lenten journal: much like any other day

Today is a day much like any other day.

In the story of Jesus’ death and resurrection, this is the day in the middle. Most stories have a beginning, a middle, and an end. Our Easter story goes the opposite direction, in a way, starting with the ending and then moving to beginning again. Either way, Saturday is the day in the middle. Much like any other day.

This morning, I sat around a table at church with ten Pilgrims (as we call ourselves) who had come to walk the Stations of the Cross set up in our sanctuary by our wonderful pastoral intern, Kyle. The stations were both thoughtful and tactile, involving a number of our senses to get the full picture. Before we gathered to eat, we gathered in the sanctuary for prayer and Ginger asked me to sing “Were You There?” Our connection to the song goes back to our days in Winchester, Massachusetts when Jim, a wonderful man with an amazing voice used to close the Maundy Thursday service with the first two verses of the song (as I sang them this morning):

were you there when they crucified my lord?
were you there when they crucified my lord?
oh – sometimes it causes me to tremble tremble tremble
were you there when they crucified my lord?

were you there when they laid him in the tomb?
were you there when they laid him in the tomb?
oh – sometimes it causes me to tremble tremble tremble . . .

He always stopped short of finishing the last verse and we left the service in darkness to go and wait for the ending to come. The question in the song is interesting because it begs to be answered. I don’t hear it as rhetorical. And the answer is, “No. I wasn’t there.” I try to get close, to learn, and to remember what has been passed down, but I was not there.

I am here in the in-between of Saturday afternoon, a day much like any other day.

And much like any other day, I have been mining for poems, which I believe to be why God created the Internet. I was looking for poems that spoke to the middle, to the unfinished, to living in the everyday. (I am also quoting excerpts; please follow the links to read them in their entirety.) I went first to an old friend, Stanley Kunitz. I actually met him at the one Geraldine R. Dodge Poetry Festival I have been able to attend. It was a year or so before he died. “The Layers” is one of my favorite poems. The last part of it reads:

Oh, I have made myself a tribe
out of my true affections,
and my tribe is scattered!
How shall the heart be reconciled
to its feast of losses?
In a rising wind
the manic dust of my friends,
those who fell along the way,
bitterly stings my face,
Yet I turn, I turn,
exulting somewhat,
with my will intact to go
wherever I need to go,
and every stone on the road
precious to me.
In my darkest night,
when the moon was covered
and I roamed through wreckage,
a nimbus-clouded voice
directed me:
“Live in the layers,
not on the litter.”
Though I lack the art
to decipher it,
no doubt the next chapter
in my book of transformations
is already written.
I am not done with my changes.

In the wreckage of the Crucifixion, I love the call to live in the layers of grief and hope and not on the litter of what might have been. We are not yet done. As I continued mining, I found another Kunitz poem that was new to me called “Passing Through.” The closing lines read:

Maybe it’s time for me to practice
growing old. The way I look
at it, I’m passing through a phase:
gradually I’m changing to a word.
Whatever you choose to claim
of me is always yours;
nothing is truly mine
except my name. I only
borrowed this dust.

At the Waco Mammoth Site the other day we learned there were layers of mammoth bones, each one from a different cataclysmic flood event that drowned and buried the animals. The dust we borrow for our days has been handed down. Though we weren’t there when they crucified Jesus, those who walked with him have been turned into words that have resonated down the days through the passing of the Bread and the Cup, through the telling of the story, through the living of these days that are one much like the other. And so at breakfast this morning one of the women at the table began talking about the “Mary Magdalene Moments” she had had during the day, things that had made her stop and wonder, “I wonder if this is how Mary felt?”

We may not have been there, but we can find the feelings, the resonance, the continuity in the layers of life than make up our faith. One more poetic gem. James Galvin end his poem, “The Story of the End of the Story,” with these two lines:

Real events don't have endings,
Only the stories about them do.

We are five days away from marking six months since Reuben, my father-in-law, died yet his story is not over any more than our grief is complete. Though many years separate me from my days in Lusaka or Nairobi or Fort Worth or Boston or Winchester or Marshfield those stories don’t feel finished either. There have been endings, yes – and changes. And losses. Plenty of losses. But looking back on those days is more than an archaeological dig through bones of days gone by. Something still lives in those layers, something that gives greater significance to these days much like any other day, these days in the middle between endings and beginnings and beginnings again. I was not there when they crucified Jesus, or laid him in the tomb, or even when he rose up from the grave.

But I am here on this day, much like any other day.

Peace,
Milton

lenten journal: lyrics and layers

One of the signatures of my life are pockets of unfinished things.

