Beyond Our Ken

Wednesday, October 5th, 2011

It’s rare that people pay a first visit to our old farmhouse without asking if we have ghosts.

I can hardly blame them; I wondered the same thing the first time I came here. It’s certainly haunted with its own past, standing there under its trees, brooding gently over vanished things like a wise old woman holding tryst with memory. It arrests me every time I pull in the drive.

If my husband is present I cut him a sly smile. We love to creep each other out occasionally in the night watches—an impishly easy task, with all these shadowy corners and creaking floorboards—and then laugh at ourselves the next morning. But he knows that I’m not fool enough to tempt fate with a bald-faced commitment beneath the very roof I have to sleep under that evening.

Instead, I usually reply with a shrug of the shoulders and an ambiguous, “We-ell…” that could go either way. If I’m feeling particularly sure of my company, I may quote C.S. Lewis by adding playfully that, “if my house is haunted, it’s haunted by happy ghosts.” Indeed, the folks who built this place over a century and-a-half ago were good, God-fearing Methodists, and apart from some serious Civil War action in the front yard, the rowdiest times it’s seen were probably Wednesday night prayer meetings in the front parlor.

But any home that’s been around for as long as ours has undoubtedly seen its share of things worth telling. The romance of an old house is its story, and it still happens from time to time that some descendant will show up on our doorstep bearing a thread of the tale we haven’t heard—or, at least, that version of it. Not too long ago, a grandson of the last generation of the original owners came by for a visit and held us enthralled a full summer morning with a running narrative as we wandered over the lawn, down to the barn, up to the house again and through the cool, high-ceilinged rooms. We heard the old, familiar ghost stories, told with such an artful relish that Philip and I couldn’t help exchanging a few grins of genuine glee. There were flesh-and-blood accounts, as well, tales of the men and women who had once been as alive in these rooms as we are today. The old gentleman’s stories made them live once more, if only in the sudden match-flare of the telling.

But there was one story I had never heard before. We were standing on the front porch saying our goodbyes when our guest paused and looked at me with an appeal in his eyes.

“Just one more.”

We fairly begged for it, while his wife tilted her head and shifted her purse on her arm with an indulgent smile. She must have seen that eager boy-light on his face just as plainly as we did.

“Well, it happened like this,” he began, with the drawling ease of the raconteur at home in his calling, “back in the old days it’d get so hot in the summer it was just unbearable, and the folks all used to sit out here on this porch in the evenings trying to keep cool. One night my daddy was sitting with his cousin, who’d come for a long visit. They were just rocking and talking and everything was still—it was long about sunset. All of a sudden, my daddy’s cousin jumped up with a shriek and took off running towards the road. You know the old road used to come down right through the middle of your front pasture there,” he gestured with a flourish, not waiting for a reply. “Well, my daddy just sat here watching her with his mouth gaping—he thought she’d taken a sudden fit as he couldn’t see a blamed thing. And when she came back, she was crying like her heart was broken.”

“’It was my brother,’ she said through her tears. ‘I saw him standing there right at the bend, but when I got to him, he wasn’t there anymore.’

“That would have been strange enough,” said our narrator, in a voice that sent a cold crinkle up the back of my neck, “but for the fact that they got word the next day that her brother had died unexpectedly, to the very hour and moment she’d seen him standing there at the bend in the road.”

The hair stood up on my arms and I felt the goosebumps chilling down my legs. It wasn’t fear I felt so much as awe—a trembling wonder at the thinness of the veil before which we’re all disporting our lives away with so little thought for the mysteries on the other side. I walked along the drive after our guests had gone and stood leaning on the fence, gazing at the spot where so extraordinary and inexplicable a thing had reportedly occurred. A soul taking leave of an absent loved one on the cusp of its long flight? Was it really possible?

We sat out on the porch that night, long after dark, watching the fireflies kindle their elven lamps in the trees around the house and along the old, memory-haunted roadbed through the front pasture. I eased my rocking chair back and forth and then tucked my legs up under me in the cane-bottomed seat.

“Why doesn’t it happen anymore?”

I asked it soft, whispered in the warm gloom, but my husband knew exactly what I was talking about. Why do all such stories seem relegated to the distant past? Why is the average modern life so strangely insulated from the unexplained?

Is it because we’re all inside watching TV? “Distracted from distraction by distraction”? Or have we grown too old and wise as a race to admit that there are things in this world—things Scripture is silent on and Science can’t explain—that we will never understand till we shake off this mortal coil? As Christians we are fortified by the promise that we’re peering through a glass on the eternal verities, that God in his grace has given us a view from a window the world can’t see. But it’s a dark glass, and things pass before it that our time-bound vision just can’t distinguish yet. Like a character in a George MacDonald fantasy, we’re all growing into our eyes and learning the meaning of a dual citizenship. We’re learning to see what’s at the end of our nose.

I’m no theologian, but my guess is that modern Christianity has lost much of its romance simply because we think we’re already there. We’ve talked the mystery out of it and we’ve slapped a tidy label over the imponderables. Anything that can’t be explained is suspect or tossed on the rubbish heap. We have lost our fairy birthright of the What-If.

What if souls were really permitted impossible leave-takings? What if there was life out there in the star-hung heavens, in another galaxy than our own? What if the scrim were really so thin and time so nonlinear that one could experience a sense of place deeply enough to actually share it for one fleeting moment with the ones who had once loved it as they do—or at least catch the rustle of a silken skirt in the hallway behind them?

I’m not making a case for ghosts, of course, but for the mere character of a God who can do anything. Who is more fierce, more wildly tender, more untamed and untrammeled than our craziest dreams could make him out to be.

Not different than what our Bible so faithfully tells us, but more.

We’re all trembling on the brink of a wildness that is terrifying and exquisite beyond anything our earthly experience could prepare us for. But I have to wonder if God doesn’t occasionally drop hints of the surprises he has in store: glimpses of a goodness we couldn’t bear even if we were able to conceive of it.

A few years ago I had the inexpressible privilege of watching at my grandmother’s deathbed. I was holding one of her tiny hands, still so lovely and ladylike yet strangely ashen with a marble pallor. My mother had her other hand and Daddy was at her head. I will never forget the peace of that place or the curious sense of joy that kept tugging at my grieving heart. I remember there was an April breeze coming in at the open window, lifting the sheets lightly and fanning wet cheeks, and the day outside was pale and silvery, as if too much sunlight would be an insult to our sorrow. We had been there for hours, noting the least change and talking quietly about the things we loved best about her, when suddenly I was completely overwhelmed by the thought of how beautiful it must be to die surrounded by those who love you so dearly—to be escorted thus from one love to Another. What a crown to a life, wiping away all the ravages of suffering and disease and leaving only beauty and blessing in its wake.

I saw the tired features relax; an unmistakable calm came over the dear face that had been agitated by Alzheimer’s for so many years. It was incredible—like a healing before our very eyes.

And it was then I knew beyond all doubt and misgiving that there was a Presence in that room: a Glory that would be our undoing if it were fully revealed. The air was heavy with it, yet not oppressed; I looked at my mother and I knew that she sensed it, too. I have heard people speak of such things; I have read of it in books. But I know now what their accounts have been fumbling for. I could never explain it to another. But eternity was so, so near. Or, rather, a curtain was lifted, wavered a bit, and I saw how near it’s been all along.

It was an experience that marked me for life and I thank God for such a peep behind the scenes, fleeting and fragmentary as it was. But we can’t dwell in such sublimities, of course, or we’d be no good for the ordinary blessedness of the common hours. To live unceasingly aware would be, as George Eliot so prudently put it, “like hearing the grass grow and the squirrel’s heart beat, and we should die of that roar which lies on the other side of silence.”

It is good for me, however, when I find myself too “well-wadded with stupidity”, to be shaken out of my complacent notions of a safe universe and a tame God by a nudge of the incomprehensible.

Even if it’s only a bump in the night that makes me think that the lights can stay on upstairs just this once.

originally published June 2011 on The Rabbit Room

A Goodly Heritage

Thursday, November 25th, 2010

the king of the bottomlands

Thanksgiving, like any other beloved memorial with which the years are reckoned, has its own certain types, its venerable standard of ‘brightest and best’ against which each year’s observance is weighed. They may all—or most—be cherished in our hearts, a mellow, collected memory of loved rituals and the loved ones that give them meaning. But for each of us, there is a Thanksgiving or two amid our personal gathering of days that shines out like a beacon, a flashing lamp of gold scattering any hint of dark discontent or faltering hopes and illumining each successive holiday with the inspired light of God’s faithfulness. A Thanksgiving that epitomizes the meaning of the day—a thanks that is as much a forward-reaching as a tallying of the past and grants a brief, albeit unforgettable taste of the gratefulness that should overwhelm us all every moment of our lives.

