Archive for the ‘mystery’ Category

Lent 5: Into the Seed

March 24, 2009

Image: Into the Seed © Jan Richardson

Reading from the Gospels, Lent 5, Year B: John 12.20-33

So do you remember that kerfuffle back in the 90s when Mattel brought out a new Barbie doll called Teen Speak Barbie? The Barbies were programmed to say what the company considered typical adolescent girl phrases. Some of the dolls were heard to utter, “Math class is tough!” A protest ensued, and Mattel excised that phrase. The story still circulates, with the troublesome phrase often (mis)quoted as “Math is hard!”

At this point in the Lenten journey, I find myself getting in touch with my Inner Barbie. Call her Ecclesiastical Barbie, perhaps, or Exegetical Barbie. (Ooooh, can’t you see her now, complete with the Barbie Dream Church and Deacon Ken?) These days, when someone pulls the string on my Inner Barbie, she’s likely to say, “Lent is tough!” or “These lections are hard!”

The scripture passages that this season presents to us are intense, dense, and complex. They are laden with metaphor and meaning, swirl with constellations of symbols and images, and shimmer with vivid emotion and crucial teaching. These texts challenge us to look with honesty at our lives, they confront us with our attachments, and—in a phrase I recently encountered—they urge us to sit with our own mirrors.

Lent is not for sissies.

In these past few weeks, we have traveled with Jesus into the wilderness, listened to his challenge to discern between the things of heaven and the things of earth, witnessed his outraged and outrageous cleansing of the temple, and overheard him liken himself to the serpent that Moses raised in the wilderness. Now he comes along, in this week’s gospel reading, speaking of grain and dying, losing one’s life and keeping it, hating and loving. We hear a thundering voice from heaven speaking of glory, and Jesus talking of being raised up from the earth.

The import of these Lenten texts is all the more intense for the surety of Jesus’ violent death that looms ahead. As we walk with Jesus through these weeks, we know what we are walking toward. And so his words carry extra weight, and we bend closer to capture them, as we do with someone we know is not long for this world—but who is already beginning to see things we cannot see, and speaking a language we do not yet understand.

Unlike others loosing the tethers that have held them to this life, however, Jesus retains a passionate interest in this world. Despite any impression he may give to the contrary (“those who hate their life in this world will keep it,” he says this week), Jesus does not perceive this world, this life, merely as a prelude to heaven or as a stockyard for weeding out the blessed from the damned. He seeks, rather, to train our eyes to perceive the kingdom of heaven tucked into the midst of this very world.

Teaching us to see the kingdom requires symbol, myth, metaphor, story. It requires the visual poetry that Jesus repeatedly uses as he turns to the things of earth to describe the things of heaven: yeast, seeds, dirt, water, fish, lilies of the field, birds of the air. Again and again he employs the ephemeral as he seeks to explain what is eternal. His doing so both comforts and unsettles; taking what is familiar to us, he turns it on its head, and us as well. How will we ever come to understand such a language?

We may feel daunted at this point in the season. I do. So suffused with meaning and messages, not to mention impending murder, these passages can overwhelm with their density and intensity and with their challenge to us to hold their paradoxes and untangle their meanings. Their lines somehow intertwine with the stuff of my days, drawing me deeper into the questions they pose about what my life is really about. There is so much to discern, to sort through, to sift.

In the midst of feeling daunted, I find myself thinking of the mystic poet who asked, “What is the cure for love? More love.” The formula holds true elsewhere. The cure for mystery? More mystery. The cure for paradox? More paradox. Last week’s readings from Numbers and the gospel of John reminded us that the cure for snakebite lay in looking upon a serpent. And in such a way this season beckons us to consider that we find our cure not by shrinking from what besets and befuddles and daunts us but by looking deeper into those very places, and finding the treasure that God has placed within them.

Go into the things you shrink from, Jesus tells his hearers—and us—in this passage. Go into the questions, the mysteries, the paradoxes, the seeming contradictions. Go into the Lenten dying that is not dying after all. We work so very hard at letting go, sometimes, trying to train ourselves to release our grip on all that is not God. But what if it is not about giving up but giving in? Falling into dirt, as Jesus says here. Going where grain is supposed to go. Following the spiral within the seed that takes us deeper into the dark but also—finally, fruitfully—out of it.

The lectionary interrupts this passage before its end; Jesus’ conversation with the crowd actually extends to verse 36. After Jesus finishes his discourse, here’s what John tells us Jesus did: he hid from them. And perhaps that’s what Jesus means for us to do at this point on the Lenten path: to hide. To not be set on figuring everything out but rather to let at least some part of ourselves, for some space of time, withdraw. To cease from wrestling with the questions and mysteries and simply rest with them and give in to them. To secret our souls like a seed in the earth. To see what grows.

How is it with your soul at this point on the Lenten path? As you work with these texts, how are these texts working on you? What questions have they stirred for you in these days? How do you respond to the mysteries and paradoxes they hold? Can you rest with those questions and mysteries? What do you need?

May you fall into, rest into, a place that will tend and nourish you in these days. Blessings.

Resources for the Season: Looking toward Lent

P.S. Happy Eve of the Feast of the Annunciation! Falling on March 25, this feast celebrates the radical yes that Mary said to Gabriel when the angel beckoned her to become the mother of Christ. For some of my artwork and reflections on the Annunciation, visit Getting the Message and The Hour of Matins: Annunciation.

