Archive for the ‘poetry’ Category

Night Visions Ready for You!

November 3, 2011

Advent is just a few weeks away! I’ve been planning and plotting some Advent and Christmas treats for you in my studio and am eagerly looking forward to opening The Advent Door again and traveling with you through another holiday season (this will be the fifth year of The Advent Door!). As we prepare, I want to let you know that my book Night Visions: Searching the Shadows of Advent and Christmas is back in print! I’m grateful to everyone who’s ever written to tell me they return to Night Visions each year, and to ask when the book would be available again because they want to buy copies as gifts for friends or colleagues, or another copy for themselves because they keep giving theirs away. The words I have received about the book are such a gift to me.

I am thrilled to be able to say the book is finally available now and is just waiting for you, whether you’re a longtime friend of Night Visions or meeting it for the first time. With my original artwork, reflections, poetry, and prayers, the book accompanies the reader through the weeks of Advent to Christmas and Epiphany Day. I’ve heard from many folks who have used it in groups—book clubs, Bible studies, retreats, and other gatherings—as well as for personal reading.

You can learn more, view sample pages, and order the book by visiting the Books page at janrichardson.com. Inscribed copies are available by request.

Blessings to you as Advent approaches!

Christmas Eve: Revisiting the Secret Room

December 22, 2009


The Secret Room © Jan L. Richardson

In his book The Art of Pilgrimage, Phil Cousineau writes that in every sacred journey, there is a secret room, a place along the path that gives us a different perspective on the deep mystery of our journey. In describing this hidden room, Cousineau draws on a story that poet Donald Hall tells of friends who purchased an old house in the country. Cousineau writes,

It was a ‘warren of small rooms,’ and once they settled in and began to furnish their new home they realized that the lay of the house made little sense. ‘Peeling off some wallpaper, they found a door that they pried open to reveal a tiny room, sealed off and hidden, goodness knows why: They found no corpses nor stolen goods.’ For Hall, the mystery of poetry to evoke powerful feelings finds its analogy here, in its ability to be sealed away from explanation, this is the place where ‘the unsayable gathers.’

And so it is on the pilgrim’s path. Everywhere you go, there is a secret room. To discover it, you must knock on walls, as the detective does in mystery houses, and listen for the echo that portends the secret passage. You must pull books off shelves to see if the library shelf swings open to reveal the hidden room.

I’ll say it again: Everywhere has a secret room. You must find your own, in a small chapel, a tiny cafe, a quiet park, the home of a new friend, the pew where the morning light strikes the rose window just so.

As a pilgrim you must find it or you will never understand the hidden reasons why you really left home.

A couple of years ago, I shared these words from Hall and Cousineau as I reflected here at The Advent Door on the gospel lection for Christmas Eve. Then, as now, I find myself struck by a seemingly small detail that Luke tucks in near the end of this passage:

But Mary treasured all these words and pondered them in her heart. (Luke 2.19)

Over the previous nine months, Mary has entertained an archangel, said yes to becoming the mother of the Son of God, made the journey to visit Elizabeth, and lifted up a song of hope that has endured across centuries. She has waited with Elizabeth, made the journey back home, and traveled with her husband Joseph to Bethlehem to be included in the registration ordered by Emperor Augustus. She has labored to give birth to her son, enfolded him in strips of cloth, laid him in a manger, and welcomed those who came to marvel at what had come to pass.

Luke tells us that in response to their amazement, Mary treasures these words in her heart. Luke’s description conjures an image of a woman who, amid the tumult of angels and signs and visitors and miracles, holds all these happenings in a place of stillness. Among the memories of nine months of adventures she never could have imagined, Mary embodies a sense of wonder that is quiet and deep and wise.

Mary has found what Hall and Cousineau describe: she has found the place where the unsayable gathers. She has found the secret room.

As we approach Christmas Eve and the end of our Advent journey, it seems a fitting time to pause for a moment and look back on the path we’ve traveled these past few weeks. And I want to ask now, as I asked a couple of years ago: Have you found a secret room for yourself in these Advent days? In your pilgrimage through this season, have you found a space, a moment, a place of wonder or wisdom or sheer respite or deep delight, that helped you discover the purpose of this pilgrimage?