Such a Thanksgiving was mine the year I was twenty-four.

It wasn’t the first time Philip had taken me to the farm—we had been on a jaunt one Saturday earlier that autumn, scarcely two months into our relationship, on the distinct errand of meeting his grandparents, towards whom he held the most reverential love. I had been honored that day with every possible mark of kindness and affection: a steaming country breakfast during which I sat in the old kitchen trying to take it all in with wide-eyed amazement, nodding helplessly as Philip’s grandmother offered more eggs and blackened bacon and crisp toast with a homemade grape jelly that still haunts my dreams. An afternoon spent wandering over the farm itself (of which Philip’s grandfather knew every square inch) and a sudden opportunity to distinguish myself with a rifle and a tin can. Homemade ice cream for supper simply because I happened to let fall the comment that I loved it. It was one of the happiest days I have known, and deserves a story all its own. I was loved without pretense that day and without scruple—lavishly, as practically as only real salt-of-the-earth people can love, nourished body and soul and enfolded with acceptance simply because I was their Philip’s girlfriend.

But Thanksgiving was a little overwhelming, excited as I was to be going back to the farm and thrilled to hold that place at Philip’s side. The front porch was filled with cousins as we drove into the yard: the little house seemed to be bursting at the seams. Inside the clamor was gorgeously unruly. At this distance it all appears a blur of laugher and bellowed greetings and hand-shakings and back-slappings. What felt like a thousand introductions amid a dizzying array of kinfolk and a constant noise of doors slamming and the happy clanging of pots and pans like a ripening overture issuing from the kitchen. And over all, the pervasive aroma of fried okra, ‘accidentally’ burnt just like Philip liked it.

I hardly fathomed how we all fit into that minuscule kitchen, with its whitewashed walls and open shelves bearing the household wealth of tea pots and home-canned goods. But we managed to form ourselves into a semblance of a line and made our way, plates in hand, down the festal countertop bearing a year’s bounty of garden and orchard (among which my little jar of cranberry conserve made a shy showing). And we all managed, likewise, to find a place to perch with our food: Philip and I sat on the porch swing in the benevolence of one of our mild November days and chatted with cousins on whose names I kept inwardly drilling myself.

Philip’s grandfather had taken us out over the farm on foot, at a firm clip we could scarce keep pace with, pointing out all the newest marks of his industry with the serenity of an artist that knows his handiwork is good. A watering hole for the cows, freshly dug; a row of hedge knocked down; a section of pasture newly cleared. Philip and I walked beside him hand in hand as he strode over the grassy hilltops, tranquil king of his domain, talking all the while of this land he loved so fervently and which had been loved before him by those long gone.

After lunch we set out in the Explorers, Philip’s brothers and his father and grandfather, bouncing over the rutted lanes to the very loveliest part of the farm: the bottomlands. There was a fallen tree about the eastern fringe that must needs be split into firewood: a thinly-veiled ruse for male companionship in manly labor which I now know characterizes this clan of industrious souls. It was just that time in the afternoon when the waning autumn light was throwing out its last glittering standards of the day, spears and arrows of radiance amid the long, spare shadows of nearly-leafless trees. The remaining bits of brightness among the branches, tatters and shreds of a late finery, glowed as if the light had consumed them and granted in the act the real identity of their color.

the bottomlands in autumn sunlight

As the men fell to work, splitting and hauling with many a cheerful observation on the task, I sat by on a log, needlework in hand, chatting with the lovely young woman I was trying not to let myself think would be my sister-in-law. The sun went down before our eyes in a glory of rose and gold and a train of apricot cloud that reached far over our heads and away to the east. It was the most beautiful sunset I have ever seen, and I never set foot on the bottoms without the memory of it. But the loveliest part of it—the beauty behind the beauty—was the setting and the significance. These people all gathered for love: three generations working together for love and their ladies sitting by for love and the look in Philip’s eyes as he glanced up at me from time to time. Such burdens of joy can scarce be borne by our frail human frame and such moments are as eternal as eternity itself. What timelessness towards which their fleeting instants point and their golden standards raise!

When the trees were dark against the horizon and the dusk took on a chill, we all loaded into the trucks and headed back. How lovely to come upon that little clapboard house by the road, all cheerfulness of chrysanthemums and tidy shrubs without, all the gladness of warmth and light and good food within. It was no surprise to find dinner on the table, crowned with the legendary holiday delight of Philip’s grandmother’s teacakes. Men may laud the immortal savor of a good mess of greens and women may perfect to a high art the delicate layerings of a true angel biscuit. But give me Philip’s grandmother’s teacakes any day for real Southern comfort food. As I sat there at the table among these people I never dreamed I’d even know a year previous, it suddenly dawned on me with a quiet, confident joy that these would be my family. That this would be my life—a life for which I had been prepared for all my life at the side of this man for whom I had prayed for as long as I could remember. The thought took my breath and I blinked at the happy tears in my eyes.

“Father,” was my silent thanksgiving, “I couldn’t have asked for this.”

I wouldn’t have dared had I dreamed enough to ask it.

Quick as a flash a sweet response met my rejoicing, a bit of Browning that had lain in hopeful repose for so many years:

“God’s gifts put man’s best dreams to shame.”

It was the last big family Thanksgiving on the farm, and thanks be to God, not a one of us suspected it. By the next year Granddaddy was gone: Philip’s aunt had sung Poor Wayfarin’ Stanger for him one last time at a standing-room-only funeral and Philip’s grandmother had moved back permanently to the little house in town, the twinkle in her eye making a brave show for the sake of those she loved but the light behind it gone out this side of heaven. By the next June she had followed her husband of sixty years on his long journey—gladly, as I can only believe.

A few Thanksgivings ago we drove over the farm to the little white house, affectionately known as ‘Old Granny’s’ after Philip’s grandfather’s mother. While the marks of renovation indicating a cousin’s imminent occupation made me glad that it would no longer stand empty, the absence of those bright spirits that had illumined it once and made it a place of happy pilgrimage for a close-knit family brought an overwhelming sadness—curiously, though not unequally, yoked with joy. I looked at the desolate flower beds with their few straggling survivors and saw a bright array of mums that will be there forever. We stepped up on the porch and my mind echoed with the laughter of a day that will never grow old. We walked around to the little well house at the back with its sagging roof and the yard was suddenly populated with well-fed cats and their kittens, one orange tabby of their number which made my heart leap in my throat.

“Nothing can be as it has been,” it has been well said. But the fact that it has been—ah, such treasures are safe forever, uncorrupted by moth or rust.

Philip made the comment the other day that our typical expressions of thanksgiving tend to be immediate—Thank You, God, for this new job, this return of health, this gorgeous day—while the gratefulness illustrated in the Bible points to an even more comprehensive outlook. Not that the former is without merit—certainly not—but it’s really only the beginning stages, primary grades in the school of thanks. Throughout the Psalms we find God’s people praising Him for things that happened before they were born, in addition to deliverance promised in the future. Over and over again God’s past mercies are recounted, His long-ago victories lauded. The songs and stories were written down, not just for the immediate satisfaction of the writer but for ‘children yet to be born’—for us.

Looking back over this little flash in the pan I call my own history, I am overwhelmed with the legacy I see stretching in all directions. It’s worth wondering if the present blessings we all enjoy are largely owning to the faithfulness and the prayers of great-great grandmothers and grandfathers. I am certain of it. And though I should be celebrating it every day that I am alive, this Thanksgiving I am especially keen to the heritage of godliness that has gone into the framing of my own story and the birthright which I have been entrusted.

Both from my blessed ancestry and the one I was privileged to marry into.

LORD, you alone are my portion and my cup;
you make my lot secure.
The boundary lines have fallen for me in pleasant places;
surely I have a delightful inheritance. ~Psalm 16

Thank You, Lord. I don’t know what else to say.

the creek

A Book’s Beauty

Thursday, October 14th, 2010

It’s easy to forget—or perhaps never fully realize in the first place—just what a treasure we hold in our hands in the form of a book.

Household Words, published by Charles Dickens

In times not too far past, books were solely the possession of the wealthy. As recently as the publication dates of many of my favorite nineteenth century novels, books were serialized in magazine format so as to be affordable to the common people. In some cases, whole villages would go in to purchase one copy for the local pub, from which a designated reader would enthrall the listeners in weekly installments. Charles Dickens was certainly a pioneer of such journals, and it was a profitable medium by which to introduce writers and their words to the middle classes. His now legendary publication Household Words was where equally legendary works like Cranford and The Song of the Western Men first saw the light of day. (Though I have heard tales of what a tyrant he could be when it came to word count—apparently that is why Elizabeth Gaskell’s North and South ends so abruptly, as he basically told her to ‘wrap it up’.)