[To use the image “Into the Seed,” please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Feast of the Presentation/Candlemas

February 1, 2009

blog-candlemas
Blessing of the Candles © Jan L. Richardson

Reading from the Gospels for Feast of the Presentation: Luke 2.22-40

The beginning of February offers us another lovely feast day on the heels of today’s Feast of St. Brigid. In the rhythm of the Christian liturgical year, tomorrow marks the Feast of the Presentation of Jesus, also called the Feast of the Purification of Mary. This day bids us remember Mary and Joseph’s visit to the Temple to present their child Jesus on the fortieth day following his birth, as Jewish law required, and for Mary to undergo the postpartum rites of cleansing. Luke’s Gospel tells us that a resident prophet named Anna and a man named Simeon immediately recognize and welcome Jesus. Taking the child into his arms, Simeon turns his voice toward God and offers praise for the “light for revelation” that has come into the world.

Taking a cue from Simeon, some churches began, in time, to mark this day with a celebration of light: the Candle Mass, during which priests would bless the candles to be used in the year to come. Coinciding with the turn toward spring and lengthening of light in the Northern Hemisphere, Candlemas offers a liturgical celebration of the renewing of light and life that comes to us in the natural world at this time of year, as well as in the story of Jesus. As we emerge from the deep of winter, the feast reminds us of the perpetual presence of Christ our Light in every season.

With her feast day just next door, and with the abundance of fire in the stories of her life, it’s no surprise that St. Brigid makes an appearance among the Candlemas legends. One of those legends reflects a splendid bit of time warping that happened around Brigid. The stories and prayers of Ireland and its neighbors often refer to Brigid as the midwife to Mary and the foster mother of Christ. Chronologically, this would have been a real stretch (seeing as how Brigid was born in 454 CE), but in a culture in which the bond of fostering was sometimes stronger than the bond of blood, this creative image of Brigid reveals something of the deep esteem that she attracted. In the Carmina Gadelica, a collection of prayers, legends, and songs that Alexander Carmichael gathered in Scotland in the 19th century, he conveys this story of Brigid as an anachronistic acolyte:

It is said in Ireland that Bride [Brigid] walked before Mary with a lighted candle in each hand when she went up to the Temple for purification. The winds were strong on the Temple heights, and the tapers were unprotected, yet they did not flicker nor fail. From this incident Bride is called Bride boillsge (Bride of brightness). This day is occasionally called La Fheill Bride nan Coinnle (the Feast Day of Bride of the Candles), but more generally la Fheill Moire nan Coinnle (the Feast Day of Mary of the Candles)—Candlemas Day.

On this Candlemas Eve, where do we find ourselves in this story? Are we Mary, graced by the light that another sheds on our path? Or are we Brigid, carrying the light for another in need?

A blessed Candlemas to you!

[To use the “Blessing of the Candles” image, please visit this page at janrichardsonimages.com. Your use of the Jan Richardson Images site helps make the ministry of The Painted Prayerbook possible. Thank you!]

[For my other reflection & art related to Luke 2.22-40/The Presentation, visit this post.]

A Habit of the Wildest Bounty: Feast of St. Brigid

January 31, 2009


Saint Brigid © Jan L. Richardson

Tomorrow brings one of my favorite days of celebration: the Feast of Saint Brigid of Kildare, beloved holy woman of Ireland. Born in the middle of the fifth century, Brigid became a pivotal figure in the development of Irish Christianity. We know few concrete details of her life, but the surviving stories offer a compelling depiction of a woman renowned for her hospitality and for the monasteries she established, the most famous being the one at Cill Dara (Kildare), the Church of the Oak.

Many of the tales of Brigid’s life read much like those of other female saints: her saintly qualities were evident from an early age; she forsook marriage in order to follow Christ in a monastic way of life (she even caused her eye to burst in order to avoid being married off; don’t try this at home!); she was a wonder-worker who brought healing and justice; she exercised miraculous influence over the weather, animals, and the landscape. “She stilled the rain and wind,” the final line of the Bethu Brigte, a medieval account of Brigid’s life, tells us.

In her charming book St. Brigid of Ireland, Alice Curtayne describes Brigid as someone who found the poor “irresistible” and ministered to them with “a habit of the wildest bounty.” Her lavish generosity sometimes put her at odds with her family and, later, her monastic community, which occasionally had to do without as she gave their bounty to guests and strangers.

There is a strong domestic quality that pervades Brigid’s wonderworking, a homeliness to the miraculous that runs throughout her tales. Most of her recorded miracles are feats of provisioning by which she secures an abundance of fare for daily sustenance as well as for festive occasions. In Brigid’s presence, butter is replenished; the bacon she slips to a dog miraculously reappears in the pot; a stone turns to salt; water becomes milk, or beer, or, in one instance, an aphrodisiac. Her plenitude consciously echoes Christ’s miracles of provisioning—water into wine, a few loaves and fish into a feast—and embodies the abundant generosity of God. There is a gracefulness that shimmers in the utterly mundane quality of the material of Brigid’s miracles, underscoring the dignity of the daily tasks to which the women of her day—and women across centuries—devoted so much of their lives.