This season has been intense for me, as always: it has been full, it has passed quickly, and I always wish I could make more time to savor and to linger with these days. Yet on this Advent afternoon, as the sky turns toward dusk and I fix myself another cup of tea on what is, for us in Florida, a wonderfully chilly day, I find myself revisiting a few secret rooms that opened to me along this path. I think of a visit with my spiritual director on a weary afternoon a couple of weeks ago, and receiving from her a golden bag of chocolate truffles that she brought back with her from France—that we opened and immediately began to eat. I left that visit lighter in spirit—and not solely because of the truffles (though they were excellent medicine). I think of an afternoon spent with three women whom I love and whom I had not seen in a long time, and how they brought an amazing lunch and filled my home with their conversation and their spirits. I think of a celebration with friends on the Winter Solstice, and of how we gathered outside around fires beneath a dark sky and spoke of the gifts and challenges of darkness and light.

On this Advent afternoon, I am treasuring these things in my heart. (And still savoring the magic bag of truffles.)

Perhaps this will become our tradition here at The Advent Door—as Christmas Eve approaches, to invite the question again: Where have we found a secret room on this pilgrimage toward Christmas? Where and how do we join with Mary in pondering what has taken place? Amidst the unfolding story—the story of the birth of Christ, the story of our own intertwined lives—what do we treasure in our hearts?

In these remaining moments of Advent, may a secret room yet open itself to you and help you remember why you undertook this journey in the first place. Blessings and peace to you.

[For another reflection on this passage, see Where the Foreign Meets the Familiar. For last year’s reflection on Isaiah 9.2-7, the lection from the Hebrew Scriptures for Christmas Eve, please see Longing for Light.]

[To use the “Secret Room” image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Advent Door possible. Thank you!]

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Advent 2: A Song that Means Blessed

December 5, 2009


Benedictus © Jan L. Richardson

Canticle, Advent 2, Year C: Luke 1.68-79

“Burning/all night long/Burning/at the gates of dawn
Singing/near and far/Singing/to raise the morning star.”
–Bruce Cockburn

This Sunday, instead of a passage from the psalms, the Advent lectionary gives us a canticle—one of those those songs that trace a melodic, poetic, and oftentimes prophetic line through both testaments of the Bible. Reading the lines of what has become known as the Canticle of Zechariah, I cannot help but hear voices, and melody. I’m not having an auditory hallucination; the sounds are lodged in my memory, imprinted by years of singing these words on the occasions when I have gathered with my sisters and brothers of Saint Brigid of Kildare Monastery.

For a millennium and a half, this passage from Luke has been part of the Liturgy of the Hours, the monastic round of prayer that stretches from before dawn throughout the day and evening and into the dark again. Specifically, this text is chanted at the hour of Lauds, one of the early morning offices of prayer. It is known as the Benedictus: in Latin, this means blessed.

Blessed is the first word of the song that Zechariah sings. It is the first word we hear from his lips after the silence that the archangel Gabriel imposed on him when he dared to be incredulous at the news that his wife—who, as Zechariah himself described it, was “getting on in years”—was pregnant with the child whom we would come to know as John the Baptist, the one who would “make ready a people prepared for the Lord” (Luke 1.17). Like Mary’s song that precedes it, Zechariah’s canticle is a potent song about what God has accomplished. It is a song, too, of what God will yet do in and through the life of this child—this baby eight days old—to whom Zechariah sings.

After Zechariah has blessed and praised God for some verses, he turns his focus on his child beginning in verse 76: “And you, child, will be called the prophet of the Most High; for you will go before the Lord to prepare his ways, to give knowledge of salvation to his people by the forgiveness of their sins.” One can imagine this father gathering his son into his arms as he raises what surely must have been a bittersweet song. If he knew this much about his son, Zechariah must also have had some understanding, like Mary in the temple after Simeon sang of her son with words about light and glory, that the shadow of a sword hovered close by.

And yet Zechariah sings. Full of wild hope, he sings. Knowing the state of the world, he sings. And he closes his canticle with these words:

By the tender mercy of our God,
the dawn from on high will break upon us,
to give light to those who sit in darkness
and in the shadow of death,
to guide our feet into the way of peace.

These are my favorite lines of the canticle. When I pray with the St. Brigid’s community on our annual retreat, in that early morning hour when I am still in the realm between sleep and full waking, we chant these lines twice: once at the beginning of the canticle, and again at the end. In my mind, these lines are so bound together with sunrise and meeting the day that I can almost imagine that we—all of us around the world who sing these words at the outset of the day—sing them not in response to the coming of dawn but rather to help ensure it. Not in a literal fashion, of course; the physical rising of the sun does not depend on us (and a good thing, too, as my night owl self rarely is up at that hour). But there is some kind of light that depends on our waiting for it, watching for it, singing it into this world. And when we can’t, God bids us trust that there are others watching and waiting and singing on our behalf and on behalf of the world.