The history of books as we know them and the effects of industrialization upon their original craftsmanship is a fascinating one, and at times as fraught with peril and heroism as the best legends. Not only did the monks of the early Middle Ages preserve the written words in their keeping from barbarian invasions—often in the face of unimaginable violence—they established the criteria of true artisan standards in the bindings of the books themselves. From clumsy wooden boards encasing animal skin parchments, they progressed the work of bookbinding to a high art, to include elaborate tooled leather covers (sometimes studded with jewels) and meticulously-penned pages characterized by gilded illuminations and flourishing script. These books were so valuable—as irreplaceable as the lifetime spent crafting them—that they were secured with chains and heavy gold clasps (themselves often engraved with exquisite designs) within the monastery library. (I have to wonder at which modern developments they would be more amazed: the mass-production standards of industrial binderies or the cavalier treatment of library books!)

"Lucy! Lucy! What's that book? Who's been taking a book out of the shelf and leaving it about to spoil?" "It's only the library book that Cecil's been reading." "But pick it up, and don't stand idling there like a flamingo." ~ A Room With a View, E. M. Forster

The amazing thing is that not that much really changed in the binding of books from the monks’ early advances until the mechanization provided by the Industrial Revolution. The introduction of paper-making from the Far East in the tenth century opened new vistas of possibility and established the “signature”—or large sheets folded and cut to create smaller folios of standard page sizes—as the basic component of a book’s structure, a basic process that endures to this day. And under the stimulus of the Gutenberg press in the mid-1400’s, the creation of text leapt from hand-written pages or wooden block impressions, to the endless variety and availability of movable type. Book-making became the property of printers or the life trade of binders. And the concept of a ‘home library’ was born.

...A thousand minds all done up neatly in cardboard cases; beautiful minds, courageous minds, strong minds, wise minds, all sorts of conditions. ~Elizabeth Goudge, A City of Bells

Though it would still take several centuries to streamline the craft sufficiently to make books affordable beyond the confines of the wealthy, book-making preserved certain careful requisites over the years. The signatures were pierced along the spine edge and sewn together with fine linen thread, attached to cords in much the same way as the medieval bindings. In later interpretations, these were glued to a strip of tarlatan or English mull which was then glued to the boards while the cords were woven into the boards themselves for superior durability. This mull is the ‘webbing’ that is often visible in the cracked hinges of old books—a dignified, if ‘natty’ mark of good breeding on the part of the book itself. If you look inside the front and back covers of an old book, or a well-made new one, you can see the ghost of the mull beneath the endpapers. The spine itself was never glued to the binding—this is a modern contrivance. Instead, the book was built around a hollow back, through which the surfaces of the cords were visible. This is where we get the tradition of decorated panels between raised bands in spines—they are merely ‘faux cords’, built up to resemble the originals.

The replacement of the leather cords with cotton tape in the bindings, and the 1820’s innovation of starch-filled cloth coverings, both contributed to the leveling of the field—it’s interesting to consider how little such changes may have had to do with book-makers’ benevolence and how much with seemingly unrelated political and social events. At any rate, cotton and linen became an affordable choice for the middle classes, and the book industry grew with the demand.

The Industrial Revolution flung wide the doors and made books the possession of the masses. A triumph for literacy, but, unfortunately, a travesty for the art of the book itself. Literally thrown together by machines at a dizzying rate of speed, all the old loving, careful craftsmanship and most of the fine materials gave way to mass-production and popular prices.

There were some, even at that time, that thought the cost too high—the loss of an artisan skill and a market potentially flooded with twaddle. With astounding foresight and knowledge of the dangers of full mechanization of society, they championed a grassroots movement devoted, among other things, to the renewal of integrity in the book trade by way of small, private presses.

The man at the helm was one William Morris. And the movement was none other than Arts and Crafts…

Kelmscott Press, founded by William Morris in 1891

to  be continued in Part Two…

Teacups and Paintbrushes

Monday, February 8th, 2010

Afternoon Tea by Alexander M. Rossi

January 12, 2008

Last week my sister-in-law had two of my friends and me for lunch. It had been arranged before Christmas, a flurry of emails having saved and secured the date, but as I set out on that dour January morning, it seemed to me that the timing of our little gathering was exquisitely providential. My mood was as heavy as the dark clouds piling in from the west; tears seemed even more imminent than raindrops and the headache that had been brewing with the approaching weather front was raging so violently I could hardly see straight. I pulled into her driveway with something like a sigh of relief and hauled myself out of the car, grateful only that I hadn’t gotten a speeding ticket on my way there as I had two days previously en route to meet two other friends for lunch…

Edie still had her Christmas wreath on the door—fresh and yet fragrant it was too lovely to take down. I gazed at it rather mournfully, luxuriating a bit in my post-holiday blues. But before I had a chance to knock the door swung open, and there stood Edie, smiling in her radiantly gentle way, and beyond her, Ashley and Debra, waiting to receive me with hugs and smiles of their own. Is there any medicine on earth so potent as the embrace of a friend?

I forgot my headache. I dismissed my Janu-weary mood, for what place had it in this little sanctuary of beauty and warmth? The 1920’s bungalow was aglow with candlelight, and soft French music lilted through the rooms. A collective gasp went up at the sight of our table, for a more daintily feminine array cannot be imagined. There were place cards (with appropriately deco script), and the damask cloth was laid with every possible accouterment for a ladies’ tea: antique china, vintage silver, a tiered cake plate boasting everything from homemade scones to macaroons and melt-in-your-mouth truffles. On the sideboard stood enticing decanters of chilled lemonade, with crystal goblets at the ready. And everywhere I cast my eye, it seemed, were sweet little bottles and vases of pink and white spray roses. Pretty as a Valentine; proper as an English tea room.

Edie brought out the soup course while I poured the tea, and then we fell to the feast of fellowship with as much relish as that with which we polished off the roasted red pepper soup, and the mushroom and pine nut quiche that followed. Our conversation took a delightfully meandering course, as it only can in the hands of like-minded ladies. We discussed everything from organic gardening to vacuum cleaners, touching on politics, homeschooling and needlepoint, each in their turn.

But over all our talk, it seemed, a shining mantle was cast, a high vision of beauty’s worth that infused every subject with a strange sort of lowly nobility. Time and again we came back to one of the tenets of our homemaker’s hearts: the value and validity of loveliness. The power of beauty, in its simplest and purest sense, to speak audibly of the presence of Jesus Christ in our lives. Beauty is of Him, from Him, for Him. Beauty has a language that transcends even the finest words, that soars above our sweetest experiences in this life and whispers to our souls of what heaven will be.

Debra and Ashley are painters, artists in both life and craft. It has been beautiful for me to watch the former inspire and instruct the latter, pouring herself out, as it were, to the enrichment of a friend’s creative world. As a homeschooling mother of three, Debra could easily justify the forestallment of her own artistic desires. But instead, she’s set an example for the three of us childless women not to deny the significance of our own unique and God-given talents, even in the whirl of a houseful of teenagers. Creativity is a hidden spring, feeding the deep wells of our personalities. And when that spring is tended, unclogged and running true, cups of cold water in His name abound. We give of ourselves, because there is something there to give.

Ashley has approached the discipline of oils with courage and joy (almost she makes me want to paint…not quite. I’m not that brave!). I love to go into her house and see a new work in progress lying on the dining room table, or to catch that light that comes into her eyes when she’s describing some technique that Debra’s entrusted to her. Ashley doesn’t want to have her works in the Met, or even make a living off her paintbrush. She wants beautiful things of her own making on the walls of her home; she wants to give gifts that are indeed a portion of herself. When one considers that her whole life is a gift, that being around her is one of the most energizing occupations I can think of, it appears that the hours spent mixing paints and poring over a canvas are a perfectly natural and even necessary replenishment for her.

Into the midst of all our high talk that afternoon, Ashley slipped an analogy she’d heard in a sermon that caught my fancy in a compelling way. She gave us a picture of our callings: Some of us are tiny watercolor brushes, with only a few strands, intended for the most delicate of detail work. And the range goes all the way up to those big industrial paint rollers that can cover a whole wall in minutes. If you asked a watercolor brush to coat the side of a building it would be a disaster that ended in despair. And a paint roller would wreak havoc upon a little violet in a cut glass vase. Is the paint roller more important, more valid, because it covers a greater area with speed and efficiency? Is a Winsor & Newton more extraordinary merely because it is able to capture the rare beauties of life that might otherwise have been trodden underfoot? We all know the answer—in our heads. Both have their place and their job to do. And it’s a job that is certainly never going to get done by looking around at the other brushes nearby and comparing oneself to their bristle size and handle length. Or their subject matter, for that. And just as an artist will rifle through many brushes in the creation of one painting, we will doubtless find that the Master Painter will bring varying sizes of implements to bear upon the living landscapes we’re all creating, day in and day out.