Those who wrote Brigid’s Lives, however, were keen to portray her as much more than a wonderworking dairymaid. Within the workaday landscape of her legends, signs of the mystery and power of God flicker and flash with a brilliance that illuminates the saint and sparks the imagination. Fire is a persistent symbol in her stories, and in one of the earliest prayers to Brigid, known as “Ultán’s Hymn,” the writer addresses her as a “golden radiant flame.”

The symbol of fire illuminates and underscores Brigid’s role as not only a worker of domestic miracles but also a woman of transcendent power. In her stories she appears as a charismatic leader who wields influence in monastic, civic, and natural realms; she is ever at ease among kings and bishops; she brings healing to body and soul; she displays gifts of exhortation; she has prophetic dreams and sees far into the hidden reaches of the heart. Brigid possesses a sense of justice that prompts her to secure the freedom of prisoners and slaves.

The Annals of Ulster variously give the date of Brigid’s death as 524, 526, and 528. According to one of her early biographers, Brigid was buried in the abbey church she established at Kildare, and she continued to work miracles after her death. Tradition tells that she was moved from Kildare and laid to rest in Dunpatrick alongside two other great saints of Ireland, Patrick and Columba. Her physical grave remains a mystery, but the landscape of Ireland continues to testify to her presence, with forms of the name Brigid appearing in the names of towns, holy wells, and churches. Legends, prayers, rituals, and celebrations (some of which echo the festivities of Imbolc, a major springtime celebration in the ancient Celtic year) continue to expand and sometimes complicate her story, adding their threads to the mysterious tapestry of Brigid’s legacy.

Brigid lent her name to a modern-day monastery that has been a significant part of my own journey for nearly a decade. Founded at the turn of this millennium by Mary Stamps, a remarkable woman who possesses a wondrous share of the spirit of the groundbreaking Irish saint, St. Brigid of Kildare Monastery draws from both Methodist and Benedictine traditions. For more information about this unique community, visit Saint Brigid of Kildare Monastery.

A blessed Feast of Saint Brigid to you, and may you possess Brigid’s habit of the wildest bounty!

[To use this image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Feast of the Epiphany: A Calendar of Kings

January 6, 2009

Image: Adoration of the Magi © Jan Richardson

Reading from the Gospels, Epiphany: Matthew 2.1-12

A blessed Epiphany to you! During the season that has brought us to this feast day, one of the CDs I’ve been listening to is Wolcum Yule: Celtic and British Songs and Carols by the wondrous vocal group Anonymous 4. My favorite piece on this CD is “A Calendar of Kings,” which began as a poem by George Mackay Brown, the prolific poet of Orkney (in northern Scotland) who died a dozen years ago. The poem’s musical setting was composed by Sir Peter Maxwell Davies, whose composition honors and evokes the haunting enchantment of Mackay Brown’s words. In the liner notes, Maxwell Davies comments, “From the imagery, with ice, snowdrops, and daffodils, it is clear that the journey lasts a season, and that the poet has transplanted the setting from the Middle East to his native land and seascape in Orkney, bringing the nativity home in a very vivid way.”

Here’s the text of the poem.

A Calendar of Kings

They endured a season
Of ice and silver swans.

Delicately the horses
Grazed among the snowdrops.

They traded for fish, wind
Fell upon crested waters.

Along their track
Daffodils lit a thousand tapers.

They slept among dews.
A dawn lark broke their dream.

For them, at solstice
The chalice of the sun spilled over.

The star was lost.
They rode between burnished hills.

A fiddle at a fair
Compelled the feet of harvesters.

A glim on their darkling road.
The star! It was their star.

In a sea village
Children brought apples to the horses.

They lit fires
By the carved stones of the dead.

A midwinter inn.
Here they unload their treasures.

© George Mackay Brown
from Following a Lark

The image above is from my series The Advent Hours. I wrote this to accompany the artwork:

Pondering the patterns of the heavens, the wise ones found one star, one light that called to them, compelled them, set them on the road. And they came, arriving upon the star-drenched landscape where dwelled the hope of the world in the garb of a child. They stretched out their hands to him, the brilliance of the sky now shimmering in their exquisite gifts: gold, frankincense, myrrh.

I’m taking a bit of time off this week but am aiming to have a reflection on Epiphany 1/Baptism of Jesus posted within the next couple of days. In the meantime, I welcome you to visit last year’s reflection on Matthew’s version of Jesus’ baptism, Epiphany 1: Ceremony (With a Side of Cake).

I’ll send out the Epiphany edition of my e-newsletter this afternoon, so if you’d like to receive it and haven’t already subscribed, I invite you to join my mailing list here.

Merry Epiphany! For this day, for this year, may you have light for the path and, as George Mackay Brown writes of the kings, a place to unload your treasures.

[To use the image “Adoration of the Magi,” please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Inviting Epiphany

December 30, 2008

wisewomenalsocame
Wise Women Also Came © Jan L. Richardson

I’m working on a reflection for the gospel lection for Epiphany, but in the meantime, I offer you this festive trio to get the celebration under way. Wise Women Also Came was one of the first collages I did when I started to discover, many years ago, that there was an artist lurking in me. I created this as my Epiphany (i.e., belated Christmas) card the year I graduated from seminary. I made it out of plain construction paper; this was before I had discovered the wondrous world of art papers. (A trip to The Japanese Paper Place, now simply called The Paper Place, while visiting my sister in Toronto changed all that; you could say that walking into its stunning space was, well, an epiphany.)