Sitting down to write this reflection, I receive an email from a friend with surprising, horrendous news about her young husband’s health. Yesterday, word of the death of a colleague’s son in an accident. My prayer list for those in peril—medical, financial, emotional—steadily grows. And here in Advent, as those of us in the northern hemisphere journey through the darkest part of the year, we gather these words about ourselves and pray for tender mercy. Not in denial, but, like Zechariah, in the place where wild hope is born.

I read the lines again, and again I hear the voices of my sisters and brothers, praying at dawn. Praying for dawn. Praying the dawn. Voices rising, falling, rising again.

In darkness, we sing.

In the shadow of death, we sing.

Blessing, we sing.

Blessed.

Whom do you hear as you read the lines of this canticle? How do you watch and wait and sing for the light? Who does this for you when you cannot? Who might need you to do it for them? What wild hope do you carry in these days?

Amid the shadows, may we lift our voices in blessing. Peace to you.

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

Mary, Magnifier

December 16, 2008

Image: Magnificat © Jan Richardson

Canticle, Advent 4: Luke 1.47-55

Instead of giving us the expected psalm among this week’s readings, the lectionary offers us a song from the Gospels: the Magnificat. Taking its name from the Latin version of its first line, Magnificat anima mea Dominum (“My soul magnifies the Lord,” NRSV), this is an ancient song of praise that we hear on the lips of Mary, the woman who will give birth to Christ.

Mary’s Magnificat joins an intriguing treasure trove of scriptural songs that are commonly known as canticles. Spanning both testaments, the canticles are present in almost every form of biblical literature, including the preaching of the prophets (in joy as well as in lamentation), the wisdom sayings, historical narratives, epistles, and apocalyptic visions. These songs both interrupt and adorn the text; the imagery and rhythms of their poetry heighten and illuminate the drama of the passages in which they are embedded. Though ranging across the entire Bible, the canticles form a textual body of their own. Along with the Psalms, they offer a vibrant core of poetry from which the church for centuries has drawn to give voice to our joy, sorrow, praise, and hope.

In her essay in The Canticles (a collection published by Liturgy Training Publications more than a decade ago—and later suppressed, but that’s another story), Irene Nowell, OSB, writes of how the canticles “function like a bridge between telling our story and turning to God in prayer. In form and style,” she observes,

they resemble psalms, but they differ from the psalms in their setting…. These prayers are set in the mouths of specific people in specific situations. They both interrupt the flow of the story and add to its meaning. They are bridges over the gap between life and prayer.

I keep this collection of the canticles on a small table by my door. Usually I leave it open to one of the wonderfully haunting monotype prints that artist Linda Ekstrom created to adorn its pages. But for the past couple of days it’s been open to the Magnificat, the Canticle of Mary, the song in praise of the God who turns the world upside down.

Mary offers this song in response to a blessing. Luke tells us that when Mary finds herself alone in the wake of the archangel Gabriel’s visit, she goes “with haste” to see her kinswoman Elizabeth, who is experiencing a strange pregnancy herself. As soon as she hears Mary’s greeting, Elizabeth intuits what has taken place, and she lays a mighty blessing on Mary for how she is participating in the work of God. “Blessed are you among women,” Elizabeth cries, “and blessed is the fruit of your womb.” Elizabeth continues in a powerful benedictory vein for some verses.

In response, Mary sings.

My soul magnifies the Lord,
and my spirit rejoices in God my Savior,
for he has looked with favor
on the lowliness of his servant…
He has shown strength with his arm;
he has scattered the proud in the
thoughts of their hearts.
He has brought down the powerful
from their thrones,
and lifted up the lowly. (Luke 1, excerpts)

I find this scene among the most potent in all of scripture. The image of Elizabeth offering her words of blessing, and Mary responding with song: this moment epitomizes the power of the act of blessing. With her gesture of grace, Elizabeth the Blesser challenges us toward similar action: to recognize where God is working in the world, and to participate in bringing this work to completion.

The blessed Mary sings about the God who is doing a new thing, but her song is not entirely original. Within its cadences we hear the ghostly echo of a more ancient song. In one of the first canticles to appear in the scriptures, a woman named Hannah offers praise to God for responding to her plea for a child. After she leaves her long-awaited son Samuel at the Temple to begin his training as a nazirite, Hannah sings, in part:

My heart exults in the Lord;
my strength is exalted in my God.
My mouth derides my enemies,
because I rejoice in my victory…

The Lord makes poor and and makes rich;
he brings low, he also exalts.
He raises up the poor from the dust;
he lifts up the needy from the ash heap,
to make them sit with princes
and inherit a seat of honor. (1 Sam. 2.1, 7-8b)

With a voice of longing and exultation that links them across the generations, both women are singing not only about pregnancy and physical birth. For Hannah and for Mary, the massive change within them is linked to a radical transformation beyond them. There is a congruence between what God has stirred within them—in their wombs, in their souls—and what God is stirring in the world.

