of trying to tell this story in three and four dimensions, we'll reel it back to two and three.

Once upon a time, there was a two-dimensional square who was given consciousness. Our poor square has only ever existed in a flat cognition. He has heard about three-dimensions, but to him this is the stuff of sci-fi conventions and religious cults. Most of his fellow squares have grown out of such nonsense entirely and have declared themselves atheists. They are perfectly content to spend their lives studying the edges and planes, and in fact, they feel rather bright to be doing it.

But our square is a bit of a romantic. That's not his fault, he’s just survived a nasty breakup with a triangle, which has led him to wandering the flat streets, staying up too late, meeting with shady polygons in flat pubs — the sort of polygons who drink flat whiskey and talk about fairies, and fawns, and one particular mythical entity called a “cube of cheese.” You can judge him if you want, but the company does him good, even if he can’t take these dreamers too seriously.

As it so happens, you stumble into the pub on a night when this motley crew is discussing three-dimensionality and you decide to help.  In fact, you have a couple of cubes of cheese in your pocket. How lucky.

You rotate one cube of cheese for the square to see, but as you do, you realize that he can only understand one side of the cheese at a time. You go over and over it, but he is clearly confused, and at one point you think he might start to cry. “This is why she left me,” he mumbles. She said I just didn’t “get” things.

"Women," a rectangle groans.

A new idea comes to you. You take a knife and start cutting the cheese into little thin slices, like images from an MRI. You even slice the cheese diagonally, trying to help the square understand what depth means. The square says, “Oh. A cube is a million flat planes.’”

No, no. He’s closer but still missing it.

You begin to organize these slices of cheese like one of those flip books kids use to mimic motion. You show him the slices one at a time, more and more quickly, trying to help him see that they come together to make something whole. As these slices of cube pass over the square’s vision, he suddenly catches a glimmer of depth. All of these individual planes could merge into a single unity. He can almost see it. Almost. No... it’s gone.

Still, in that second, he felt what he had no real ability to perceive or validate. He caught the trajectory, an impression that woke up an ache in his wee little heart for a reality beyond him.

I am telling you this story because I think we are but squares in a universe of cheese cubes.

I am not a great scholar of science or philosophy, but I have studied enough to begin to feel the limits of the human mind. I can tell that there is a very real possibility that we will not be able to measure or reason our way through all that is. We can snicker at the idea of angels and gods, but the wisest among us are only nonagons.

Tim Keller, in his book The Reason for God, cites an old Indian story about five blind men and an elephant. The men are asked to describe an elephant by feel, so the man at the trunk says the elephant is only a sort of tube, while the man at the tail says it is a rope. The man at the ears says it is like a rug, and the man at the side believes it is a wall. On and on, and we finally understand that only someone with sight can perceive the whole of what an elephant is at once. It takes a consciousness that transcends our own limitations to put all the parts in true perspective.

It is not that we can know nothing, for God has given us senses, logic, and reason as gifts of imago Dei. Yet when an ache rises, when the universe hints to us that there is more still, and by flicker, by a flutter, by a sudden flash of want and awe we are moved to Sehnsucht, perhaps these flat rocks are crying out to us. Perhaps this is the beginning of wisdom.

- - -

Art: "Still Life with Cheese" by George Bouzianis (1929-1932)

Two Glass Doors



















What were you thinking when you walked through those two glass doors?

Were your feet like lead?
Was your heart in your throat?

Were you afraid
because your parents would kill you if they knew?
Because you couldn’t figure out
how to pay for one more mouth to feed?
Because you were exhausted from trying?
Because you didn’t want a kid out there somewhere in the world
being raised by strangers?

Were you numb
because you had been down this road before?
Because you had already given yourself away so many times
that nothing was left to feel?
Because your own life had never been treasured,
and even now you feel like nothing more
than a clump of cells?

Were you grieving
because the baby wasn’t developing?
Because the test results promised a terrible life?
Because the man who got you into this trouble left you
with a broken heart and no easy options?
Because of complications nobody will ever understand.

Were you ashamed
because the baby’s father was married to someone else?
Because sleeping him was a mistake to begin with
and you knew better all along?
Because you didn’t think you were the sort of girl
who would ever end up here?

Were you angry
because you had to bear the consequences alone?
Because you got a uterus
and he got the freedom to walk away?

What did you feel walking out of those two glass doors,
dizzy from cramps and bleeding still,
looking for a life and desperately needing everything
to just be normal again?