And, if you happen to be a watercolor brush, don’t be mistaken in thinking that you cannot have a far-reaching impact in this world for beauty and truth. In a recent (and umpteenth!) viewing of the movie Miss Potter, I was struck by something she said regarding her own art: “I’m not very good at landscapes,” with a somewhat regretful glance over a sweep of Lake District loveliness. But Beatrix Potter was good at animals. And charming little stories that revealed their dignity to untold numbers of children the world over. She did not set out to write the best-selling children’s books of all time, or to almost single-handedly save the Lake District. She was just brave enough to be good at what she was good at. And there’s not a one of us alive who should not be grateful to her for it.

In like manner, Edie was merely living in her gifts that day. Hospitality, gentleness and grace; the touch of an artist upon her table and the rooms of her home. She gave of herself in that little luncheon for four, and created an environment for edification to flourish. It took time and great care, and a painterly attention to detail. (And if she wasn’t the immaculately tidy housekeeper I know her to be, I’d say she was still washing dishes!) She refreshed us from a source both deep and true, and I feel safe in assuming that she was refreshed in the process. This is beauty’s seal and signature: a mutual joy and a glory to God.

Renée Zellweger as "Miss Potter", Phoenix Pictures, 2006

originally published on YLCF

Face Down

Monday, February 1st, 2010

Ezra, Gustave Dore'

Ezra, Gustave Dore'

And Ezra blessed the LORD, the great God, and all the people answered, “Amen, Amen,” lifting up their hands. And they bowed their heads and worshiped the LORD with their faces to the ground.

Nehemiah 8:6

I was a Christian, and I was a dancer. A ballerina, as I liked to avow with all the solemnity of seventeen. Studying classical ballet three and four days out of the week, showing up early to stretch before class, wrestling against all the opposing forces of aching muscles and tight tendons to add a fraction of a degree to my arabesque or half an inch of height to my grande jete’.  I loved it, and I worked hard, both of which I owe almost exclusively to the much greater fact of a superlatively excellent teacher. She drew me out of the back corner of regional ballet school indifference and she scraped grimly away at an acquired layer of sloppiness and mimicking conformity, down to the very bones of my so-called technique. We spent untold class time spread out on the floor with anatomy books and I was made to perform all manner of ridiculous maneuvers in order to find and feel the muscles we were talking about. I danced for months without any shoes at all, and marched across the floor, en pointe, holding chairs over my head. She would call for sixty-four changement at a time and then call for them again, and drill me on the names of the famed “Eight Positions ” as I assumed them in rapid succession.

In short, she taught me how to dance.  She set something free within me; something longing for expression, but something equally desirous–even dependent upon–the limitations of form and structure that make classical ballet the art form that it is. I loved it more than ever; the more that was required of me–the more I experienced the essential freedom of the form–the more lovely it became. The restlessness and joy and angst and elation of youth found voice and wing in that simple studio, all alone, under the eye of a fiercely loving taskmaster. And I was happy. And I read in the Bible about ‘doing all things as unto the Lord’, and I was happier still.

But I had no idea what it meant, that majestic little verse and the worlds of possibility it suggested. I had never gotten my mind and heart around the concept of art as worship.

Never, that is, until the day we began working on our piece  for the recital. There were three of us at that first rehearsal: my sister and another friend and myself. We were stretching out, whispering and giggling, and speculating inwardly, if not outwardly, about the diaphanous costumes the occasion would doubtless require. (It didn’t, by the way–plain white tunics and single silk flowers softening harsh little buns turned out to be the order of the day. And nothing could have been more perfect or appropriate to accompany Bach’s Sheep May Safely Graze, though not-too-distant memories of Nutcracker performances and pink net made it hard for me to see it that way at first! ;) ) We were talking–but suddenly our voices dropped and we looked around us a little awkwardly. Where was our teacher? She had been there a moment before, watching us stretch or cuing up the CD player. We hadn’t even noticed when she’d left, and it was odd that she’d disappear so soon upon the start of the rehearsal, being the stickler for time that she was.

I looked around the open studio, beyond the marley floor which delineated our classroom, past the piano and chairs and shelves of music. And I saw her–in a heap in a back, dark corner of the studio. She was on her knees and her face was to the ground. And she was praying.

At first I was frightened–had something terrible happened, or had she just learned of some disaster that had catapulted her into such a desperate, un-self-conscious attitude of prayer?

But as the mists of my dullness gradually cleared, the truth broke with a light that pierces to this day: she was praying for inspiration, for the choreography and for the execution of it. She was entreating the favor of God upon this endeavor and imploring His ability to procure it. She had the spiritual vision to see that this was not just a workshop recital for families and friends at a little performing arts school–it was a chance to honor the God of the universe. To love God with the heart, soul, mind and strength. To create something beautiful out of love for Him and to lift it up as an offering of praise.

That moment changed everything for me, in the way that small, seemingly trifling moments often do. All my loves–writing, music, dancing, homemaking, gardening–have since been charged with the influence of it. And not only by the ‘glory’ side of the equation–by the appeal, as well, if not more so.  I have in that memory of my beloved and respected teacher, face down before the God she adored, an image of the creative process that I will carry with me for the rest of my life. Creativity is a giving, an offering to others and a glory to the Creator-God. But it is also a receiving. And the courage to create and not valuate our offering by the market standards of the world is, I believe, a gift in itself, and one to be sought most earnestly by the likes of such frail co-creators as we humans prove ourselves to be.

I used to love to tell my ballet students and piano students what we all probably know and already admire about Bach, namely, that he ever signed his scores and compositions with the letters S.D.G. at the end: Soli Deo Gloria. But of equal insight to me is the way that he opened them: J.J. Jesu Juva.

Jesus, help.

Jesus, help me to make something beautiful for You. In this poem. In this bit of earth. In this story. In this cake or loaf of bread or painting or song. Not only can I not do it truly, essentially, without You. I can’t do it for You without You.

The very acknowledgment is an act of worship, and I see the humility of the ‘great ones’ in this practice. Madeleine L’Engle (one of my mentors!!) underscores that writing–or any art form–is an act of faith. Not a blind fumbling in the dark but a reaching towards what we know is there. She loved to image artists as midwives, assisting in the birth of some bright gleam from heaven upon our world. I smile at the thought of C.S. Lewis by his study fire, musing patiently over the mysteries of God to the good of us all. And I read, with, O, what joy, of Sheldon Vanauken praying “daily, almost hourly, that God would speak through [his] two typing fingers” as he fulfilled his vocation to write A Severe Mercy.

Jan Karon speaks of it. The thoughtful and talented folks over at The Rabbit Room are always writing about it. It’s a beautiful thing, this holy desperation, and liberating in the extreme. God is not going to magically make me write like Elizabeth Goudge just because I ask Him to. ;) But He is going to enable me to write from the burden of love He has laid upon me, to the end that He desires–which is more desirable than all to me. And the desire and the desiring draw me irresistibly into the heart of Love itself.

It’s one of the lovely paradoxes of this pilgrims’ way: we pour out our hearts in worship and find them filled in the very act. We stumble under our weakness, our grasping at words and colors and notes, and just when we think we’ve fallen we find the grip of a mighty embrace lifting us with wings like eagles’. We imagine we know the end of our art–where our ambitions lie–and we make our plans accordingly, only to discover we’re being propelled merrily along in some kind of crazy empowered helplessness towards a dream we’d likely have laughed at in our saner moments.

I found myself toward the end of last year under a big writing deadline, the enormity of which I had no idea until I had assumed it. To say that I spent most of November with my head down upon my desk asking God for help would not be too far off the mark. (I wish I could say that I spent as much time thanking Him for it when it came…) I have never felt so out of my league and over my head. And, as I told Philip, the joy of it was an almost incandescent thing. I wished that I could always live with such intensity, such dependence upon God and awareness of His help. Exhausting as it was, it was one of the shining seasons of my life.

It was a glimpse, I think, small but lucid, of the great antiphonal exchange of prayers and praises, giving  and receiving, with which art greets worship and worship quickens art. A snatch of the music of the spheres.

A hint of what it’s going to mean to love God face to face. I think there’s only one thing I’m going to be able to do then:

…And they fell on their faces before the throne and worshiped God, saying, “Amen! Blessing and glory and wisdom and thanksgiving and honor and power and might be to our God forever and ever! Amen.