I find myself wondering about that kind of congruence, and how God is calling it forth in my own life. Regardless of whether we’re called to give birth to physical children, God challenges us to cultivate an interior spirit that is intimately linked with the world beyond us. In this Advent season, what’s stirring inside me that connects me with the world around me? What is God seeking to bring forth in my life that enables me to participate in the transformation that God is working in all creation? And how is God challenging me to be both Elizabeth, Blesser, and Mary, Blessed?

I think I’ll leave my copy of The Canticles open to the Magnificat for a while yet, on its table by my door. In these Advent days, perhaps the words of Mary’s ancient song will be a visible blessing—invocation, benediction—as I pass back and forth across the threshold, from exterior to interior and back again.

May you have cause to sing today. Blessings.

[For a further reflection on the Magnificat, visit Door 14: Remembering Forward.]

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

Where I’m From

December 7, 2008

advent-door-blog-2008-12-7Image: Where I’m From © Jan Richardson

Reading from the Gospels, Advent 3: John 1.6-8, 19-28

If you’re experiencing a bit of déjà vu in reading next Sunday’s gospel lesson, it’s understandable. This passage from John circles us back around some of the textual territory that we visited in the gospel reading for Advent 2. John approaches his subject in a different fashion than does Mark, but, as in Mark, John the baptizer makes an early appearance in the gospel. Once again we hear words about making a way in the wilderness. Yet where Mark, along with Matthew and Luke, borrows those way-making words from Isaiah and editorially applies them to John the Baptist, using his authority as a narrator to make clear that the Baptist is the one of whom Isaiah was speaking, John takes an intriguing turn in his gospel.

In John the evangelist’s version of the story, the priests and Levites approach the baptizer, asking him, “Who are you?” He begins by saying who he is not: “I am not the Messiah.” They persist. “What then? Are you Elijah?” John emphasizes he is not Elijah, nor is he the anticipated prophet. They ask him again, “Who are you? Let us have an answer for those who sent us. What do you say about yourself?” In his own voice, John responds,

I am the voice of one crying out
in the wilderness,
‘Make straight the way of the Lord,’
as the prophet Isaiah said.

Where the other gospel writers linked the Isaiah passage with the story of John as an editorial comment, John the evangelist places Isaiah’s ancient words on the baptizer’s own lips. His narrative choice imbues the baptizer with a deep clarity about his role in the story of the Messiah. Though not the promised prophet for whom the people had long waited, John the Baptist’s claiming of Isaiah’s words to describe himself places him firmly in the tradition of the Hebrew prophets. He knows he comes from Elizabeth and from Zechariah, but with his answer he places himself in the lineage of those for whom the wilderness, both literal and metaphorical, was their home, their place of formation as messengers of God. John’s response to his questioners is not only a way of saying who he is, but also where—and whom—he has come from.

In pondering John’s clarity about where he has come from, and how this informs his understanding of what God has formed and fashioned him to do, I’ve found myself thinking about a poem that recently circled my way. Written by Appalachian poet George Ella Lyon, “Where I’m From” offers a litany of the places and people, the artifacts and experiences that hold the poet’s roots. “I am from clothespins,” she begins,

from Clorox and carbon-tetrachloride.
I am from the dirt under the back porch.
(Black, glistening,
it tasted like beets.)

[Read the whole poem here.]

Lyon comments that the poem has traveled widely, circulating as a writing prompt. “People have used it at their family reunions,” she writes, “teachers have used it with kids all over the United States, in Ecuador and China; they have taken it to girls in juvenile detention, to men in prison for life, and to refugees in a camp in the Sudan. Its life beyond my notebook is a testimony to the power of poetry, of roots, and of teachers.”

In our mobile society, it’s sometimes hard to say where we’re from, hard to name the roots that hold us as more and more of us live at a distance from the places (which may have been many) and people we grew up with. And yet Lyon’s poem reminds us that roots happen in a variety of ways, sometimes but not always tied to one particular place. Our increasing physical rootlessness is perhaps itself a kind of wilderness, akin to what John the Baptist experienced—but the wilderness, as John knew, is a place to be from, too.

So on this Advent evening, inspired by the baptizer and by an Appalachian poet, I’ve been thinking about where I’m from, and what direction my roots are turning me toward.

Where I’m From

I am from orange groves
and old Florida,
from a house my parents built
in a field my grandfather gave them.
Black-eyed Susans grew there in the spring,
so thick we played hide and seek
simply by kneeling among them.