These wise women made their way onto the cover of my first book, which I was writing during the same time that I was getting to know my inner artist. They also made an appearance in Night Visions, my first book to wed my writing and my artwork. This time a poem accompanied the women:

Wise Women Also Came

Wise women also came.
The fire burned
in their wombs
long before they saw
the flaming star
in the sky.
They walked in shadows,
trusting the path
would open
under the light of the moon.

Wise women also came,
seeking no directions,
no permission
from any king.
They came
by their own authority,
their own desire,
their own longing.
They came in quiet,
spreading no rumors,
sparking no fears
to lead
to innocents’ slaughter,
to their sister Rachel’s
inconsolable lamentations.

Wise women also came,
and they brought
useful gifts:
water for labor’s washing,
fire for warm illumination,
a blanket for swaddling.

Wise women also came,
at least three of them,
holding Mary in the labor,
crying out with her
in the birth pangs,
breathing ancient blessings
into her ear.

Wise women also came,
and they went,
as wise women always do,
home a different way.

Next week, in the wake of an intense season of travels and other endeavors, I’ll resume working on a new book. It’s something of a sequel to Sacred Journeys, the book I was writing when these wise women took shape. Though I rarely find writing easy (when folks ask me if I enjoy writing, I usually say, “I enjoy having written”), I’m looking forward to reentering the rhythm of working on a book in a focused fashion. It seems an opportune time to revisit these wise women as I seek a blessing for the path, and the book, ahead. I wonder who will show up this time, and what epiphanies they will have in store.

Who have been the wise women in your life? What epiphanies have they instigated? Here at the ending of the year, what wisdom do you want to gather up from the past twelve months and take with you into the coming year? What blessing, what gifts, do you need to receive for the path ahead? What gifts do you need to offer, that only you can give?

Peace to you in this time of turning.

[To use this image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Parabolic Curves

November 11, 2008


Buried © Jan L. Richardson

Reading from the Gospels, Year A, Proper 28/Ordinary 33/Pentecost +22: Matthew 25.14-30

So I’ve flown to Toronto, celebrated my sister’s wedding, enjoyed some quality family time (and some crisp Canadian weather), and am winging my way back home as I write. And still those bridesmaids are traveling with me, the ones from last Sunday’s gospel lection. Maybe it has something to do with the synchronicity of their story popping up in the lectionary during the week of my sister’s wedding, but I suspect the persistence of the bridesmaids’ presence simply means they’re not finished with me yet.

It’s the so-called foolish bridesmaids in particular who have lingered with me, the ones who found themselves lacking the oil reserves that would have granted them admittance to the wedding festivities. They’ve been haunting my imagination as curious twins of the wise, well-provisioned bridesmaids. Embodying that which we are urged to reject, the foolish bridesmaids are the wise bridesmaids’ shadow sisters. They challenge us to ponder the part of ourselves that can’t get it together, that is content to live with lack, that is caught in cycles of procrastination and passivity. Their presence calls us to reckon with our resistance toward looking beyond the obvious options.

The foolish bridesmaids appear willing to accept the groom’s verdict, his denial of entry, without question. Perhaps they have forgotten that God performs miracles with oil, as in the story of the hungry widow of Zarephath, who, in her lack, gave hospitality to Elijah, and whose jar of oil was perpetually replenished (1 Kings 17.8-16). The women of Jesus’ parable seem not to know the occasions when God provided water in the wilderness, or the times when Jesus turned a couple of fish and a few loaves of bread into a feast that fed thousands who neglected to pack a lunch, or the story of the woman who told Jesus that even the dogs ate the crumbs from beneath the master’s table, and who thereby won a healing for her daughter. The foolish bridesmaids haven’t heard the story of the widow who hounded the judge until he gave her justice. They haven’t encountered Jesus’ counsel in Luke 11, where, in teaching about persistence in prayer, Jesus invites his listeners to imagine going to the house of a friend at midnight and asking for three loaves of bread for a guest who has arrived. “I tell you,” Jesus says, “even though he will not get up and give him anything because he is his friend, at least because of his persistence he will get up and give him whatever he needs.” Jesus goes on to say, “Ask, and it will be given you; search, and you will find; knock, and the door will be opened for you” (Luke 11.5-13).

Denied entry, these oil-poor bridesmaids don’t know—or don’t care—that they can knock harder on the door that bars them from the wedding feast, and that God has a fondness for those who, faced with two choices, search for Option C.

The Parable of the Bridesmaids is not merely a prelude to the parable of this week’s gospel lection but a parallel to it; in a sense, Matthew 25.14-30 is a retelling of the bridesmaids’ tale. Jesus emphasizes these parables’ parallel nature in the simile with which he starts his story: “For it is as if,” he says, and launches into his narrative of the man who, “going on a journey, summoned his slaves and entrusted his property to them; to one he gave five talents, to another two, to another one, to each according to his ability.” And thus begins one of Jesus’ most familiar parables.