And now you have to watch all of this rewind in full color.
A little hand spread out on pie plate
A little spine
A little leg.

My God, how I wish I could carry you through this.
I want to shield your eyes from the stories we have to tell.
I want to put my own body between you and your past.
Because there is grace for you.
There is grace for you.
There is grace for you.
I'm sorry I wasn't there to be a friend when you needed me.
Forgive me.

What do you think I think of you?
Do you know that when I see your choices I remember my own?
Do you know that I have used words and actions
to rip those who have threatened me to shreds?
I have dismembered the dignity of other human beings.
I have treated the flesh of my flesh clinically
instead of compassionately.

I have been afraid and impulsive,
making wrong decisions on dark, lonely nights.
I have been disoriented by loneliness.
I have been numb and cold.
I have been so terrified that I have snuffed out love's potential.

I am ashamed of myself, too.

You see me fight this battle with both fists,
and I will continue to fight those dragons that have ravaged you --
that have ravaged me,
but I would come off the battlefield when quiet falls
and pick you up and rock you
and listen to your story.

I would weep with you and not condemn you,
for we are the same,
two fools fooled by empty promises,
seeking resurrection.

- - -

Art: "No Doors or Windows" by Antoni Tapies (1993)

Sunday, Late July

Sunday afternoon, and I’m sitting on a picnic table under an open shelter at the local state park. I’m up on a hill that looks down on the lake, watching a bunch of people messing around in the water. Maybe fifteen preschoolers are held afloat by inflatable arm rings, and they are bobbing in orbit around their parents like Jupiter’s moons gone wild. The older kids are playing shark, sitting on each other’s shoulders, and dunking one another under the dirty green water.

If I were their mothers, I would be terrified about somebody drowning or getting a brain amoeba; but these are women who wear big sunglasses and tank tops while smoking cigarettes; they throw their heads back and laugh so easy. Some folks are able to live fully in the present, and they are probably healthier than I am because of it.

Under a tree shade a little way out from the water, a couple is sitting on a blanket, putting suntan lotion on each other. They’ve been going over the same spots six or seven times, kissing every few seconds, hugging and fondling. All these people are sitting around them, and they don’t seem to mind the audience a bit. The guy is wearing a doo rag and the girl has dry blonde hair grown out a couple inches from dark roots. They’ve got to be all sweaty in this heat. He's too pink, she is too burnt, and they are both too soft to win any beauty competitions, but they are each the whole world to the other this afternoon, and I'm glad those little kids in the water aren’t paying too much attention to what’s happening on the land.

I used to despise July, but over time I've grown to love it even better than spring’s shy, pink graces or the sad, sweet, cinnamon longings of autumn. July is heavy, lazy hot. It makes your joints loose. The leaves are hanging down from their trees trying to get spread out from one another, wilted and soft like the skin on the back of the hands of a middle-aged woman who has just finished a full sink of dishes. Wasps and grasshoppers rise in little whirring motions out of the tall grasses, and when a kid runs through them it’s like the earth is throwing confetti up at the sky.

I know that if I sit here long enough this place will tell me what it’s saying. Robert Capon once devoted an entire chapter to the cutting of an onion, and his ideas have changed my outlook on almost everything since. He urges the seer to take his time: “As nearly as possible now, try to look at it as if you had never seen an onion before. Try, in other words, to meet it on its own terms, not to dictate yours to it. You are convinced, of course, that you know what an onion is. You think perhaps that it is a brownish yellow vegetable, basically spherical in shape, composed of fundamentally similar layers. All such prejudices should be abandoned. It is what it is, and your work here is to find it out."

Plato looked into the heavens for forms that would explain the earth, but his disciple, Aristotle, chose to look at the earth to understand the heavens. A balance is wise, I think. Both are necessary. Still, the willingness to see what's close has a lot to do with why Flannery O’Connor was such a good writer.  It also explains why my friend Carey Pace digs photographic wonders out of whatever her kids happen to drag out in the kitchen today. Seers get down on their knees and explore a thing, because they know art isn’t about running off to grand places to find grand things, it’s about going inward and inward, into what’s already here, until you find out what the world has been telling you all along. Looking at details is humility, and it allows a disciple to recognize the Messiah when he shows up in Bethlehem or sometimes even in the middle of Wal-Mart.