I am from a town
with more cows than people,
from Judy and from Joe,
from generations that have grown up
in one place.

I am from peanut butter and
honey sandwiches every morning,
from my grandmothers’ kitchens,
from Thanksgiving feasts in the
community park,
from Christmas Eves in the
white painted church
among the pine trees.

I am from the dictionary we kept
by the dinner table
where we ate words like food,
from hours and days in libraries,
from miles of books.
I am from the path they have made.

I am from solitude and silence,
from the monks and mystics who lived
between the choir and the cell,
from the scribes bent over their books,
from parchment and paint,
from ancient ink and from gold
that turned pages into lamps,
into light.

I am from women less quiet,
women of the shout and the stomp,
testifying wherever they could make
their voices heard.
I am from Miriam and Mary and Magdalena
and from women unknown and unnamed,
women who carried their prayers
not in books
but in their blood
and in their bones,
women who passed down the sacred stories
from body to body.

I am from them,
listening for their voices,
aching to hear,
to tell, to cry out,
to make a way for those
yet to come.

—Jan Richardson

So where are you from? What are the places, the people, the experiences that formed your path? What holds your roots? How does where you’re from help you understand who you are? How does it enable you to make a way for the one who comes in this and every season?

Wherever you’re from, wherever you’re going, peace to you as you continue to find and fashion your path. Blessings.

[To use the image “Where I’m From,” please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Advent Door possible. Thank you!]

Door 17: In Which We Knock from the Inside

December 17, 2007

advent17.jpg

One of my absolute favorite things about my vocation is getting to witness what emerges when folks are given time, tools, and space to reflect on their lives. In retreat and workshop settings, I always make some collage supplies available as one possible avenue for reflection. Collage is great because anyone who made it through kindergarten has the necessary skills to do it. Cut. Tear. Paste. Voilà! Even folks who tend to freak out in the face of an invitation to create are sometimes able to engage the collage process, which I work to make as user-friendly as possible (and I make it clear that doing art is always an invitation, not a requirement).

At a workshop I did a bunch of years ago, one of the participants picked up a few pieces of paper and spent the next bit pacing and chanting, “I’m a linear thinker, I’m a linear thinker…” Eventually he settled in and created an amazing collage. The amazing part lay largely in his willingness to enter into the process, in which he found himself able to think in a different way about something that was going on in his life.

My favorite collage exercise involves inviting folks to think about their lives as a landscape. I ask them to reflect on their commitments, their relationships, whatever makes up the terrain of their days, and then to create a collage that evokes something of that landscape. Often I give them just a small, 4 x 6 piece of paper for the background, to make it as manageable as possible for them.

It’s amazing what a landscape people can fit into 24 square inches.

I like doing a quick process of lectio divina with folks who have created a collage. A little collagio divina, if you will. (Lectio collagina is probably more accurate but is more cumbersome on the tongue.) In much the same way that we can read a written text, we can also read the visual text of a piece of art, whether it’s something we’ve created or a piece that we’ve encountered. I invite them to silently ponder their collage as I offer a few questions. One of the questions I ask is this:

When you turn your collage—your landscape—in a different direction, what do you see?

Things turn up in collages that we’re not always aware of at the time, and getting a different perspective helps us notice these things.

I’ve been thinking about landscape-of-life and perspective lately as I’ve been pondering the Advent texts. The Advent lections are full of God’s reversals: swords into plowshares, spears into pruning hooks, wolf living with the lamb, cow and bear grazing together, the desert blossoming, the blind seeing, the lame leaping, streams flowing through the desert, the powerful brought down, the lowly lifted up, the hungry filled with good things. God reverses not simply for the sake of reversing—though one might hope that it would help keep us on our toes and increase our ability to recognize and receive God’s surprises—but to bring about restoration, a theme that we hear echoed in this week’s lection from Psalm 80:

Restore us, O God;
let your face shine, that we may be saved.
(Ps. 80.3)

It seems especially fitting to think about reversals on this day. It’s the anniversary of the death of the Persian poet Rumi, a mystical Sufi poet who lived in Afghanistan between 1207-1273. In the Sufi tradition, the night of December 17 is called the Wedding Night, celebrating Rumi’s union with the Divine Beloved.