I have shelves of unfinished books, stacks of papers to be gone through, any number of unfinished household projects, and – thanks to an attempt, at least, to finish unpacking one corner of the guest room in our house – a folder of unfinished songs. At the end of the last century, I was a songwriter, collaborating with a good friend. I wrote lyrics and contributed on the harmonies. When that chapter of my life came to a close, I came away with the idea that I was not a melody maker, so the not-yet-songs found their way into folders and unfinished stacks and have stayed hidden for so long that I find it hard remembering them. Some in the stack have stayed with me in one form or another, but others were a complete surprise. This is one that caught my attention:

a world away

on a road outside nairobi
someone’s walking home
someone’s burning dinner
someone’s about to go
half a world away from me
I don’t know any names
on a road outside nairobi
it happens just the same

on a subway in st. petersburg
someone has to stand
a woman’s having trouble
another lends a hand
as the five o’clock train fills up
like a mobile sardine can
on a subway in st. petersburg
they’re heading home again

name a town pick a place
take a lap in the human race
find yourself a world away
in the people you won’t see today

in a house in yokahama
the little one’s asleep
while parents balance bank accounts
and say the rent’s too steep
grandma’s on the telephone
asking how’s my little girl
in a house in yokahama
it’s not such a different world

name a town pick a place
take a lap in the human race
find yourself a world away
in the people you won’t see today

Part of the reason this particular text struck me is the theme, which is one I’ve carried with me for many years. I can remember saying to friends in college, “Sometimes it bothers me that there are places I’ve never been – whole cities, countries – where no one has ever waked up and said, ‘I wonder what Milton is doing.’ They have never missed me and they’re doing just fine.” As long as I’m printing older works, I even wrote this poem a few years back:

spokane

a family is gathering for a meal
outside Spokane
the daughter is still
wearing her soccer uniform
the mother is chatting
as she passes the potatoes
the father is nonverbal, tired
trying to engage the dog is
waiting for someone to share

they will finish their dinners
their conversations
their homework
they will turn on the television
the phone will ring several times
It will not be me

no one in that house knows
I live across the continent or
I have tales to tell of my youth
of my life, of what I did yesterday
they don’t know I can cook or play
guitar, or that I’m writing a poem
they don’t know I’ve never
been to Spokane and
they’re not concerned

they are finding their dreams
building their lives
breaking their hearts
living out their days
without knowing me
and they are not the only ones

in all my years
the phone has never rung
and a voice declared
“come quickly to spokane
we just realized we can’t
go on without you”
the same could be said
for the table across the room
from me here in the coffee shop

the gossamer tether of humanity
doesn’t appear to reach as far
as the next booth unless the light
is just right and I can see the lines
I’m not sure which view
is easier to live with

The other reason I was caught by the folder I found was there were several poems/lyrics that were fairly complete and yet had sat in the blue cardboard folder with the picture of Pooh reading to Piglet while each one of them sits on a stack of books and the inscription, “Words and Such.” On the bookshelf next to the desk where I’m writing tonight are three more binders of unborn and unfinished songs, a whole stack of journals with snippets of insight, a couple of folders with articles and quotes, five icons that need to be completed, and a draft of a novel that I finished, but never could figure out what to do next. Within arm’s reach is an archaeological exhibition of the layers of my writing life with almost as much left undone as done, I suppose.

The last phrase takes me once more to the prayer that has traveled with me through much of this Lenten season: “forgive us for the things we have done and the things we’ve left undone.” I’m not sure I need to ask forgiveness in this case – except for a couple of the lyrics – as much as I need to attend to my past, to regard it. Some things pass by for reasons we understand and others for reasons we cannot explain. Sometimes we walk away on purpose and other times we just let things fall away. I look over at the bookshelf and I think of Ezekiel standing over the valley of dry bones and watching God reanimate those who had been lost and left for dead. What he thought was over wasn’t over.

Though much of what I found in my excavation might be considered, in the parlance of The Princess Bride, to be “mostly dead,” I’m doing good work to go back through the layers of my life and remember, as best I can, not only what and why I wrote, but for whom and with whom. Whether any of the songs are ever finished, or any other of them are seen by anyone else but me, living in the layers, as Stanley Kunitz pointed out, is how I continue to move towards wholeness. Here are the closing lines to his poem:

In my darkest night,
when the moon was covered
and I roamed through wreckage,
a nimbus-clouded voice
directed me:
"Live in the layers,
not on the litter."
Though I lack the art
to decipher it,
no doubt the next chapter
in my book of transformations
is already written.
I am not done with my changes.

In this trinity of existence – archaeologist, settler, explorer – I re-member my life in what has been, what is, and what is to come. I cannot see beyond the borders of my limitations and can reach farther than I can imagine.

Thanks be to God.

Peace,
Milton