A child is screaming hysterically. I think he has water up his nose. His big sister and brother are making a ring around him splashing as hard as they can, and he is mad that they aren’t empathetic. He has always been the baby and protected. Suddenly, he decides to smack the lake back at them until (haha!) he understands that he is both small and fierce. At once fury dissolves, and everyone is laughing, because all three kids are strong now, and that is camaraderie, which is something to celebrate. Their mother missed all of it, which was alright, because sometimes children need space to learn things instead of being refereed.

A new woman has entered the lake to swim. I didn’t see her until just this minute. Up until now, everybody in bathing suits has just been regular people, too white, too fat, wearing suits that look like they were bought two years ago with elastic that looks like it’s about to give up the ghost. But this woman is a thin, tan blonde in a firm coral bikini. She keeps tugging at the tied string that runs around the sides of her hips, but that looks like more of a habit than a necessity.

Every few minutes she bends over toward the children to run her fingertips in the water. She is a nympth, a transcendent wonder of the peasant gene pool. She is standing smack in front of the kissing couple on that blanket, but they aren’t kissing now because the man is leaning away from his woman, elbow planted way down into his knee so he can watch the bikini in the water. With the other arm he’s drinking one of those tall canned beers.

The woman on the blanket is angry. She angles her body away from him even while their rumps are still touching at the sides. He leans the other direction. They divide and divide, getting their spines to about a 45 degree angle before the woman on the blanket decides to change strategies and lie on her back with her glory up to the sun. As if on cue, the skinny nympth moves out of sight, and the boyfriend comes to himself and chooses to bless what he has been given instead of what has been taken away. All is forgiven. I don’t like to see them kissing, but I’m glad the pretty girl didn’t win.

A breeze is picking up because it’s about six thirty and the hot can’t hang in these mountains very long. That breeze is catching up the hair fallen down on the sides of my face, and it cools the sweat rolling down my back. I've been with people too much lately. My husband kicked me out of the house a few hours ago and told me to find somewhere quiet to settle down.

Lately I've been all stirred up about the rotten things happening in the world. Getting outside can do me some good when I get like this, but I don't know if it will today. I tried to read but couldn't focus, so I turned the speaker on my Kindle app and listened to a computer voice offering up Tim Keller’s thoughts on suffering. Keller knows the world is broken, but he says even if I fight like mad, I can’t change everything that's wrong, because sin's got itself all woven into everything.

He writes, “[p]ain and evil in this world are pervasive and deep and have spiritual roots. They cannot be completely reduced to empirical causes that can be isolated and entirely eliminated. As Hamlet said, 'There are more things in heaven and earth than are dreamt of in your philosophy. . . .' Perhaps even more to the point is a line in J. R. R. Tolkien’s novel The Lord of the Rings : 'Always after a defeat and respite, [evil] takes another shape and grows again.' No matter what we do, human suffering and evil can’t be eradicated. Even when you put all your force into stopping it— it just takes another form and grows in some new way. If we are going to face it, it takes more than earthly resources.”

Every penny in my pocket says “In God We Trust,” but the older I get, the more I see how often we don’t, neither the atheists nor the religious people like me who freak out and yell that everybody needs to trust Jesus and stop ruining my country. I need to learn to believe more, fight smarter, and fear less.

Besides all this, my oldest son is leaving for college in a few weeks, and the countdown makes every word we speak in our house feel so strange. I keep waking up at night with a feeling like he's two-years-old and lost in a department store. He's tall, muscular, wise. He's ready, but I'm not sure I am. Like everything with the first kid, I’m letting this become too big of a deal. He told me a few days ago, “Mom, do you realize you are bringing every conversation back to the dangers of substance abuse?”

It’s not that I don’t trust him, he’s a great kid. I just keep wanting to tell him something to settle my own nerves. These last few days feel like cramming for a test, and I want to write the answers to life all over him... not that I know all the answers to life, but I want him to have them. When he's at home, I'm gravitating around him, trying to make him sandwiches and finding excuses to sit close by. I’m going to miss him so much.

The woman on the blanket just stood up to wave at two kids in the water. She yelled and told to get over near the bank because there are jet skis coming. She’s a mother. I wasn’t expecting that.

There’s a blue chalk drawing on the shelter concrete. A child made it. There are six circle bodies drawn with six circle heads on top of them, then there’s another big circle drawn all around all of that, like children draw to signify that this all makes a family. Every child I've ever known has drawn families this way. It’s universal kid language. There is also one body drawn halfway through the large family circle, and I wonder who was meant by it. I wonder if that’s somebody who died, or somebody who got remarried, or somebody who grew up and left home for good. I want to find some blue chalk and fix that drawing so everybody gets in.