As a poet, Rumi delights in turning things on their heads, shaking up our assumptions and tightly-held beliefs, seeing what different perspective he can stir up in himself and his hearers. In one poem (or, rather, in a version of it by Coleman Barks, who, though he’s often called a translator, does not himself read Rumi’s language and is more accurately termed an interpreter of Rumi’s work; a brilliant one, but it’s important to remember that we’re getting a very filtered version of Rumi. But that’s another story…) As I was saying, in one poem, Rumi speaks of how he has lived on the lip of insanity, knocking on a door, then realizes: “I’ve been knocking from the inside!” (Copyright considerations prevent me from including the entire poem here, though I’ve managed to allude to practically the whole thing, but I have no compunction about inviting you to another site where you can read it: visit World Prayers.)

Is there any place you’ve been pushing intently, when pulling back might clear the path? What helps you gain perspective, a different view of the landscape of your life? Is there any piece that needs turning, considering from a different angle, in order to better see what’s there?

Sometimes the reversal that we need, the shift in perspective, is one that we have to find within us rather than looking everywhere around us.

On this Advent day, on this Wedding Night, may you open a door from the inside.

Door 15: Another Name for Patience

December 15, 2007

advent15.jpg
Another Name for Patience © Jan L. Richardson

Today I’m hanging out with James. The Revised Common Lectionary turns our attention toward his letter for tomorrow’s Epistle reading. In the selected lection (James 5.7-10), James tells us this:

Be patient, therefore, beloved, until the coming of the Lord. The farmer waits for the precious crop from the earth, being patient with it until it receives the early and the late rains. You also must be patient. Strengthen your hearts, for the coming of the Lord is near. Beloved, do not grumble against one another, so that you may not be judged. See, the Judge is standing at the doors! As an example of suffering and patience, beloved, take the prophets who spoke in the name of the Lord. (NRSV)

I’m struck by James’s repetition of the word beloved. Once, and again, and a third time still he uses this word, addressing his correspondents with a trinity of beloveds. Belovedbelovedbeloved. The repetition has become like a heartbeat as I’ve lived with his words this week.

James tells his beloved ones to be patient as they wait for the coming of Christ. Patience is a word I have trouble with; virtuous though it may be, patience tends to carry connotations of idleness, of biding one’s time because one can’t or won’t do something to move things along.

I know the wisdom of having times of not-doing. I am well accustomed to stillness, to emptying, to delayed gratification. I know how to take the long view, to be rather than do, to understand that things have their seasons.

Still, I don’t like the word patience. I think part of my trouble is that the word is sometimes used by folks who seem to have the most power in a given situation, the people who have the means to produce the desired result but who, for whatever reason, are tarrying, or have no intention of getting things done.

There are times of waiting that call us to stillness. And there are times of waiting that call us to doing, to find some measure of power, to find good work to offer. Even in times of stillness, there is cultivation to be done.

James tells his beloved ones to be patient (in the equivalent Greek word, a form of makrothumeo). But he offers some images that I find helpful, that flesh it out and lend depth and power to what seems like an overdone word.

Here are some lines that came from my pondering of James’s words.

Another Name for Patience

Beloved,
don’t tell me
to be patient.
I am done
with this idle
not-doing,
this waiting that
wastes
and dulls.

Tell me, beloved,
to strengthen my heart.
Tell me to look to the ones
who spoke fire.
Tell me there is work to do
in the waiting,
a field to be cultivated,
a place to labor
during the watching

until,
beloved,
I lay myself down
among the
ready harvest,
spent and
drenched with the rains
early and
late.

On another note, here’s a handful of miscellaneous treasures for a contemplative journey through Advent and Christmas:

If you’re in the mood for some cool Christmas music that’s different from the usual fare, I invite you to check out Music and Mystery.

Speaking of music, the radio program Harmonia offers some great early music resources for the season (and throughout the year). In a wondrous stroke of technology and generosity, they have made their archived shows available online. Visit Harmonia Archives to check out their offerings. The 2007 list includes a show titled “Magnificat anima mea” (07-38), which features a delicious variety of settings of the Magnificat. The 2005 archives include a holiday special titled “La Noche Buena.”

Sound and Spirit is another splendid radio program; it looks to music, myth, folklore, and literature from across cultures in exploring various themes of the spirit’s journey. Their archived shows include refreshing, imaginative explorations of holiday themes.

Christine Valters Paintner offers an artful, contemplative space through her web site at Abbey of the Arts, and during this season her blog offers some nourishing Advent fare.

A blessing to you on this Advent day. May your heart be strengthened.

[To use the “Another Name for Patience” image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Advent Door possible. Thank you!]

Door 11: In Which We Get to Sing

December 11, 2007

Image: Magnificat © Jan Richardson

Canticle, Advent 4: Luke 1.46b-55

Instead of giving us the expected Psalm among this week’s readings, the lectionary offers us a song from the Gospels: the Magnificat. Taking its name from the Latin version of its first line, Magnificat anima mea Dominum (“My soul magnifies the Lord,” NRSV), this is an ancient song of praise that we hear on the lips of Mary, the woman who will give birth to Christ.

