Annunciation

Mary couldn't say she wasn't warned. The angel came with an Easter lily in his hand and stood so still he could have been one of the columns in the loggia where they met. Mary had trouble hearing what he said and afterward thought it might have been just a dream. Even so, it troubled her.

It was not until later that the real trouble came. The real trouble came when what the angel announced would happen happened, but in a way she couldn't have dreamed: squatting there in the straw with her thighs wrenched apart, while out of her pain she dropped into the howling world something that looked like nothing so much as raw beefsteak: who was the one the angel had said was to be called Holy, the Son of the Most High: who was the Word itself fleshed withof all fleshhers.

~originally published in Wishful Thinking and later in Beyond Words

Anorexia

Nothing for breakfast. A diet soda for lunch. Maybe a little lettuce with low-calorie dressing for supper. Or once in a while, when everybody has gone to bed, a binge on ice cream, which you get rid of in the bathroom later. Relentless exercise. Obsession with food, cooking great quantities of it for everybody except yourself. In time you come to look like a victim of Dachau the sunken eyes and hollow cheeks, the marionette arms and calfless legs. If you are a woman, you stop menstruating. If you are told your life itself is in jeopardy, it makes no difference, because not even dying is as fearsome as getting fat, a view that the combined industries of fashion, dietetic food, and advertising all endorse. In every respect but this, you may be as sane as everybody else. In this, you are mad as a hatter.

Anorexia seems to be a modern disease, but old phrases like pining away and wasting away suggest it may have been around unnamed for a long time. Nobody seems to know what it's all about, though there are endless theories. Young anorexics want to strike free of parental control, they say, and where does it assume a more elemental form than in "Take a bite for Mummy, a bite for Daddy"? So that is where they draw the battle line. The more desperately they are urged to eat, the more desperately they resist. Their bodies are their last citadel, and they are prepared to defend them literally to the death. Yet on the other side of it, of course, they desperately need Mummy and Daddy and are scared stiff of the very independence they are fighting to achieve.

The craving to be free and independent. The craving to be taken care of and safe. The magic of the sickness is that it meets both these cravings at once. By not eating you take your stand against the world that is telling you what to do. By not eating you make your body so much smaller, lighter, weaker that in effect it becomes a child's body again, and the world flocks to your rescue. Is something like this at the heart of it?

Most anorexics are young women. Feeling that a male-dominated world has given them no models for what full womanhood means, do they believe that the golden key to that Wonderland garden is to make themselves as little as Alice had to in order to pass through the tiny curtained door? Who can say for sure?

But at least one thing is sure. By starving themselves, anorexics are speaking symbolically, and by trying above all else to make them start eating again, their families are in their own fashion speaking back the same way. Far beneath the issue of food there are, on both sides, unspoken issues of love, trust, fear, loss, separation. Father and mother, brother and sister, they are all of them afflicted together, acting out in pantomime a complex, subterranean drama whose nature they are at best only dimly aware of. And so, one way or another, are we all.

"So then, putting away falsehood, let all of us speak the truth to our neighbors, for we are members one of one another," says the author of Ephesians (4:25), and that is the heart of the matter.

"I need you." "I need to be myself." "I am afraid." "I am angry." "I am in pain." "Hear me." "Help me." "Let me try to help you." "Let us love one another." If we would only speak the truth to one anotherparents and children, friends and enemies, husbands and wives, strangers and loverswe would no longer have to act out our deepest feelings in symbols that none of us understand.

In our sickness, stubbornness, pride, we starve ourselves for what we hunger for above all else. "Speaking the truth in love" is another phrase from Ephesians (4:15). It is the only cure for the anorexia that afflicts us all. 

~originally published in Whistling in the Dark and later in Beyond Words

Anxiety

"Have no anxiety about anything," Paul writes to the Philippians. In one sense it is like telling a woman with a bad head cold not to sniffle and sneeze so much or a lame man to stop dragging his feet. Or maybe it is more like telling a wino to lay off the booze or a compulsive gambler to stay away from the track.