Have mercy, the couple on the blanket is rolling around. I mean it, they are wrestling in full daylight. The man is on top of her, and I see an arm flailing. She’s laughing, so I sit still, but other people are staring. They've been drinking too much and are making a tangle.

When they finally stop, they both stand up and shout at the kids in the water again. I realize that one of the kids is a teenage girl swimming with her boyfriend, and that those two are front to front, and the fella has lifted the girl up, carrying her. The momma tells them both to cut it out, then stands up and adjusts her shorts so she can take a few selfies before she sits back down.

There’s a walking trail that runs near the water, and people are making miles on it today. A young couple comes pushing a stroller. The mom is wearing her baby weight still, and it suits her beautifully. I’m not being kind, she’s radiant with maternity. Her head is wagging from not sleeping nights and her ponytail is a mess, but Dad is grinning and proud. I see her come up on the swimmers, and she’s panting, cheeks flushed. I can tell she doesn’t realize how beautiful she is, because her shoulders fold in like she’s ashamed of herself. Meanwhile that baby’s got his fat legs sprawled out wide and white, and he’s passed out from a belly full of milk, and the sunshine, and the motion of the stroller wheels. Dad doesn’t even notice the other women because he’s trying to make sure the other trail walkers get a good look at the child he helped make. I don’t blame him.

Two men with a little groomed dog. One swings his arms a lot while he’s talking and he walks kind of pinched in the back. The micro dog is leading both of them, and they wait for the pup to pee anywhere and sniff anybody he wants. I get judgmental and think that I'd make that dog mind a little better if he were mine.

An athletic girl in a yellow tank top walks on strong, brown legs. I remember that I need to start exercising.

Retired guy on a bike too small for him. He’s dressed up and wearing a helmet. Probably an engineer.

The shadows are starting to get longer.

Here comes an older couple. The woman is wearing a visor, a bright floral top, and Bermuda shorts. She is trim and looks like the sort of person who would cut sugar and salt in recipes and plan for when celery is on sale. She’s walking a few steps ahead of the man, and she seems comfortable there. Her husband looks a little lost, but he has wondrous round belly, round nose, round cheeks. I like him. She is alert and angular, as if she's been figuring things out for both of them all their lives. She carries her hand in a point and directs his eyes and thoughts with a finger. I suddenly realize that she was a teacher, probably fifth or sixth grade. He has a baseball hat pulled way down over his eyes.

I look down near the water and see that the blanket couple is packing up their stuff. They take it slowly, standing with their hands on their hips. The weekend is over. We’re all delaying, and no matter what differences there are between us, as evening falls on the park, a communal empathy starts to make everyone gentle with one another.

I missed church this morning, but this time of the day makes almost the same feeling I get Sunday mornings during the greeting when everybody turns around and says, “Peace of Christ to you," and suddenly you smell everybody’s aftershave and fabric softener because people are reaching across one another to make a welcome. I’d like to watch that greeting from the ceiling someday. I’d like to look at all the stillness, all the obedience, all the standing and sitting, quicken up into that glorious awkward flutter of fellowship.

Another Sunday gone. Another Sabbath that we all took to rest, and to love, and to swim, and to kiss. An afternoon to catch a breath from fear. A walk. A nap. An hour or two away from the noise. I don’t want Sunday to end. I don’t want July to end. I don’t want this stage of life to end, but time moves on and on. The peace of Christ to you.

- - - Painting: "Swimmers, Javea" (Detail) by Joaquin Sorolla (1905)

Ticker Farm













The sky was cool as a sunfish belly,
by high heaven flesh-flecked, flushed and gilded.
Fin-slit frolic, through icy glory swelling,
made her leap, split those thin waters. Threaded
by golden strands, dawn stitched God’s firmament
to the red clay of Ticker farm where Blythe
lined sea blue Mason jars on a time-bent
one-by-six under yellow cellar light.
It was a room dug deep, though not very,
a blank, earthen womb for harvest and babes
kept safe through summer storm; sweet, hidden plenties,
nestled against odds from middle wars waged.
Longing like hope cast by hook and line,
stretched from burial to whimsy.

- - -

Painting:  "Sunrise off Margate" by J.M.W. Turner (1775-1851)

Johnson Reel 100B

It’s a Johnson Century reel, model number 100B, made in the USA.  It used to be my Dad’s -- the reel I used when I went fishing as a kid.