Mary’s Magnificat joins an intriguing treasure trove of scriptural songs that are commonly known as canticles. Spanning both testaments, the canticles are present in almost every form of biblical literature, including the preaching of the prophets (in joy as well as in lamentation), the wisdom sayings, historical narratives, epistles, and apocalyptic visions. These songs both interrupt and adorn the text; the imagery and rhythms of their poetry heighten and illuminate the drama of the passages in which they are embedded. Though ranging across the entire Bible, the canticles form something of a textual body of their own. Along with the Psalms, they offer a vibrant core of poetry from which the church for centuries has drawn to give voice to our joy, sorrow, praise, and hope.

In her essay in The Canticles (a collection published by Liturgy Training Publications more than a decade ago—and later suppressed, but that’s another story), Irene Nowell, OSB, writes of how the canticles “function like a bridge between telling our story and turning to God in prayer. In form and style,” she observes,

they resemble psalms, but they differ from the psalms in their setting…. These prayers are set in the mouths of specific people in specific situations. They both interrupt the flow of the story and add to its meaning. They are bridges over the gap between life and prayer.

I keep this collection of the canticles on a small table by my door. Usually I leave it open to one of the wonderfully haunting monotype prints that artist Linda Ekstrom created to adorn its pages. But for the past couple of days it’s been open to the Magnificat, the Canticle of Mary, the song in praise of the God who turns the world upside down.

Mary offers this song in response to a blessing. Luke tells us that when Mary finds herself alone in the wake of the archangel Gabriel’s visit, she goes “with haste” to see her kinswoman Elizabeth, who is experiencing a strange pregnancy herself. As soon as she hears Mary’s greeting, Elizabeth intuits what has taken place, and she lays a mighty blessing on Mary for how she is participating in the work of God. “Blessed are you among women,” Elizabeth cries, “and blessed is the fruit of your womb.” Elizabeth continues in a powerful benedictory vein for some verses.

In response, Mary sings.

My soul magnifies the Lord,
and my spirit rejoices in God my Savior,
for he has looked with favor
on the lowliness of his servant…
He has shown strength with his arm;
he has scattered the proud in the
thoughts of their hearts.
He has brought down the powerful
from their thrones,
and lifted up the lowly. (Luke 1, excerpts)

I find this scene among the most potent in all of scripture. The image of Elizabeth offering her words of blessing, and Mary responding with song: this moment epitomizes the power of the act of blessing. With her gesture of grace, Elizabeth the Blesser challenges us toward similar action: to recognize where God is working in the world, and to participate in bringing this work to completion.

The blessed Mary sings about the God who is doing a new thing, but her song is not entirely original. Within its cadences we hear the ghostly echo of a more ancient song. In one of the first canticles to appear in the scriptures, a woman named Hannah offers praise to God for responding to her plea for a child. After she leaves her long-awaited son Samuel at the Temple, to begin his training as a nazirite, Hannah sings, in part:

My heart exults in the Lord;
my strength is exalted in my God.
My mouth derides my enemies,
because I rejoice in my victory…

The Lord makes poor and and makes rich;
he brings low, he also exalts.
He raises up the poor from the dust;
he lifts up the needy from the ash heap,
to make them sit with princes
and inherit a seat of honor. (1 Sam. 2.1, 7-8b)

With a voice of longing and exultation that links them across the generations, both women are singing not only about pregnancy and physical birth. For Hannah and for Mary, the massive change within them is linked to a radical transformation beyond them. There is a congruence between what God has stirred within them—in their wombs, in their souls—and what God is stirring in the world.

I find myself wondering about that kind of congruence, and how God is calling it forth in my own life. Regardless of whether we’re called to give birth to physical children, God challenges us to cultivate an interior spirit that is intimately linked with the world beyond us. In this Advent season, what’s stirring inside me that connects me with the world around me? What is God seeking to bring forth in my life that enables me to participate in the transformation that God is working in all creation? And how is God challenging me to be both Elizabeth, Blesser, and Mary, Blessed?

I think I’ll leave my copy of The Canticles open to the Magnificat for a while yet, on its table by my door. In these Advent days, perhaps the words of Mary’s ancient song will be a visible blessing—invocation, benediction—as I pass back and forth across the threshold, from exterior to interior and back again.