We likely know the rest of this story, how one slave turns his five talents into ten, how the next turns his two talents into four, and how the third slave buries his single talent in the ground. On the day of reckoning, the two slaves proffer their profits and receive the expected praise, while the third offers this account: “Master, I knew that you were a harsh man, reaping where you did not sow, and gathering where you did not scatter seed; so I was afraid, and I went and hid your talent in the ground. Here you have what is yours.” He receives a thorough castigation for being wicked and lazy. His one talent is given to the man who now has ten, with the master offering this rationale: “For to all those who have, more will be given, and they will have an abundance; but from those who have nothing, even what they have will be taken away.” The parable ends with the master’s command to throw this “worthless slave…into the outer darkness, where there will be weeping and gnashing of teeth.”

Okay, may I just say it? I find myself liking the third servant more than the first two. The entrepreneurial servants of the parable do precisely as expected: they enlarge the master’s fortune in his absence, they follow his plan without question, they perform as he has compelled them to do. The third fellow, however, calls things as he sees them. He knows his master is corrupt, and, with a curious mix of courage and fear, he says so to his face. And thereby reaps the master’s wrath.

So I find myself wondering, why is it that we most often read this passage as a judgment against the third servant and not against the man who has perpetuated an unjust system? Do we really think that the harsh and reportedly corrupt master of this parable represents God, who, after a period of absence, comes back prepared to throw out those who have not performed as expected? Do I really want to be like the first two servants, willing to participate in and perpetuate injustice?

Much like the wise bridesmaids, the two multi-talented men serve as the foil for the one who proves inept and unprepared. One could say they are the suck-ups who provide a contrast to the screwup. We might wonder at a parable that presents a narrative ecosystem in which the only available choices seem to lie either in perpetuating the master’s corrupt business plan or hiding his loot in the ground.

But we might wonder, too, at the servant who perceives these as the only options. He is savvy enough to recognize the system that surrounds him, and, presumably, he has participated in it up to this point. He finally demonstrates a measure of bravery that enables him to, as the phrase goes, speak truth to power. But like the foolish bridesmaids, he possesses a streak of passivity that, within the landscape of the parable, proves his undoing. Perhaps this is what makes each of them—the hapless bridesmaids, the single-talent servant—foolish: ultimately, they prove unwilling to take responsibility for pushing toward another option, looking for another choice. They have forgotten the God who startles with stunning abundance in the midst of the starkest lack.

The servant who buried his sole talent reminds me that when we cannot imagine other possibilities, we tend to hoard what we have, clinging to what is comfortable or at least familiar. And not only to hoard, but to hide. In the absence of eyes to see the wealth that God reveals in the wilderness, we secret away what small measure we have, thinking it will be enough to sustain us, and hoping it will protect us. It’s difficult, however, to draw sustenance from secrets, and it’s hard even for God to bless and multiply that which remains hidden. Darkness has its uses, and its gifts: growth requires gestation, a season of deep shadow, the absence of light for a length of time. But what we leave underground too long grows distorted and becomes decayed. As the third servant discovered, what we hide—our habits, our beliefs, our own selves—has a way of unburying itself.

I take this parable seriously as a profound call to unhide ourselves, to resist accepting the obvious options, to stretch ourselves toward the fullness for which God created us. I recognize how this story, along with the parable of the bridesmaids, warns of the pain that comes from our passivity. Yet I also read this parable in the light of the stories of the God who does miracles with what is most basic and elemental: oil, water, wine, bread, our very selves. This is the stuff in and through which God brings transformation, and the means by which God sustains the world.

This week I find myself wondering, what do I hide, and why? What parts of my created self have I sent underground? Is there anything I’ve left too long in the dark? Do I harbor any passivity that I need to invite God to turn into persistence? As the season of Advent approaches, with its rich play of light and dark, what might God desire to reveal and to transform in my own life?

In these lingering days of Ordinary Time, may God stir our imagination, sharpen our vision, and give us courage to unhide what God desires us to offer. Blessings.

[To use the “Buried” image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Feast of All Saints: A Gathering of Spirits

October 26, 2008


A Gathering of Spirits © Jan L. Richardson

Ahhhh…it’s the Feast of All Saints, almost. I love this time of year. Here in central Florida we’re just beginning to touch the fringe of Autumn’s cloak. There’s something stirring, a shift in the works, and it doesn’t have to do solely with the weather.

I’m not sure quite when it started, but for many years, the trinity of days from October 31 to November 2, encompassing Halloween, All Saints’ Day, and All Souls’ Day, has been a thin place in the landscape of my year. The ancient Celts, who celebrated the major festival of Samhain around November 1, believed that the veil between worlds became especially permeable at this time. In something of that spirit, I find that these days offer an invitation to ponder the past. Not with a desire to return to it, or to second-guess it, but with a mindfulness of what has gone before, and perhaps to have a brief visit from the ghosts of What Might Have Been.

It’s this kind of impulse that gave rise to the feasts of All Saints and All Souls. Recognizing the ancient habit of looking to the past at this time of year, the church created new ways to remember the dead with practices in which we can still hear the echoes of the ancient celebrations. Each culture that observes these feast days continues to add their own layers of meaning and mystery, as with the Día de los Muertos (Day of the Dead) celebrations that originated in Mexico (and which, of course, rest on pre-Christian festivities). My own observance of these days usually includes setting aside some time for quiet, for remembering, for prayer, for doing some writing that’s just for me. And good food, of course. And lighting a few flames.