There’s a white release button with a smooth indent where your thumb fits, and it makes a delicious click when you push it down. Even sitting on a 5-gallon bucket in the garage, I can’t hear that click without hearing also what comes next, the whirrrrrrrrrrrrrrrr of a line making hope’s arc to heaven, rising like the angel Gabriel leaving the Virgin Mary, then suddenly recognizing that he’d forgotten something. At its peak, that line is carried by gravity down to the earth, down into the dark, wet, green, down near the thick, red mud where the soul of a fish gets itself wooed.

“I will make you fishers of men,” Jesus said to those leathered few who already knew by trade how hard it was to fish for fish. Fish are fickle as women, and women are fickle as men, and I don’t know how to sink down into the shadows where I am called to go forth and woo, and to preach, and to mother, down in this cold, blind darkness.

The line wasn’t rolled up right the last time this reel was used, and somehow it’s got wound all around the rod handle. A big mess is hanging down in an irreverent tangle, looking like a pretty little blonde baby whose momma didn’t fix her hair before they went out to the I.G.A. to pick up a carton of cigarettes and a sack of light bread.

The top dome is covered in dust, and a crust has collected on top, bits of insects caught in webs, cat hair, and probably spider feces. I suppose there’s something living inside the casing. I want to look inside it, because I remember how it smells like old grease and turns my fingertips silver brown with the residues of metal and oil. Some of my first memories go back to this reel.

Dad always kept a Jon boat because he had character. I never did care for a bass boat, those shiny, loud river bullies, smelling like burnt gasoline and gaudied up with glitter. A Jon boat is quiet, dull, and simple. It lets you be a part of what's around you.

Sometimes when the fish weren’t biting, I would dip the tip of my rod in the water and let a line of it race down and drop on the dry sides of the boat. In full sun, the wet would dry straight off, and there was something hopeful about watching the mark you’d just made lighten back up into nothing.  A new beginning. A baptism. “Whiter than snow, whiter than snow, wash me, and I shall be whiter than snow,” the old people used to sing, and that lyric is woven all through the world.

The casing on the reel is racing green, which I should have told you straight off the bat. Any other color, and it wouldn’t be the same. There’s also a silver pinstripe run round the perimeter. The word “Johnson” is slanted to the right, like the bottom of those letters got stuck in 1982. A dial sits on the front of the reel over the thumb button. It’s got numbers 9 down to zero, and that’s your tension. Dad knows how to set it so it works. I’ve seen him sit at the kitchen table and take this whole thing apart. He knows where to drop oil in it and how to thread it with a strong new line.

When you’re fishing you need to give a little line for a strong fish, or it will just snap. That fish needs room to run and wear himself down. If it’s too loose, though, if there’s no resistance, he can wiggle off.

You do this, of course, after you’ve teased the booger into interest with a flickertail that catches the sunlight or with a night crawler pinched in quarters with your thumbnail. You do it after you’ve worked your way up under tree branches where it’s a little bit risky, knowing you might get hung up. Fish have personalities, some nibble, some yank and run… and you never know what’s coming, but when it happens, you have to decide what to do about it right then, when to set the hook, and when to give him space.

Lately I’ve been fishing for men like one of those Bubbas who throws a stick of dynamite in the water and collects the dead fish off the top with the net. The world got all messed up, and I’m impatient with it. People got everything upside down, calling good evil and evil good, and I want to share the gospel with a lit fuse and a ker-blam. I don’t feel like making an art of it any more, sitting still, and taking it one word at a time. “The end is near! The end is near!” Some days I'd rather use fire and brimstone or at least a plague of frogs.

Couple of turns, the dome comes off. It reminds me of those colored metal glasses old people would use for drinking sweet tea. Those glasses would burn your tongue with the cold, and they had a taste to them, kind of like touching your lip to a nine-volt battery. When the ice hit up against their sides, they binged like a dime store countertop bell. It was the best way to drink sweet tea, and a Johnson reel is the best way to catch a bluegill, I don't care what you say.

Still, I don’t know how to untangle this line. Dad would probably know. He’d probably sit at the table for hours taking it apart, but I'll just cut it and unwind the yellow outside layer off and pick up the end of a clean start. Thread it through the hole. Screw the lid down.

Lord, have mercy, I don’t know how to be a writer in a place like this, either. I can't fish these waters. Everything is so tangled up, I don’t know what to say to change anybody’s mind about anything.