Is anxiety a disease or an addiction? Perhaps it is something of both. Partly, perhaps, because you can't help it, and partly because for some dark reason you choose not to help it, you torment yourself with detailed visions of the worst that can possibly happen. The nagging headache turns out to be a malignant brain tumor. When your teenage son fails to get off the plane you've gone to meet, you see his picture being tacked up in the post office among the missing and his disappearance never accounted for. As the latest mid-East crisis boils, you wait for the TV game show to be interrupted by a special bulletin to the effect that major cities all over the country are being evacuated in anticipation of nuclear attack. If Woody Allen were to play your part on the screen, you would roll in the aisles with the rest of them, but you're not so much as cracking a smile at the screen inside your own head.

Does the terrible fear of disaster conceal an even more terrible hankering for it? Do the accelerated pulse and the knot in the stomach mean that, beneath whatever their immediate cause, you are acting out some ancient and unresolved drama of childhood? Since the worst things that happen are apt to be the things you don't see coming, do you think there is a kind of magic whereby, if you only can see them coming, you will be able somehow to prevent them from happening? Who knows the answer? In addition to Novocain and indoor plumbing, one of the few advantages of living in the twentieth century is the existence of psychotherapists, and if you can locate a good one, maybe one day you will manage to dig up an answer that helps.

But answer or no answer, the worst things will happen at last even so. "All life is suffering" says the first and truest of the Buddha's Four Noble Truths, by which he means that sorrow, loss, death await us all and everybody we love. Yet "the Lord is at hand. Have no anxiety about anything," Paul writes, who was evidently in prison at the time and with good reason to be anxious about everything, "but in everything by prayer and supplication with thanksgiving let your requests be made known to God."

He does not deny that the worst things will happen finally to all of us, as indeed he must have had a strong suspicion they were soon to happen to him. He does not try to minimize them. He does not try to explain them away as God's will or God's judgment or God's method of testing our spiritual fiber. He simply tells the Philippians that in spite of themeven in the thick of themthey are to keep in constant touch with the One who unimaginably transcends the worst things as he also unimaginably transcends the best.  

"In everything," Paul says, they are to keep on praying. Come Hell or high water, they are to keep on asking, keep on thanking, above all keep on making themselves known. He does not promise them that as a result they will be delivered from the worst things any more than Jesus himself was delivered from them. What he promises them instead is that "the peace of God, which passes all understanding, will keep your hearts and your minds in Christ Jesus."

The worst things will surely happen no matter whatthat is to be understoodbut beyond all our power to understand, he writes, we will have peace both in heart and in mind. We are as sure to be in trouble as the sparks fly upward, but we will also be "in Christ," as he puts it. Ultimately not even sorrow, loss, death can get at us there.

That is the sense in which he dares say without risk of occasioning ironic laughter, "Have no anxiety about anything." Or, as he puts it a few lines earlier, "Rejoice in the Lord always. Again I will say, Rejoice!"

(PHILIPPIANS 4:4-7)

-Originally published in Whistling in the Dark

Apologists

C.S. Lewis once said something to the effect that no Christian doctrine ever looked so threadbare to him as when he had just finished successfully defending it. The reason is not hard to find.

In order to defend the faith successfullywhich is the business of apologiststhey need to reduce it to a defendable size. It is easier to hold a fortress against the enemy than to hold a landscape. They try to make each doctrine as it comes along sound as logical and plausible as they can. The trouble, of course, is that by and large logic and plausibility are not the heart of the matter, and therefore apologists are apt to end up proclaiming a faith that may be quite persuasive on paper, but is difficult to imagine either them or anyone else getting very excited about.

The other danger is that apologists put so much effort into what they do that they may end up not so much defending the faith because they believe it is true as believing the faith is true because they have worked so hard and long to defend it.