I had a taste of the Feast of All Saints a bit early this year. The theme for the Grünewald Guild’s gala dinner and auction that Gary and I helped with in Washington last weekend was A Gathering of Spirits. The title came from Carrie Newcomer’s song of the same name, which she wrote out of her experiences of teaching at the Guild. I created a piece of artwork for the auction and the cover of the evening’s program—it’s the image you see above—and designed it with the theme, and Carrie’s song, in mind. It shares the same title.

The folks who contributed artwork to the auction each had to write an artist’s statement to accompany our piece. Here’s how mine went:

Before the paint, before the color-drenched layers, it began with a prayer. Penciled words across the white paper: a litany of blessing, a liturgy of thanksgiving for a holy place in the Plain Valley where the worlds of art and faith intertwine. Then the painting, then the cutting, then the layering of papers atop the penciled prayer. With every piece, another prayer; with every layer, another memory of those who have passed through the thin, thin place that is the Guild. Remembering how their presence lingers. A communion of saints, say, to sustain us when the way grows daunting. Or call it this: a gathering of spirits.

What stirs your memories in this season? Who are the folks, living or dead, who linger close in these days? Whom do you gather with? Who or what haunts you? How do your memories help inspire your path ahead?

May this week offer you a thin place and a gathering of good spirits. Blessings.

(To use this image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!)

Crossing the Country, Thinking of Love

October 24, 2008


The Two Commandments © Jan L. Richardson

Reading from the Gospels, Year A, Proper 25/Ordinary 30/Pentecost +19: Matthew 22.34-46

Last week. Thursday. Gary and I are somewhere over the continent, making an arc toward Seattle. We are flying across the country to help with an event for the Grünewald Guild; Gary to perform, me to serve as emcee for the gala dinner and auction that will help raise funds to sustain this remarkable retreat center. This is a bonus trip, an out-of-season treat; I’ve never been to Washington State except in the summer, when I go to teach at the Guild, nor have I seen most of these folks anywhere but on the Guild’s property.

I’ve finished the collage for this post and am ambitious to think that I can write the accompanying reflection en route to Seattle. With my tray table serving as a makeshift desk, I turn to Sunday’s lection once again. Matthew gives us another encounter between Jesus and the Pharisees, with this one containing their question, “Teacher, which commandment in the law is the greatest?” Quoting from the Hebrew scriptures, Jesus tells them, “‘You shall love the Lord your God with all your heart, and with all your soul, and with all your mind.’ This is the greatest and first commandment. And a second is like it: ‘You shall love your neighbor as yourself.’ On these two commandments,” Jesus says, “hang all the law and the prophets.”

I pull out some notes that I had jotted down as I prepared for this trip. They are filled with impressions, questions, points of connection between the text of the scripture and the text of my life. There are scripture verses I’ve scribbled down. This passage not only drew from earlier sources but also inspired later scripture writers, so there is a web of texts that link to this one. I’ve written down Deuteronomy 6.5, from which Jesus quotes in responding to the Pharisees. It’s part of the Shema, the prayer that lies at the heart of Jewish life: “Hear, O Israel: The Lord is our God, the Lord alone,” the ancient prayer begins. And Leviticus 19.18: “You shall not take vengeance or bear a grudge against any of your people,” God compels Moses to tell the people of Israel, “but you shall love your neighbor as yourself: I am the Lord.” There is Mark 12.28-34, a parallel to Matthew’s version, which places Jesus’ questioner in a rather different light. And Luke 10.25-37, where, alone among the synoptic gospels, Jesus uses the question as an occasion to tell the Parable of the Good Samaritan.

Romans 13.8-9 appears among my notes. “Owe no one anything,” Paul urges the church in Rome, “except to love one another; for the one who loves another has fulfilled the law.” Galatians 5.14, in which he writes, “For the whole law is summed up in a single commandment, ‘You shall love your neighbor as yourself.'” And James 2.8, where the writer refers to love of one’s neighbor as the “royal law.”

Psalm 110.1 made its way into my notes. It’s the piece of poetry that Jesus quotes in the second portion of this week’s lection, where he poses his listeners a question about how David can call the Messiah “Lord,” if the Lord is his son. It seems a bit of an odd turn, a particularly circuitous question that Jesus has devised to stump his listeners. (It works, evidently. “No one was able to give him an answer,” Matthew says in concluding the passage; “nor from that day did anyone dare to ask him any more questions.”)

Looking up from my notes, I hand the gospel passage to Gary, ask him what he thinks. Does this second part of the reading offer a connection with Jesus’ words about love, or is it a distinct passage that happens to be in the same lection but requires a separate treatment? Gary ponders the passage for a bit, then suggests that each portion offers a commentary on the relationship between humans and God. The first part seems straightforward, if sometimes gut-wrenchingly difficult. In the second part, there is a deft subtlety in Jesus’ confounding question. In challenging his hearers to ponder how the Messiah can be both David’s ancestor and heir, Jesus underscores the manner in which he stands both within time and beyond it. He is Love embodied, entering into the fullness of what it means to wear flesh in this world. Yet he reminds us that Love is not bound by time, is not confined to chronology, can take us in seeming circles as we enter deeper and deeper into its mysteries.

I ponder these things, then finally I put my notes away, and my Bible, and my laptop. I am tired in body and in brain. There is time yet to try to work all the scattered notes and questions and thoughts into some sort of coherence. For now, I sit back, speeding over the darkened, unseen landscape below. Jesus’ words persist like a refrain, like a heartbeat, a steady pulse as we pass through another time zone, and another. Arcing across the country, I am traveling with someone I love, traveling toward people I love, all of whom continue to teach me about the mysteries of the simple yet achingly intricate commandment of love, this ancient law that draws us so far beyond ourselves and yet circles us deeply back within.