But every day the sun still sets, and every evening you can still hear the water splashing laughter against the banks, and the Canadian geese are yakking at each other like women gossiping, and a cool, calm sinks down while the tree frogs make their chorus, and all the natural world turns pink and gold, and longs and aches for the return of the Christ, and I can feel him hovering over the surface of these waters, “Holy, holy holy.”

Here he comes, stirring order from all chaos, speaking “Let there be light,” here and there, just like He’s always done. He still loves this place, even when I get tired of it, and that makes me cry, because I stay so homesick. But here He is filling me up so that there’s nothing left to do but take a deep breath and look out upon the deeps, upon this ghostly netherworld, upon these shadowlands, and cast a line.

- - -
Painting: "River in the Forest" by Isaac Levitan (1886)

A Meaningful, Unhappy Life?

So many of my close friends are hitting terrible times lately. Marriages are blowing apart, careers that have cost everything are breaking down, and faith that once rose with simple ease is now hacking through high weeds.

Maybe it's just this stage of life we are all hitting. From where I sit, it seems like the twenties tend to be the idealistic years, the thirties tend to be the years of pushing yourself through troubles, but the forties... those are the years when deep fatigue hits. Maybe it's because our bodies are wearing down, or maybe it's just that old mid-life crisis thing, but a lot of people in my age group seem to finally admit that they can't keep holding the ropes that hold together the sides of their lives.

For many forty-somethings, what we have loved most is suddenly threatened. Maybe it's a beloved teenager who decides to try out some dangerous ideas. Maybe it's a spouse who abandons us emotionally or physically. Maybe a job is lost, or a trusted friend betrays us. Maybe this is the year a wife finally accepts her infertility. Maybe this is the year a single man decides to give up the search for a spouse. The reasons are varied, but as I listen to story after story, I find that many lives that have taken an unexpected, difficult turn. What do we do when life is so difficult that we can't make ourselves happy?

Yesterday I ran into one Keller's ideas that has challenged me in this area. He focuses on the difference between having a happy life and having a meaningful life. I'm going to include a quote of his below, then ask two questions at the bottom of this post.

- - -

"Victor Frankl, a Jewish psychiatrist who survived three years in the Nazi death camps, observed how some of his fellow prisoners were able to endure the horror and pass through it while others could not. The difference came down to what Frankl called meaning. The problem is that contemporary people think life is all about finding happiness. We decide what conditions will make us happy and then we work to bring those conditions about. To live for happiness means that you are trying to get something out of life. But when suffering comes along, it takes the conditions for happiness away, and so suffering destroys all your reason to keep living. But to “live for meaning” means not that you try to get something out of life but rather that life expects something from us. In other words, you have meaning only when there is something in life more important than your own personal freedom and happiness, something for which you are glad to sacrifice your happiness."

Tim Keller

- - -

1.  What if, instead of working so hard to try to make ourselves happy, we looked for meaningfulness during hard times, instead? What pressures would that relieve? What sort of distractions would it reduce?

2. Also, is it possible to have a sort of joy or peace even when you are unhappy? How are joy and peace connected to meaningfulness?

- - -

Painting:  "Rough Seas" by Eugene Boudin (1885)

If God Loved Me, He Wouldn't Let It Hurt This Much

When it became evident that our six-year-old daughter would need surgery to repair a hole in her heart, several Christians approached us with the exhortation to pray for her healing.

Some of those were humble believers so gentle that their intentions fell sweetly into our pain, even if their words weren't quite perfect. Other people were cocky. They seemed to think that the idea of praying for my daughter had never crossed my mind. One told me that I didn't know God well enough to pray correctly or she would have been healed already.

When your child has a serious illness, there's a certain humility that is forced upon you. I knew some of what was being told to me was bad theology; still, fear made me hesitant to roar. I felt like I was walking on a thin layer of glass, and I didn't want to do anything that might break us through into tragedy. The temptation was to become superstitious... like a primitive man trying to appease the gods by dancing around a fire... as if my patience might earn me some sort of favor with the Healer.

I had prayed for my daughter for like the mothers of sick children pray. If you have lived through a season like this, you know what I mean.

Every night I would wait until she fell asleep, then kneel in the dark beside her bed with my hand on her little chest and bang on the doors of heaven. My moods would come and go. Some nights I would argue with God, hauling the dusty, colossal rings of Saturn back to him and asking him why he would go to so much work to make something beautiful so far away, but wouldn't repair a nickel-sized hole a few inches from my fingers.