Revelation 7:11, 12

Paradise, from Dante, Gustave Dore'

Paradise, from Dante, Gustave Dore'

Christmas Hath Made an End

Tuesday, January 5th, 2010

Twelfth Night, 2007

Twelfth Night, 2007

January 6, 2007

Last night was a chapter out of fairyland; a sojourn into a vanished realm that exists only in stories and songs—and in the very lively imagination of crazy people like Philip and me. ;) I’m sitting here in my den this January afternoon with a pot of fragrant Winter Garden tea and an even more fragrant clementine, my Advent wreath lighted for the last time against the deepening sunset outside and a Mozart quintet on the record player, trying to convince myself that this sweet Christmas holiday was more than a dream. And no part of it seemed more dream-like than the Twelfth Night Revel we held here last night…

I don’t think I’ve ever been so blue about the holidays drawing to close as I was this year. Every moment was so precious that I literally watched them pass with a sigh and even a few tears. And when Philip went back to work on Tuesday and I was confronted with a quiet house and a mountain of laundry and a good-sized hill of dead greenery, it was all I could not to crawl back in bed and pull the covers over my head. It’s the price I pay for all my Christmas sentiment, I am well aware, and worth all its sweet pain. But something had to be done. And to my melancholy mind there appeared but one option: we had to throw a party.

The Twelfth Night Cake

The Twelfth Night Cake

So we invited our friends to a Twelfth Night Revel. It’s something we’ve wanted to do for ages, but with it falling on Friday this year—coupled with the desperate need I had for festivity—it seemed the very moment in time for such a frolic. So Philip got the bonfire ready and put out the chairs in a wide arc around it, and I decorated our big copper lanterns with wired-on greenery and doled out food assignments with each RSVP. I set up tables for the pots of chili and the platters of cornbread and the bowls of salad that were coming and spread them with branches of pine and big, ferny sprigs of cedar, interjected by tall glass hurricanes with white tapers. The front hall was cleared for dancing, and the chandelier was woven with a wreath of ivy and strung with bright crepe paper, red and green, that extended in winding ribbons to the four corners of the room. I made an enormous pan of Mexican cornbread and a pot of my favorite ‘White Christmas chili’ and took the remaining cookies I had made out of the freezer.

And all through the preparations the day of the party I listened to the thunder rumble and watched the rain falling outside—a veritable monsoon—and fielded phone calls from anxious friends.

“Are we still on for tonight?”
“Who would have thought we’d have such weather in January?”
“Well, we could always eat in the house…”

I laughed and soothed and projected the weather as best I could. But not, I confess, with an untroubled heart. It just seemed like our whole beautiful holiday would end on a flat note if our bonfire was rained out. Not to mention the fact that I had no back-up plan for seating the hungry hordes that would soon be descending upon us. And so I prayed roughly a dozen or so of those desperate little pleading requests: “Oh, Lord! I know that there are a million-and-one other things tremendously more important in the scheme of the world than whether it rains on our party or not—but oh, please, please let it clear up!”

Twelfth Night, 2008

Twelfth Night, 2008

There was nothing else to be done but continue with the preparations and hope for the best. The forecast was quite dour; the heavy-laden clouds that kept rolling in from the west were too disheartening to look at. It poured on Philip all the way home from the office. But at five-thirty a miracle occurred. I don’t hesitate in the least to call it a miracle, albeit a small one, for in it I heard the Lord say ‘I love you’ just as clearly as if it had been an audible voice. (And is it not those little personal miracles that show us—perhaps best of all—His great and lovely tenderness?) A glint of gold appeared in the west, piercing the leaden mantle with arrows of light. In a matter of moments the whole sky was suffused with a glory of saffron and apricot, crowning the tops of the trees in splendor and brimming the pasture below with a light-filled mist. I dropped my dishcloth and stood out the window, perfectly transfixed. My heart was filled with praise, for not only had God allowed the weather to clear up, He had done it in the most beautiful way imaginable. Every drop on every branch was a living gem, sparkling and flashing as if for joy. Birdsongs sweetened the already vernal air and Philip and I wandered about in the yard, laughing at how gorgeous it suddenly all was. I thought of the words to a song we’ve sung much this Christmas, All hayle to the days:

December is seene appareled in greene, and January fresh as May
Comes dancing along with a cup and a song to drive the cold winter away.

As twilight fell the world only became more glamorous: the mist rolled up along the terraces in the pasture and crept over the lawn, and stars winked out in the velvet overhead.

“I feel like we’re in Merry Olde England!” I cried to Philip.
“Or Ireland!” he supplied.
“Or Scotland!” I exulted.

The Cake, 2008

The Cake, 2008

It was certainly all magical enough, and only more so when all our friends began arriving with shouts of ‘Happy New Year!’ and the bonfire began leaping heavenward and the children started running to and fro in the darkness, heaping my withered holly branches and dried pine garlands onto the blaze. When we gathered for the blessing, I couldn’t help subjecting our guests to a brief—and, to me, at least—an undeniably fitting little reading:

Christmas hath made an end,
Well-a-day! well-a-day!
Which was my dearest friend,
More is the pity!
For with an heavy heart
Must I from thee depart,
To follow plow and cart
All the year after!

It grieves me to the heart,
Well-a-day! well-a-day!
From my friend to depart,
More is the pity!
Christmas, I fear ’tis thee
That thus forsaketh me:
Yet for one hour, I see,
Will I be merry.

Singing to one who couldn't make it, 2008

Singing to one who couldn't make it, 2008

There certainly was great merry-making around the fire that night. Sparklers for the children and bottle rockets and Roman candles for the boys and men. Old English games like ‘Christmas Candle’ and ‘Snapdragon’ that Philip and I dug out of an old book. Mirth and good cheer as Christmas trees were added to the blaze sending the flames a good forty feet into the air. After seconds and thirds of dinner had been dispensed with, my friend Rachel and I gathered all of the little girls for a special procession of the wassail and the Twelfth Night cake—which had been duly prepared with the traditional bean, pea and clove planted somewhere in its spiced depths, the discovery of which would determine the king, queen and knave, respectively, for the evening. We rehearsed our wassailing song quietly in the shadows of the great walnut tree and lit green sparklers on the cake before making our solemn way across the backyard down to the fire.

Here we come a-wassailing among the leaves so green!
And here we come a-wand’ring so fair to be seen!
Love and joy come to you and to you your wassail too,
And God bless you and send you a happy new year!
And God send you a happy new year!

The cake was presented amid a spontaneous burst of applause and was duly sliced and distributed by the girls to the eager guests, each desirous of their status in the hierarchy of the night. My mother’s dear friend, Wendy, was the knave, I plucked the pea from my piece of cake with an air of queenly triumph, and the king obviously swallowed his bean unnoticed and will henceforth go uncrowned. (We’ll just say it was Philip…)

There were Twelfth Night carols and Epiphany songs after that, and the inevitable Twelve Days of Christmas. And we closed on the rousing note of The Gloucestershire Wassail, each time I thought we were done another guest calling out another verse:

“The butler verse!”
“The maid verse!”
“Verse one, again!”

The Bonfire, 2008

The Bonfire, 2008

When all but a set’s worth (and those acquainted with Scottish or English country dancing will know what that implies) had taken their leave with many a hopeful word for ‘next year’, Philip and his brother polished off the bottle rockets while my sister-in-law and I looked on from a safe distance and savored the fun we’d already had and the enchantments abroad in earth and sky. A clear golden moon had risen early upon our festivities, out of a vaporous fog that cloaked the trees and made its light a mysterious thing. There was the closeness of the dew and the bewitchery of woodsmoke in the air. We looked up through the moonlit trees overhead and commented on how the drops that still clung to their bare limbs looked like stars all tangled in the branches. But only fitting on a night so fraught with faeirie…

Coffee and wassail and cookies in the house after that for the hearty and hale that had stayed for the dancing. Postie’s Jig and Corn Rigs and Frost and Snow were executed with commendable good spirit, despite—or, perhaps, because of—the fact that for the first time ever we had more gentlemen than ladies and a couple of un-named guys had to cross the set and dance as girls! The candles wavered in their sconces as we romped by and the crepe paper fluttered overhead. And when we were all too tired to dance anymore, we flopped on the floor, the stairs, the remaining seats, and smiled sleepily at one another.

But despite my weariness, when we said goodbye and closed the door for the last time, I turned to Philip with a look of elation. My Christmas was complete; my holiday wrapped up like a present from God in one last lovely memory. We had said a worthy farewell to the dearest season of the year, toasted its memory with our laughter and songs.

And it’s only forty-six more weeks till I can start decking my halls again!

Looking forward to next year, 2010

Looking forward to next year, 2010

originally published at YLCF, January 2007

and here’s one last little song for good measure… ;)

The King

Happy 12th Night, Dear Ones!