~originally published in Whistling in the Dark and later in Beyond Words

Art

"An old silent pond.

Into the pond a frog jumps.

Splash! Silence again."

It is perhaps the best known of all Japanese haiku. No subject could be more humdrum. No language could be more pedestrian. Basho, the poet, makes no comment on what he is describing. He implies no meaning, message, or metaphor. He simply invites our attention to no more and no less than just this: the old pond in its watery stillness, the kerplunk of the frog, the gradual return of the stillness.

In effect he is putting a frame around the moment, and what the frame does is enable us to see not just something about the moment, but the moment itself in all its ineffable ordinariness and particularity. The chances are that if we had been passing by when the frog jumped, we wouldn't have noticed a thing or, noticing it, wouldn't have given it a second thought. But the frame sets it off from everything else that distracts us. That is the nature and purpose of frames. The frame does not change the moment, but it changes our way of perceiving the moment. It makes us notice the moment, and that is what Basho wants above all else. It is what literature in general wants above all else too.

From the simplest lyric to the most complex novel and densest drama, literature is asking us to pay attention. Pay attention to the frog. Pay attention to the west wind. Pay attention to the boy on the raft, the lady in the tower, the old man on the train. In sum, pay attention to the world and all that dwells therein and thereby learn at last to pay attention to yourself and all that dwells therein.

The painter does the same thing, of course. Rembrandt puts a frame around an old woman's face. It is seamed with wrinkles. The upper lip is sunken in, the skin waxy and pale. It is not a remarkable face. You would not look twice at the old woman if you found her sitting across the aisle from you on a bus. But it is a face so remarkably seen that it forces you to see it remarkably, just as Cezanne makes you see a bowl of apples or Andrew Wyeth a muslin curtain blowing in at an open window. It is a face unlike any other face in all the world. All the faces in the world are in this one old face.

Unlike painters, who work with space, musicians work with time, with note following note as second follows second. Listen! say Vivaldi, Brahms, Stravinsky. Listen to this time that I have framed between the first note and the last and to these sounds in time. Listen to the way the silence is broken into uneven lengths between the sounds and to the silences themselves. Listen to the scrape of bow against gut, the rap of stick against drumhead, the rush of breath through reed and wood. The sounds of the earth are like music, the old song goes, and the sounds of music are also like the sounds of the earth, which is of course where music comes from. Listen to the voices outside the window, the rumble of the furnace, the creak of your chair, the water running in the kitchen sink. Learn to listen to the music of your own lengths of time, your own silences.

Literature, painting, musicthe most basic lesson that all art teaches us is to stop, look, and listen to life on this planet, including our own lives, as a vastly richer, deeper, more mysterious business than most of the time it ever occurs to us to suspect as we bumble along from day to day on automatic pilot. In a world that for the most part steers clear of the whole idea of holiness, art is one of the few places left where we can speak to each other of holy things.

Is it too much to say that to stop, look, and listen is also the most basic lesson that the Judeo-Christian tradition teaches us? Listen to history, is the cry of the ancient prophets of Israel. Listen to social injustice, says Amos; to head-in-the-sand religiosity, says Jeremiah; to international treacheries and power plays, says Isaiah; because it is precisely through them that God speaks his word of judgment and command.

And when Jesus comes along saying that the greatest command of all is to love God and to love our neighbor, he too is asking us to pay attention. If we are to love God, we must first stop, look, and listen for him in what is happening around us and inside us. If we are to love our neighbors, before doing anything else we must see our neighbors. With our imagination as well as our eyes, that is to say like artists, we must see not just their faces, but the life behind and within their faces. Here it is love that is the frame we see them in.

In a letter to a friend Emily Dickinson wrote that "Consider the lilies of the field" was the only commandment she never broke. She could have done a lot worse. Consider the lilies. It is the sine qua non of art and religion both.

~originally published in Whistling in the Dark and later in Beyond Words