Then I would become meek, hoping that he would not resist a penitent heart. I confessed my sin. I confessed our nation's sins. I fasted.

I tried to step out into childlike, optimistic belief, believing healing had already happened. Then I would sit frozen in a cardiologist's office during the next sonogram, barely breathing, unable to make simple conversation with the technician who ran a wand over her little ribs, watching a monitor pumping blue and red, and realizing that nothing had changed.

I hadn't been doing prayer right? Maybe. Or maybe God had another purpose in this difficult time that I couldn't see as a young mother.

Ten years have passed since my daughter's successful operation, and I still pray for miracles. Over the years, I've seen some of my prayers answered in the ways I had hoped. I've also prayed prayers that left me feeling like I'd fallen off a swing. "No, God. That's not what I was asking for at all."

Sometimes prayer seems to move the hand of God so easily, like blowing on a feather falling through the air. Other times, prayer feels like you are trying to move a military tank with just your own two hands.

Or maybe all of this is because I don't always pray desiring to conform myself to God, but attempting to conform God to me. I can pray looking for a steering wheel. I like to be in control, I don't like pain, and there's a big part of me that resists the prayer, "Not my will, but Thine." On an easy day I can tell God that I want to be his bond servant, but in crisis, I tend to approach him like a cosmic vending machine, attempting to trade the right sort of prayers for a prize. 

Resignation is hard, but what has been even harder has been believing that he loves me, even when His answer is temporarily painful. How could he love me if he's going to let me be in agony? How could my life falling apart possibly be a good thing in the long run?

Yet Tim Keller writes about how important it is to believe that God loves us in the midst of suffering. A quote from his book _Walking with God through Pain and Suffering_ is below, and I'll also include a few discussion questions at the bottom.

- - - -

"But though God’s purposes are often every bit as hidden and obscure as they were to Job and to the observers at the foot of the cross, we— who have the teaching of the Bible and have grasped the message of the Bible— know that the way up is down. The way to power, freedom, and joy is through suffering, loss, and sorrow. Not that these bad things produce these good things automatically, or in some neat quid quo pro way. Suffering produces growth in us only when we understand Christ’s suffering and work on our behalf. Luther taught, 'Christians cannot suffer with Christ'— that is, they cannot imitate his patience and love under pressure—“ before they have embraced the full benefits of Christ’s suffering for them” in their place. Luther had known in his own experience how much suffering tears us apart if we are uncertain of God’s love for us. The medieval teaching that we can earn God’s favor by the quality of our patience under suffering simply did not work. That could never give peace to the conscience, because we could never know whether we were suffering with a sufficient degree of submission and purity of heart. And Luther rightly believed that this peace of conscience was perhaps the single most important prerequisite if suffering is to be faced well. We must not try to use patience to earn our peace with Christ— we need the peace with Christ already if we are going to be patient. We must rest in the sufficiency of Christ’s sufferings for us before we can even begin to suffer like him. If we know he loves us unconditionally, despite our flaws, then we know he is present with us and working in our lives in times of pain and sorrow. And we can know that he is not merely close to us, but he is indwelling, and that since we are members of his body, he senses our sufferings as his own (cf. Acts 9: 4; Col 1: 24.)"

- - - -

1. Is it more difficult for you to believe that God can accomplish miracles or that he loves you when he doesn't answer your prayers?

2. Have you ever attempted to earn God's favor by exercising patience during suffering? What difference would it make to reverse that and rest in the sufficiency of Christ, knowing you are unconditionally loved, even as you are hurting?

- - -

Painting: "Job Désespéré" (Job in Despair) by Marc Chagall (1960)

Pressure to be O.K.

When Christians are suffering, well-meaning friends sometimes urge them to repress their feelings and embrace peace. However, the goal of emotional detachment is borrowed more from Eastern religions than from Christianity.

We certainly don't see this model in Jesus. Jesus felt intensely, and he was honest about his anguish. His path of obedience to His father did not deny feelings but went through them.

Tim Keller writes:

"In Christianity there is no diminution of sensitivity, but a mellowing of the soul in totally enduring suffering.” Again, we see this in Jesus himself. In the Garden of Gethsemane, he said, “My soul is overwhelmed with sorrow even to the point of death” (Mark 14: 34) and his anguish was such that his bloody sweat fell to the ground as he prayed (Luke 22: 44). He was the opposite of tranquility. He did not detach his heart from the good things of life to achieve inner calm but instead said to his Father, “Not my will but thine be done” (Mark 14: 36)."