Fellow Sojourners

Thursday, November 12th, 2009

r1

(originally published 2005 in Inkblots magazine)

It was five years ago this October that I casually tossed my new Victoria magazine on the coffee table and then snatched it back up again.  Invite Your Book Club to Tea proclaimed luxurious scrolls above a picture of a tastefully laid table by the fire and promises of worthy recipes within. I stared for a moment, an idea working in my mind.  It was just what I needed, what my soul was craving.  Only just emerging from the cocoon of the newly married, with my sister in New York and my two best friends on opposite sides of the globe, I had a distinct need for feminine companionship. Without further delay I called up three kindred spirits and asked them if they’d like to start a book club.

Two weeks later we were eating soup at my kitchen table and discussing Anne Bronte’s Agnes Grey.  Cherishing a personal penchant for almost any book with heroines in long skirts however drab (skirts, that is), I was surprised and yet stimulated to hear my friends take issue with Bronte’s admittedly mousy leading lady.  “I liked it,” I managed to submit amid the lively repartee, recalling gentle scenes of English country life and pity for Agnes’ un-chosen lot.  But I was overridden.  In the annals of our book club, Agnes Grey went down as a book that we decidedly did not like.

The next October found us with eight members and a name: The Ladies’ Literary Society, or LLS.  Several months previous a gem of an Elizabeth Goudge, Pilgrim’s Inn, had prompted such an outpouring of sympathetic delight that one of the members had shared her thoughts with the rest by way of a small essay and accompanying sketch.  And thus the Notes were born.  Beyond minutes, these little handcrafted leaflets were to describe in glowing terms the precious details that made each meeting a day that we never wanted to forget—from depictions of table settings and flowers, to a mouth-watering portrayal of dainties and morsels the hostess had provided, as well as a never-to-be omitted review of the book.

“They’re for posterity,” Jenijoy insisted with a gleam of laughter in her eyes.  “Someday our Notes will find their way into a museum, and when someone wants to write a book about us they’ll be unearthed with great rejoicing.”

“Well, they’re alright,” proclaimed one of our mothers upon perusing my flowery reminiscences of Elizabeth Gaskell’s Cranford, “if you’re living in the nineteenth century.”  But the effect was intentional.  Apart from an occasional foray into the WWII era, our choices have always seemed to rest heavily upon books with two striking features: they are old, and they are English.

We celebrated our first anniversary in 2001 with a golden picnic in a friend’s pasture.  With just the right touch of chill in the air to make sweaters welcome and a dazzling blue sky overhead we spread our repast upon a well-worn quilt: roast chicken flanked with chrysanthemums and bundles of herbs served from beneath a silver venison dome, hot peanut soup and pumpkin muffins, with baked apples in little glass jars and lashings of fresh whipped cream for dessert.  Cut glass plates and antique flatware were the order of the day and linen napkins were spread daintily across tweed-clad knees.  At the four corners of the blanket our hostess had laid bouquets of autumn flowers, wild asters and goldenrod and stalks of wheat.

“Oh, how I needed this,” Laura sighed, tucking a wayward brown curl behind her ear.

Louise poised her teacup meditatively.  “We all did.”

It was the first truly beautiful thing we had known in a post-September 11th world and the loveliness of the autumn day and the comfort of friendship had worked their charms upon each of us, loosening the iron bands of anxiety about our minds and whispering that life was still exquisite and that God was still in his heaven.

That afternoon I realized as never before that the purpose of our dear Society transcended the common love of books.  It was a knitting of hearts, a safe haven for ideals in a world more uncertain than we had once thought.  Our mutual passion for good books had brought us together and sealed our friendships, but it was our shared faith and our sisterhood in Christ that made the time we spent in each other’s company an eternal treasure.  We have since wept together over one’s bereavement; we’ve spontaneously prayed for one another in moments of trial and perplexity; we’ve laughed till our sides ached and dished out all manner of unsolicited advice.  And ignoring the clock as best we can on the third Thursday of each month we put away gallons of hot tea—an essential ingredient for invigorating talk—and wax eloquent on the glories of Tennyson or the absurdities of P.G. Wodehouse.

In the spring we become a quasi-garden club, discussing the growing of foxgloves or the propagation of shrubs from cuttings with as much solemnity as we would the nuances of a Jane Austen novel.  Invariably there is a collection of newly-potted plants by the hostess’ door in token of promises made at the previous meeting.  And the sprays of wild ferns or masses of violets that grace the table always represent offerings from one or another’s yard.  Rachel is famous for her English roses; I have a coveted flowering quince; Jenijoy is the first to procure winter honeysuckle and the earliest April irises.

But, at the very core, we are a book club.  The knowledge of my wonderful friends enjoying the very same book as me at the very same time has added a whole new dimension to the pleasures of reading.  I wonder what Amanda thought of that scene on the moors…Won’t Rebecca love that philosophical passage…I imagine Lori has some striking observations on that subplot… To me, the satisfaction of a loved book is only complete when I can share it with those that I love.  I do not believe that the adventure of reading was meant to be a wholly solitary one.

Our book club is an assembly of eight completely unique and diverse personalities sealed at the heart by mutual values.  Wives, mothers of young children, single girls.  We limit our size both for the intimacy of the discussion and the hostess’ ability to easily accommodate members present around her dinner table or by her fire.  A beautifully-tooled brown leather journal that houses the Notes and a silver-plated tea warmer circulate among hostesses; the choice of tea itself rests most definitely and unanimously upon Yorkshire Gold.   We are loose enough to require a sergeant-at-arms to keep the discussion on track, but so entrenched in common devotion that no one wants to admit that they didn’t finish the book or that they will have to miss an upcoming meeting.

In the movie Shadowlands, Anthony Hopkins as C. S. Lewis muses on an arresting comment made by one of his students: We read to find we’re not alone. I’ve known the unspeakable sweetness of discovery among the pages of my favorite books, that bright flash of illumination shed upon my deepest thoughts, both expressing and validating what I had imagined only myself to have felt.  But how much sweeter still is the happiness of making the journey itself in company of proven companions, of catching that illumination in the eyes of a friend.  The dear girls of my book club are fellow pilgrims on a Golden Road.  I feel sure that we’ll still be meeting when we’re eighty.

tea

Artists’ Life

Tuesday, July 1st, 2008

IMG_2437.JPGMy little sister and her husband are painters. They’ve dreamed of careers in art since they were children. And it’s with much more than a sisterly bias that I can say they are both extremely talented. With an enviable ardor they packed up and left everything they had ever known not six months after they were married to go and study at the legendary Art Student’s League in New York City. There they managed to get into a class taught by one of the world masters of realistic painting, a class which usually has a waiting list years long. And so, living happily and simply in a tiny apartment, working part-time jobs and prowling the Met all they can, they pursue what they love every single day. All under the banner of their indefatigable motto: Hard Work and High Spirits.

Liz and I love to thresh out the various likenesses in our passions. Between my writing and her painting we have found much to identify with in the other. Where I take my journal, she takes her sketchbook, but the motivation is the same. We long to capture and process what we see and feel, to produce a tangible bit of our own inspiration that pays homage to the originality and beauty of our God. I don’t feel that I am living fully unless I am sorting it all out in my journal; to deprive Liz of her drawing would be to take the color out of her world. And it’s all the groundwork for something greater, something beyond ourselves. Something that we can present to God as our own offering, a testament to the unquenchable, universal desire to create that He has instilled in us all. As Edith Schaeffer expounds in her jewel of a book Hidden Art, we are created in the image of a Creator. And, as such, we are created with a passion to create.

I have never had the slightest doubt that my sister would succeed as a painter. I know her—her drive, her zeal for true beauty, her precision and skill and devotion. She’s never been afraid of the work involved. She’s never retreated before the scorn of critics who were too enamored with the new and edgy to appreciate the divine, ‘old masters’ look of her paintings. But it has always taken me off guard to be reminded of her confidence in me as a writer. She was the one who listened with shining eyes to those first fanciful, overly-eloquent stories and loved the bit of my soul they revealed. And she is the one today who treats me as a fellow artist, and views my scribblings and yearnings with the same gravity as she does her own portrait work and gallery pieces.

Introducing me to someone at a party once, she said, ‘This is my sister, Lanier. She’s a writer.’ In one moment, in one small sentence, she declared her faith in me. I was so overjoyed I wanted to hug her on the spot. She had called me what I had been afraid to call myself, and it somehow made it true. I was a writer—not because I had published books or won awards, but because the unique stamp of God’s image on my personality was ‘the pen of a ready writer’. Because I wrote. She told me that night without a word: “You want to be a writer? Then the first person you have to convince is yourself.”