I close my eyes, resting before the arrival. Waiting. For now, it is enough.

How about you? What challenges and what gifts do you find in Jesus’ words in this passage? Where has love led you? Toward what—or whom—do you feel it drawing you? What sustains you along its path?

Blessings.

[To use the “Two Commandments” image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Something Old, Something New

July 23, 2008


Something Old, Something New © Jan L. Richardson

While I was at St. John’s University in Minnesota last week, I made a couple of visits to the Hill Museum and Manuscript Library (known in those parts as the HMML). The Benedictine monks of St. John’s founded the HMML to preserve the medieval manuscript heritage of Europe, Africa, and the Middle East, and it’s always a favorite destination for a girl with a blog called The Painted Prayerbook. This summer the HMML is home to a tasty exhibition of original folios from The Saint John’s Bible, the first Bible to be written and illustrated entirely by hand in more than five hundred years. Featuring the Wisdom Books section of The St. John’s Bible, the exhibition marks the completion of five of the planned seven volumes of this contemporary manuscript. By the time that Donald Jackson and his team of scribes and artists complete their lavish, monumental work, the Bible will have absorbed about ten years of their lives.

A group was touring the exhibition during one of my visits to the museum. As I took in the folios, with the gold dancing on their pages, I tuned an ear to the comments that the group’s HMML guide offered. After her presentation, she fielded a number of questions. “Why,” one person asked, “in this age of high-quality printing technology, would someone spend the time to create an entire Bible by hand?” As the guide responded, she spoke about the value of recovering ancient practices of bookmaking as a sacred art, and of the beauty that emerges in fashioning something by hand. She pointed out that contemporary technology has played a significant role in The Saint John’s Bible; a designer used a computer to plan the entire layout of the pages before the team began to lay the first strokes of ink, paint, and gold leaf on the vellum sheets.

It’s a treasure that draws from what is old and what is new.

We hear about such treasures in this week’s gospel lection, Matthew 13.31-33, 44-52. Jesus, who is in a parable-telling mood at this point in the gospel, offers a series of images that describe what the kingdom of heaven is like. He speaks of a mustard seed that grows into a tree, yeast that a woman mixes with flour, a man who discovers treasure hidden in a field, a merchant who finds a pearl of great value, and a net filled with fish. Jesus closes the litany of images by saying, “Therefore every scribe who has been trained for the kingdom of heaven is like the master of a household who brings out of his treasure what is new and what is old.”

The scribe about whom Jesus speaks is a rather different sort of scribe than those who have been laboring over The Saint John’s Bible. Jesus’ scribe is one versed in Mosaic Law, a person who knows and draws from the wealth of the law and also recognizes new treasure when it appears. Yet the scribes of The Saints John’s Bible, and the pages they have created, embody what Jesus’ kingdom-images evoke. Each reminds us of how the holy, which so often seems hidden, emerges when we stretch ourselves into searching for it, seeking it, laboring toward it. The bakerwoman kneading in her kitchen, the man who sells all that he has to buy the field, the merchant who gives up everything to purchase the pearl of great price, the scribe trained for the kingdom of heaven, the householder who brings forth treasure old and new: each of these has given themselves, devoted themselves, to a particular process by which treasure emerges. They know what skills it takes, what vision, what devotion. Each trained in their particular art, they possess in their bones the knowledge that tells them what ingredient to use, what tools old or new to employ, what treasure lies before them.

Offering these images, Jesus recognizes there are things that are worth a long devotion; there is treasure worth giving ourselves to for a decade, a lifetime. Such treasure might not have a usefulness that is obvious, or readily grasped. In a world where technological shortcuts abound (and are useful at times, to be sure)—bread machines, metal detectors, faux pearls, computer printers—something happens when we take the long way around, when we hunt for the holy that often loves to hide in work that takes time, takes the development of skill, takes commitment, takes the long view.

I think of when I was first learning calligraphy a few years ago. There was no getting around the need for practice. Over weeks and months, as I covered page after page with ink, shaky lines steadily grew more sure, and awkwardness began to give way to art.

This type of long laboring and searching reveals something about our own selves. Submitting ourselves to a process of practicing brings secret parts of ourselves to the surface; it draws us out and unhides us, and the holy that dwells within us. “The kingdom of God is among you,” Jesus says in Luke 17.21. Among us, and meant to be uncovered, to become visible, to offer sustenance and grace for the life of the world. Like bread. Trees. Pearls. Pages. Treasure born of what is old and what is new.

What treasure have you found, or long to find, in the hidden places of your life? What searching, what seeking might God be challenging you toward, to uncover what’s been buried? Is there anything in your life that invites you to encounter the holy in a process that takes time, practice, skill, devotion? What of yourself do you find in that, and what do you find of God?

May this week bring a hidden gift your way. Blessings.