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

Door 2: Sleeping with Kilian

December 2, 2007

Image: Sleeping with Kilian © Jan Richardson

“The night is far gone, the day is near,” we hear in today’s Epistle reading for the first Sunday of Advent, from Paul’s letter to the Romans (13.12). The night was far gone indeed when I finally turned off my computer in the wee hours of this morning and took myself to bed. As often happens when I’ve worked far into the night, I lay awake for a long while. I generally think of myself as a good sleeper, but when I’ve kept my brain working past its usual schedule, it tends to punish me by staying in high gear even though I go through the usual rituals of quiet and reading that mark the ending of the day.

I’ve learned that the best medicine for my insomnia is poetry. There’s something about reading good poetry at night that often breaks the cycle of sleeplessness, something about its landscape that soothes my brain and beckons slumber. Opening a book of poems becomes a prayer for rest: incantation, benediction, their words coax the sleep that I haven’t been able to command.

Last night, Kilian McDonnell was my featured guest on The Insomnia Show. Father Kilian is a Benedictine monk of Saint John’s Abbey in Collegeville, Minnesota, who became a poet in his so-called retirement. At last year’s retreat of the oblates of Saint Brigid of Kildare Monastery, which we hold each summer at the Episcopal House of Prayer on the grounds of Saint John’s Abbey, Fr. Kilian spent part of an afternoon with us, reading some of his poems and sharing about his life as a poet. He was enchanting; our session with him was one of my favorite parts of the retreat.

During last year’s retreat, which we hold over the Feast of St. Benedict, we attended the Feast Day Mass at the Saint John’s Abbey Church. Fr. Kilian was among the jubiliarians that year—those monks being recognized for significant anniversaries of their monastic profession. Fr. Kilian, who is now 86 years old, was celebrating 60 years as a monk. His poems, and the language he finds to talk about his work as a poet, bear witness to how six decades of praying the Liturgy of the Hours can shape the soul of a poet.

Fr. Kilian’s second collection of poems, Yahweh’s Other Shoe, appeared last year, published by Saint John’s University Press. It was this volume that I pulled out in the far-gone night. With the day near, I gave my brain over to Kilian’s words. Then I turned out the light, and I slept, his slim volume beside me like a talisman through the brief hours that remained of the night.

A few hours later, I was in church, where we heard the Gospel reading for this first Sunday of Advent. Matthew does the Gospel honors this year: “Keep awake, therefore,” he records Jesus as saying, “for you do not know on what day your Lord is coming” (Mt. 24.42).

Keep awake. Gotcha.

I came home and took a nap.

But of course Jesus isn’t speaking literally here; he is talking about being ready, about cultivating a state of soul that is perpetually ready to recognize and welcome him. Pondering his words about wakefulness, I’ve found myself remembering an article that Thomas Moore, known for such books as Care of the Soul, wrote for Parabola magazine a few years ago. Writing about threshold spaces as places that are crucial for our soul’s journey, Moore offers an intriguing take on our approach to consciousness. He writes, “Religion is in the business of finding and constructing methods of getting sleepy, feeling lost, arriving and departing: pilgrimage, procession, fasting, incense, chanting, illuminated books.” (I think again of Psalm 122, the song of pilgrimage and procession that we hear on this first Sunday of Advent.) Moore goes on to observe,

Often we attain thresholds best through inadvertence. If we want their benefits, we might not always aim for consciousness and awareness, but rather a gap in our attention. In my view, the emphasis in some spiritual communities on continuing consciousness defeats the purpose. (From Moore’s article “Neither Here nor There,” Parabola, Spring 2000.)

He’s not arguing against awareness, of course; he’s making a case that awareness and wisdom and soulfulness don’t arrive solely through perpetually vigilant consciousness. There’s a different kind of wakefulness that comes in giving ourselves to practices that cultivate a mindfulness of mystery. I love the litany of examples that Moore offers, and add my own: walking, lectio divina, lingering at the dinner table with friends, creating or encountering artwork.

Poetry.

The scriptures of the Advent season give us rich images of the value of getting sleepy in the way that Moore writes about. The people we meet in the stories of this season receive wisdom in dreams, they offer songs that are ancient poems, they go on pilgrimage and walk in ritual processions. In so doing, they become people who are deeply awake to the presence of God moving within and around them. They find that receiving God’s intense attention is not always easy or comforting but that it reshapes them at a soul level, calling them to engage and offer the very core of who they are.

I find myself wondering how I’ll let myself get sleepy in this season, what habits of inadvertence will take me across the thresholds that God offers in these Advent weeks. How about you? What practices help you be present to the God who delights in meeting us not only in our focused awareness but also in the gaps in our attention, in dreams, in mystery?

Sleep well.

[To use the image “Sleeping with Kilian,” please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Advent Door possible. Thank you!]