It was Liz who finally persuaded me to make my writing a daily part of life. A priority of the highest order, not a treat to be relished when every other possible task had been attended to; a ritual as regular and dear as my devotions and my homemaking. But it was her husband, Marshall, who first suggested ‘The Contest’. Part of the self-generated ‘Art Revolution’ that he and Liz were championing in their own lives involved a minimum of thirty minutes’ drawing per day. Focused sketching for the purpose of honing the foundation of their painting. Recognizing the natural human tendency to strive for excellence when the stakes were high, he made me a proposition the summer before they left for New York. If I would write for half-an-hour a day, he would sketch for the same. At the end of the month we would tally up our hours, and the winner would be entitled to a favor of any description from the loser.

I laughingly accepted the challenge. But at the end of the first month—during which I had written more than all the past several months put together—I was amazed. As Marshall said, “It really is surprising how prolific you can become with even a short daily commitment.” He was right. And with those faithful, daily doses, goaded onward by the spice of friendly competition, writing had become the priority that I had always wished it to be. No more dreaming of some magically uncommitted time in my life to hole up and dash out the next great novel, but real, integral writing intentionally squeezed into a full life simply because I couldn’t not do it.

We exchanged all kinds of daring banter that summer. Marshall laboriously glued back together some broken demitasse cups of mine. I toiled over a pair of dress pants tailored to his specifications. Early on in our challenge Liz reminded me of the great motto emblazoned over the door of the Art Student’s League and they became my standard: Nulla Dies Sine Linea. Not a day without a line. The prerequisite for the artist’s life.

Before they moved away, Liz and Marshall took a week-long camping trip with my husband and me in our 1962 Airstream trailer. It was a precious time made all the more dear by their impending departure—looking back it seems I savored the best moments with a lump in my throat. In the late afternoons we’d settle in our camp with the sunset gathering beyond House Mountain to the west and spilling its radiance over the temperate corner of the Shenandoah Valley we were privileged to call our own for the week.  Enveloped in a silence so perfect it seemed enchanted, we would give ourselves over to artistic pursuits. I remember typing madly in my sling back chair, a cup of tea close at hand. Liz was beside me committing her own thoughts to paper and Philip was stretched out in the trailer with Walden or a notepad of what Liz dubbed ‘life thoughts’. Marshall set up his easel facing the beloved view that greeted us each morning: the old barn, the vegetable garden bejeweled with tomatoes and peppers and tasseled with golden corn, the winding drive with the willow at the bend.

I will never forget the sweet compatibility of those hours as we strove together for expression in words and in paint. Silently minding our endeavors as darkness fell; an almost holy pause before the hilarity of the evening ensued, when sparks would fly heavenward from our campfire and laughter would ring out upon the uncanny stillness of the night.  It was a solitude of perfect unity, a joyful seclusion in the haven of true understanding. It hardly seemed possible that such harmony could exist this side of heaven.

Not long after we returned I went over Liz and Marshall’s apartment to help them pack. It was so awfully surreal to be wrapping their wedding presents and books and stashing them in boxes for a destination I couldn’t even picture. I fumbled about for words to tell them how proud I was, how much I admired their faith in their calling. But I kept tripping over how dreadfully I was going to miss them.

Don’t!” Liz warned me, catching sight of my brimming eyes.

I swallowed hard and started bundling paintings in towels and sliding them into long boxes. But there was one painting that I couldn’t package with the others. It was a small one, six by eight, of a tin-roofed barn, a garden tossing with corn, a bend in the road and mountains beyond. I was still holding it rather hesitantly when Marshall came in.

He grinned. “That’s one of Beetle’s favorites.”

‘Beetle’ is his term of utmost affection for my sister, and I remembered plainly how she had appropriated that painting when it was hardly dry, mounted on an easel in the Shenandoah Valley.

“You still owe me one—for August, you know.” I held the painting a little closer. “Call it even?”

Marshall shrugged and looked at Liz. “It’s up to Beetle.”

Liz stopped piling clothes in a box and frowned slightly. “Permanent loan,” she decreed. “Until he can replace it with another one.”

I was happy and carried my little painting home in triumph. I propped it on the bookshelf, where I’d see it more often than any place else in the house.

That was almost five years ago, now, and Liz and Marshall each have distinguished themselves with a résumé of awards and scholarships and residencies as long as their respective arms, not to mention a body of work literally heartbreaking in its beauty and humanity. But their challenge rings just as true as ever: the bone and marrow of the artists’ life is lines. Words, notes, brushstrokes. One after another.

Every single day.

IMG_2352.JPG

Lena Mae’s books

Thursday, October 11th, 2007

lena mae.jpgMy husband adores old books every bit as much as I do. Someday, I fear, the very rafters of our house will bulge with loved acquisitions. But even he looked askance at some of the derelict volumes I carted home from the dispersal of my grandmother’s house. Ex-libraries, with yellowed pages soft from use and split spines and frayed corners. Heavily-taped tomes whose hand-written titles were barely legible. Water-marked and sun-bleached. But I simply couldn’t leave them behind. Passing them by with an armload of gorgeous, well-kept, stately old books I felt a pang of guilt, and would invariably stop and add a few more to my already teetering pile.

“We’re not running a half-way house for wayward books,” he reminded me with a grin. I nodded agreement. But these were no ordinary cast-offs. All of the flyleaves were inscribed with the familiar scrawl of my great-grandmother, Lena Mae. Most of them bore a penciled note as well of the date (or dates) of reading, and perhaps a few page numbers of particularly esteemed passages. These were her books, her foster children, as it were. These she had rescued from rubbish heaps and library purgings and given a place of honor among the fine and beautiful ones that already filled her shelves.

Her family said of her that she believed there was never a boy or a book that was beyond help. Having lost her only son at the age of nine she was known all her life for her fierce tenderness towards the male race, pampering the boy grandchildren with a delightful shamelessness. But she was equally shameless in her defense of books. In her mind it was a mortal sin to throw away a book, right up there with dancing and playing cards on Sundays. Books that had fallen on hard times were no more to be censured than a genuine lady or gentleman of reduced means. If the message housed between the covers was still legible—and worthy to begin with—then it found safe refuge with her.

Looking over her cherished books—and I have many of them now, not only such orphans of the storm, but lovely poetry and gilt-edged novels and college textbooks—I am struck anew with the living personality of this woman I am so proud to call my great-grandmother. Though I never knew her, the legend of Lena Mae’s indomitable zeal to enhance and improve the lives around her is as vivid to me as if I had read it in one of these volumes she unknowingly left to me. And no method of improvement seemed so effective to her as the art of reading. Whether it was her marked and worn Bible, or the newest Grace Livingston Hill, or a treatise on the periods and characteristics of antique furniture, Lena Mae was seldom seen without a book close at hand.

Almost fifty years after her death my great-grandmother is remembered with fond respect in a bustling little Southern city that still bears the obvious traces of her loving industry—not the least of which is our library itself. From a humble beginning in an old house on A—– Road to a posthumous dedication of a room named in her honor in the new city library, Lena Mae was the very heartbeat of the vision to bring the pleasures of reading to the whole community. lena mae3.jpg

But she didn’t limit herself to merely such large-scale undertakings. After her girls were married and gone, she turned what was once the front bedroom of their house on Love Street into a library of her own. With beautifully-carved walnut cases lining three of the walls—themselves refugees from a fire in a neighboring drug store—and a massive bust of George Washington presiding benevolently over all she created her own little sanctuary of reading and refreshment. The aforementioned urchins ranged alongside her prized Shakespeare collection. The Poor Little Rich Girl sidled up to Ben Hur; Sir Walter Scott rubbed shoulders with Thornton Burgess. All of these were at the disposal of her many friends; and she leant them with the same grace with which she set an extra place at the table every Sunday and made room for the extra young girl that was invariably living with them. (“Come home with me,” Aunt Sara told a little classmate one day who had lost her mother to illness. “Mamma’ll let you live with us.” And she did, of course. Though not a ‘boy’ or a ‘book’, orphaned little girls had a sure claim on Lena Mae’s tender mercies.)           

In a day when few young women received a higher education, my great-grandmother left her home in S—– at the age of sixteen and entered Young Harris College in the mountains of north Georgia. Accessible at times only by ox carts which alone could traverse the winding, muddy roads, Young Harris was started by a circuit-riding Methodist preacher in the 1880’s, and was well-established as a liberal arts school when Lena Mae entered in 1904. She distinguished herself with an unquenchable passion for literature and poetry as well as a position on the renowned debate team. I love thumbing through her textbooks, coming across notes from a lecture on foreign policy or poetic structure. But most of all I love the old photographs we have of her college days, such a bright-eyed lass with high-piled hair and a twinkle in her eye every bit as disarming as Anne Shirley’s! I think I feel closest to her in these dim, time-darkened pictures. I can almost feel the flush of her optimism, her rose-tinted hopes for the future—both her own and that of children yet to be born.