[To use the “Something Old, Something New” image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Mapping the Mysteries

June 11, 2008


Mapping the Mysteries © Jan L. Richardson

Reading from the Gospels:
Year A, Proper 6/Ordinary 11/Pentecost +5
: Matthew 9.35-10.8 (9-23)
Year B, Proper 9/Ordinary 14/Pentecost +5: Mark 6.1-13

Year C, Proper 9/Ordinary 14/ Pentecost + 7: Luke 10.1-11, 16-20

Early in my ministry, I traveled to Alaska with a mission team from my church. During a free day, we did some exploring that included a stop at the Anchorage Museum of History and Art. As I wandered through the rooms, I found myself in an exhibit titled A World of Maps. These maps were unlike any I had ever seen. Artists from across the United States had taken the familiar forms of cartography, stretching and pushing and translating them into a fascinating library of landscapes. There were altered maps, painted maps, collaged maps. There were maps in the form of sculpture, of books, of pottery. There was a map that unfolded like a scroll, a map in the form of a diptych, a woven map. More than describing the geography of the physical world, these maps charted worlds of imagination, fantastical realms, the terrain of the soul and spirit. The maps told stories of things seen and unseen, and they challenged ideas about borders and boundaries. They embodied the lure and the hazards of exploring worlds unknown—and the worlds we think we know.

This week marks fifteen years that I have been in ministry. Yesterday, as part of my reflecting on this past decade and a half, I pulled out the catalog from that Alaskan exhibit and spent some time revisiting the maps I had encountered so early in my vocation. Looking back, I wonder if part of my fascination with those maps lay in my awareness, even then, of what an uncharted path I was on. I entered ordained ministry with a sense that at some point God would open a door that would take me off the beaten path. I had a gut sense, some hunches, a sense of longing about the ways the path might take shape, but no real idea of how it would unfold.

In this week’s gospel lection, Jesus gives the disciples the closest thing they ever get to a map for their ministry. Telling the twelve to go and proclaim the good news that “The kingdom of heaven has come near,” Jesus provides a rough—not to mention sobering—chart of the landscape they will venture into. He tells them of the hazards the terrain will likely pose, what towns and people to avoid, and how to navigate occasions of hospitality and resistance and hatred. And he gives them the authority to do the work he has called them to do: to chart a path that will be marked by healing and restoration.

So early in their ministries, the disciples could know little of what the territory ahead would actually look like or where it would take them. I wonder—as they looked back after Jesus’ death and resurrection, what kind of map might they have drawn to describe the paths they had walked with him? Reading the landscape with the eye of a cartographer, what marks might they have made to trace their travels? What would those contours and patterns have looked like—the places where, with the authority given to them, they cured the sick, raised the dead, cleansed the lepers, and cast out demons? Or where they shared meals together, or fed those who hungered, or listened to Jesus teach and challenge and encourage and stretch them? Or where they watched him die, and witnessed him alive again? How would they map all the terrain they crossed in the spaces of their own souls?

In Katharine Harmon’s wondrous book You Are Here: Personal Geographies and Other Maps of the Imagination, she includes an essay by Stephen S. Hall entitled “I, Mercator.” Hall writes,

I like to say that I never travel without a map, but then none of us do. We all travel with many maps, neatly folded and tucked away in the glove compartment of memory—some of them communal and universal, like our autonomic familiarity with seasonal constellations and the shape of continents, and some as particular as the local roads we have each traipsed. As we navigate on the trip that Dante called “our life’s way,” we are all creating our private maps. Like Mercator, we are not discovering entirely new worlds; rather, we are laying a new set of lines down on a known but changing world, arranging and rearranging metaphysical rhumbs that we associate with successful navigation. To each, her or his private meridians. To each, a unique projection. I, Mercator, and you, too.

This week’s collage is a map I made as I reflected on these past fifteen years in ministry. As with most maps, I can chart the landscape only in retrospect; I recognize the roads because I have traveled them, often making them up as I went along. Making this collaged map, I had certain kinds of landmarks on my mind, but I fashioned it with the awareness that I could have charted the landscape any number of ways. I could have marked the locations where pivotal conversations occurred, where I witnessed healing, where I encountered birth or death. I could have charted the places of peril, of heartbreak, of unexpected wonders. I could have marked the spots where the territory seemed to take me in circles, or was barren, or graced me with splendors. The map might have noted the underground streams, the secret passages, the wellsprings of sustenance, the paths not taken.

And it might tell of those sites where the convoluted terrain finally opened up and spilled me out into a plain where I knew more deeply who I was, what I was called to do, what Christ was giving me authority to do.

Still making the map as I go, I pray for a measure of the imagination of those artists whose work I saw in Anchorage, who pushed and stretched the traditional forms, who ventured beyond the customary boundaries, who dared to look deeper into their landscape, and deeper still. More than that, I pray for the imagination of the one who looked out into the terrain of a world “harassed and helpless, like sheep without a shepherd,” a world broken by illness and injustice, a world bent by pain and hunger. I pray for the imagination of Christ, who dared to look into this world and to ask those who traveled with him, “Want to make a new map?”

So what’s your map look like? How would you chart the terrain of your last fifteen years, fifteen months, fifteen days? What landmarks would you note? What stories would your map tell? What are the maps beneath the map of your life—the hidden landscapes, the secret stories that shape the lay of your land? Are there tools you need in order to do some new mapping—to revisit and rethink and redraw the territory you thought you knew, or to change the course ahead?

Many blessings and traveling mercies as you continue to chart your way.

[To use this artwork, please visit this page at janrichardsonimages.com.]