1. If you are suffering, do you feel like you have room from the Christian community to be in anguish? If you feel overwhelmed and sorrowful to the point of death, can you be honest about that?

2. What about that next step of resignation that Jesus models for us? Are you attempting to medicate your anguish by earthly remedies (chemical substances, relationships, shopping, zoning out on the internet, etc.), or are you you kneeling in full honest pain before God and crying out, "Not my will but thine be done?"

- - -
Painting: "Gethsemane" by Albert Bloch (1948)

Is Pain Pointless?

Tim Keller's background in philosophy tends to help him see where his beliefs fit into the beliefs of the world as a whole. He's oriented in time and geography like few other Christian writers I have read.

In regard to suffering, Keller has noticed that the fundamental beliefs of Americans/Westerners tend to affect how we understand painful times. In non-Western worldviews, suffering is seen as an opportunity to help people "rise up and move toward the main purpose of life, whether it is spiritual growth, or the mastery of oneself, or the achievement of honor, or the promotion of the forces of good." Keller writes that those in pain "are told that the key to rising and achieving in suffering is something they must take the responsibility to do. They must put themselves into a right relationship to spiritual reality" (Keller 19).

However, in our culture, the primary goals of life tend to be independence and happiness. We have been taught that the material world is all there is, so suffering isn't perceived as an opportunity but a roadblock.

Keller states that "if the meaning of life is individual freedom and happiness, then suffering is of no possible “use.” In this worldview, the only thing to do with suffering is to avoid it at all costs, or, if it is unavoidable, manage and minimize the emotions of pain and discomfort as much as possible" (23).

Atheist Richard Dawkins exemplifies this belief by writing: "The total amount of suffering per year in the natural world is beyond all decent contemplation. . . . In a universe of blind physical forces and genetic replication, some people are going to get hurt, other people are going to get lucky, and you won’t find any rhyme or reason in it, nor any justice. The universe that we observe has precisely the properties we should expect if there is, at bottom, no design, no purpose, no evil, no good, nothing but pitiless indifference."

1. It's impossible to live inside a culture without getting a little of it inside you. So how much of the Western view of suffering have you embraced without realizing it? Do you think hurting is pointless?

2. Do you think that life will begin after your present suffering ends, or is there something valuable to be learned even inside this present pain? It can be hard to imagine that any good whatsoever is being done when we are breaking, coming to the ends of our strength, and feeling like failures. When everything we treasure falls like sand through our fingers and we find ourselves in the desert, what then?

3. In the disorientation of hurt, is it possible to be fully human, fully honest, to beg God for mercy, and yet to believe that He is working out some sort of plan? If you are in the midst of the doubts that come with anguish, take a breath. You are seen. You are known. His grace is sufficient. This story isn't over yet.

- - -
Painting: "A Prison Scene" by Francisco Goya (1808-1814)

A Diagram of Suffering

I'm reading Tim Keller's Walking with God Through Pain and Suffering. He's one of my favorite writers, and this book is phenomenal so far. Here a schematic way to look at suffering that is included in this book.

Which belief system fits your perceptions best?

John 9



















I gathered up the world from shadows on a cave wall.

Fire casts for me a mother, full of milk and worship,
and a father who smelled like the fields.

He laughed deep thunder,
“See here! See here!
See the favor of God!
A son!”

Father loved me until I was found blind,
then the roar diminished to a whisper,

“God has brought our darkness into the light.
This is the child of our comeuppance.”

Passing time without sight you have room to listen.
I learned every inflection of shame.

Mother walked to town collecting the faults of young girls,
Pretty Ahuva who walked tossing her head,
Hadar who looked straight into the eyes of grown men.
Their wrongs were gathered and sifted in a harvest of deflection.
Father worked hard as three men and grew silent.

It was Sabbath when earth was mixed
with the water of divinity.
I washed and came to know the day fire.
Not knowing to look away
I stared full into the sun
thinking pain was sight.

The first time I saw the face of my mother
I did not recognize the look of hope
for all was new to me.
So I shut my eyes and heard
the sound of darkness breaking.

The second time I saw the face of my father
I was taught the shape of denial.
“He is of age. Ask him.”

Then came the Healer.
He mixed the heaven into the earth.
He was like summer rain,
and he laughed like a storm passing.

“See here! See here!
See the favor of God!
A son!”

- - -

Painting: "The Blind Man" by Albert Bloch (1948)