Life had such joy in store for Lena Mae. An elopement with her true love which led to a marriage of devotion that lasted over sixty years. Three beautiful daughters and a home that rang with their laughter and high spirits. A community that loved her as much as her boundless heart loved it.

lena mae2.jpgBut there were devastating blows, as well, bolts from the blue: she lost her first little daughter to meningitis; years later typhoid took her beloved son and father and endangered the rest of the family when my grandmother was an infant. You can almost see a shadow cross the kind brown eyes in the photographs from this time, a slight sad droop to the ready smile. Yet even as she staggered beneath such providences she acknowledged them as the ministrations of a loving God. And not once did she turn her eyes from the needs of those around her. Her own sorrows only seemed to make her that much more aware of the hurts of her friends and neighbors. She struggled along with everyone else to make ends meet during the Depression, but her children never knew anything but safety and comfort, though a line of hoboes beat a constant track to her back door. Even after times got better, my great-grandfather would often come home from work to find that his best suit had been given away—yet again—as some poverty-stricken member of the community had died with nothing to be ‘laid out’ in.       

And, as always, after bodily needs and spiritual needs had been tended to, she ever sought the betterment of the soul by way of great literature. Her adoration of Shakespeare became a family by-word. When her children were small, she started a Shakespeare Club for the ladies of S-
—- to read and discuss his plays. I can picture them all now, in their black brocade dresses and pearls, sitting primly in the Green parlor tossing about such grandiloquent phrases as O for a Muse of fire that would ascend the brightest heaven of invention! or May the worm of conscience still begnaw thy soul! in genteel Southern drawls. Lena Mae’s devotion to the immortal bard was a sacred thing, almost a family treasure—as a child, my mother was dismayed to find that ‘Uncle Will’ was not her uncle at all, not even a tenuous relation, much as the friendly reverence offered towards his memory otherwise implied.

Someday when my own children ask for something good to read I’ll pull down one of those ragged old volumes of Lena Mae’s. I’ll tell them of the great lady they belonged to, and of all of the other little children who have read and loved them before. And I’ll whisper a silent prayer that this blessed heritage will work its influence yet again on young hearts and minds.  

originally published in Inkblots Literary Magazine 

The Bee Charmer

Monday, August 8th, 2005

May 2, 2005bee skep.jpg

            Philip and I had quite the Gene Stratton Porter experience today.  We’ve been troubled about the recent tenants that have taken up residence in our prize black walnut, namely, a swarm of honeybees.  We actually saw them swarm a few weeks ago, and were pretty frightened by the sheer numbers—literally thousands of bees filling the air with a grayish living cloud, gradually settling on the trunk and marching upwards in an amazing semblance of rank and file.  We knew that we had to get them out of the tree so that we could treat the problem that had lured them there in the first place, but as the days went by and we saw what peaceable neighbors they were, we were loathe to do anything to harm them. 

            I found a beekeeper in the Market Bulletin this morning, and called him to see if he would like to come and take our hive away.  I could tell by his voice what sort of man he was, a mild, gentlemanly old black man who knew everything worth knowing about life in general and bees in particular.  In slow, gentle tones he explained that he would do what he could to get the queen to come out, for without her the hive would not budge.  I didn’t have to ask him when he could come—“Just let me finish my coffee here, and I’ll come on out.”  

            I called Philip immediately.  “You’ve got to come home right now,” I told him.  “I couldn’t bear for you to miss this!”

            As it turned out, both he and Kevan, who had come to finish our barn job, were here.  Mr. Scott was as mellow and placid as I expected him to be, and spoke in an almost continual low sweet murmur, like the humming of the bees themselves.  He messed about with some paraphernalia in his car, drew out a white wooden hive, a bag of pine straw and an old-fashioned smoker.  I was waiting to see his beekeepers garb, but in vain.  He had filled his smoker with lit straw and mounted the ladder he had propped against the tree before I realized that he had no intention of covering himself in any way.  When I thought how scared we were of the bees when they were swarming I had to marvel.

            “Aren’t you afraid of being stung?” Kevan had to ask.

            “Oh, no,” he grinned down at us.  “These are friendly bees.  They’re such nice little Italian ones—Law, how I wish they were still swarming, or in a branch or something!  Then I could show you how easy it is—I’d just pick up the queen,” he demonstrated with a gently cupped hand, “slip her in the hive, and tap, tap, tap, they’d all file in.”

            To say that we were astonished by his methods and demeanor is putting it mildly.  He assured us that they wouldn’t sting—that the smoke would soothe them and that they only stung when they sensed fear by the vibrations of a rapidly beating heart.  I smiled to myself as I watched Mr. Scott pumping smoke right into the hole in the tree without ceasing his lecture on their habits, and thought that there wasn’t any danger of a rapidly beating heart in that quarter. 

            We began by watching from a safe distance on the ground, but an overpowering sense of curiosity combined with a longing not to miss a honeyed syllable that dropped from this learned, simple man, drew us ever nearer until we all found ourselves standing at the base of the trunk gazing up with shaded eyes.  He said that they wouldn’t sting, and for some reason, with bees swinging dizzily about our heads and tangling in our hair and landing on our clothing, we believed him. 

            “Oh, I wish she would come out!” he said, peering in through the smoke.  “I just love ‘em so much!  But she’s a young queen, young and naïve.  I may not even see her among the others.”

           He told us about the intricacies of hive life, held us fascinated with tales of the hierarchies of the bee guards and police and nurses and drones.  He enlightened us on the mysterious secrets of royal jelly, which is fed by the nurse bees to a nymph that will develop into a queen.  He plucked a larger bee from the trunk and held him out by his wings for us to see.  “This one’s a king.  You can tell because he’s larger and more filled out."

            As the swarm exiting the tree became denser he pressed his face close to the trunk to see if the queen was among them.  Strange, barely perceptible humming sounds broke from his slightly parted lips, and the bees began to assemble near where his hand lay propped on the rough bark, gradually clambering over his fingers and under his palm.  He motioned with his other hand for us to notice their peculiar behavior.  All of the little stingers were pointed up and a thousand tiny wings whirred and fanned in unison.

            “They’re telling me where the queen is—or they’re sending me a false signal,” he chuckled softly, rotating the bee covered hand with easy unconcern.  Catching my fascinated gaze, he leaned toward me, confiding, “You see, I’m a bee charmer.  Yes,” he continued, as if to himself, “a bee charmer.” 

            This was too much for the boys.  Soon Kevan’s hand was on the trunk as well, where a laborer stumbled over his fingers from time to time.

            Philip scampered up the second ladder, which Mr. Scott had placed nearby to investigate marching action farther up the tree.  Nursing the one sting he sustained, Philip craned to peer into the hole where Mr. Scott was listening with a stethoscope.

            “The more I hear about bees, the more I wonder how anyone could know much about them and not believe in God,” he said.         
            

            Mr. Scott concurred with a leisurely nod and a wide smile.

            “I mean, I guess you believe in God, being so close to the bees and all.”

            “Ohhh, yes."

            Our queen was elusive.  Even the thirty-foot ladd
er would not reach the congregation where Mr. Scott believed she was hiding, and with dwindling numbers still buzzing about the hole, he sealed it and patched it with dark brown caulk.  I was rather sorry.  I so wanted them all to go away together in his trim white box.  But Mr. Scott reassured me about the scattered hive.

            “They’ll always follow her to a new home.  And if any bees get separated from their own hive, they’ll go and find another.  But they have to knock at the door, and the guards come out, and they say, ‘Please can I join your hive?’  And if they promise to work hard, the guards will let them in.  But they’ll watch ‘em and make sure.  This is a young hive, and they’re good workers.”  I remembered the scores of bees with their little legs loaded down with ‘baskets’ of pollen we had seen.  “They’ll be alright.”

           After enjoying the yard a bit, breathing deep of the ‘oxygenated air’, laughing over Caspian’s attempts to impress, and getting acquainted with the biddies—“Ohhh, I’d just sit out here and watch ‘em all day long!”—he packed his equipment back in the car with an almost nostalgic look around.  He passed Philip his card and we both gasped.

            “Dr.—,”

            “D.R.,” he corrected.  “That just stands for drive—like drivin’ a car.”

            With that enigmatic comment he was gone. 

            And although a search engine turned up absolutely nothing on “Dr. Milton Scott”, I know exactly who we are going to call when we’re ready to set up our own hives.  How could we not now, after spending a charmed afternoon getting to know these miraculous little witnesses of God’s order and wisdom?  And who better to impart the needed lore than a real, honest-to-goodness bee charmer?