Category Archives: Culture

Writer’s Gonna Write

from Austin Kleon, "The Life of a Project"

from Austin Kleon, “The Life of a Project”

 

 

There’s this thing where writers tag other writers to answer questions about writing. I would hate it if it wasn’t so darn interesting. My fancy writer friend Christiana tagged me (she’s in my online writing group, she writes killer YA, and she is bursting forth into the world with her wonderful creative non-fiction–where she writes about Mennonite intentional communities, chickens, and death. Also, she is a poet, and once sent me a magazine of poetry in the mail. Swoon.)

 

So here I go. Writer’s gonna write (especially about themselves!)

 

1. What are you working on?

Big picture: I already finished the manuscript for my first book, and it is currently off in the wilderness. I look forward to a rigorous editing process, hopefully sooner than later.

Small(er) picture: I currently have 2 different book reviews due (I love reading and I love talking about books–but writing about books can be so difficult at times). One is Americanah by Chimamanda Adiche, and the other is Life, Interrupted, a book on trafficking into forced labor. Reading these books (especially the latter) has led me down many rabbit trails, specifically in the area of how the U.S. has historically treated migrants (hint: abysmally). I have been sucked into the worlds of James Agee, Robert Coles, and an exceptional Edward R. Murrow documentary. I think I have something else due as well, but it is currently escaping me. Not very professional, D.L.

I am also working on some other creative non-fiction stuff (which isn’t fit for public consumption). And I would die if I didn’t journal/do morning pages nearly every day.

 

 

2. How does your work differ from others in its genre?

How do you answer this question without sounding terrible? To be honest, sometimes I feel like I am in a unique position of being someone who lives and works among the poor but who also devours McSweeneys, Image, and O! magazine (just keeping it real). People writing about life in the margins of American society tend to be male, make their own clothes out of burlap, and are not too concerned with literary merit. I love those guys, but that ain’t me. I do, however, have a similar message in regards to finding Jesus in the outskirts of the Empire.

I like writing about poverty and privilege, and I also like taking a piss at myself every now and again. I am also deeply interested in how writing can be beautiful, and am not too terribly concerned with things being tied up neatly (either theologically or in a story arc). Where I live, there is a lot of sadness, despair, death, and destruction. There is also so much beauty and humor and people who transcend the word “survivor”. I really, really like to write about failure, which seems to not be a super popular thing to do. So I guess that is different? I also use a lot of the “passive voice” and “run-on sentences” which I think is arty but my good friend Amy makes me edit out anyways.

 

 

3. Why do you write what you do?

My life choices are an obvious jumping point. I often find myself overwhelmed with life and writing helps. I also see huge gaps in the narratives we are being fed about who the blessed really are; I see how many of us have no real concept of what it means to be poor in America. As I catch a glimpse now and then I can’t help but share what I am seeing, mostly out of a sense of isolation. If it was prime-time news I think I wouldn’t feel the urgency.

I wrote my book primarily because the world could always use another reminder that the the upside-down kingdom is here, all around us. Also I think it is intrinsically an interesting story–one where I start out trying to convert everyone, and slowly start to realize how heretical my own view of God is. As an activist at heart, a small part of me must believe that what I write could change a minds towards a belief in the words of Jesus. Because once we start to believe what he said, everything starts to change.

I also have made a conscious decision to write for people who might not agree with my conclusions. It is important for me not to get bogged down in an echo chamber of agreement–only interacting with other writers/readers/thinkers who believe the same thing. I like writing about WIC for conservative Christian websites. I like disguising an essay on downward mobility and reconciliation as an argument about alcohol for a traditional Christian magazine. I like being surprised by what I read and I want to do the same thing with my writing.

Remind me of this the next time I complain about the haters, mmmmkay?

 

 

4. How does your writing process work?

 

I am forever in the throes of a busy season. I teach ESOL to non-literate learners 4 days a week. I also take care of my daughter in the afternoons/evenings. I have a variety of community events/relationships I am involved with and I also have multiple commitments with the non-profit I work for.  For an up-coming writers workshop I am supposed to write down when I write. Thus far it looks like this:

Wed: write during nap time. 40 minutes.

Saturday PM: write for 30 minutes, fall asleep.

Every Other Friday: write for 1 hour, check FB and Twitter for 45 min.

 

Soooooo, not great. The problem is that by the end of the day there is not a blessed thought in my head. But I am loathe to wake up early (as my many talented friends do). I am hoping for a few reshufflings in my schedule for the fall, but I never know what will happen. For now it is a very part-time gig, and I have honed my skills at writing fast and furious when I get a chance.

As far as what I choose to write–when the mood strikes, I often pitch ideas to various places and usually find myself writing at least 1-2 essays a month. I try and scare myself a little each time I write. Blogging is currently not a huge priority for me (see: time) and as I have said before the crazier it gets the quieter I have to be in my writing. For now I take the stolen minutes I get and type into my laptop (usually sitting on my bed, or the couch) and I consider myself lucky. When I get super stuck for ideas or I hit an editing fog, going on long runs really seems to get my thoughts in order (also, cake helps). Being in an online writing group has been the best motivation ever (they believe me! they really do!) and now I am in an awesome IRL one as well. I am basically surrounded by beautiful, talented writers who force me to keep producing content. It is awesome, and I highly recommend this to everyone.

 

 

 

 

Oh man. Now I’m done talking about myself and my “craft”! So now I get to gleefully tag two writer friends so they can also answer these questions and populate the world with more art and beautiful (and sometimes cranky) words.

 

The first writer is Becca over at Exile Fertility. I just love everything that comes out of her mouth. She gets it. She gets that everything is terrible and everything is beautiful. She is my favorite writer when it comes to womanhood, birth, beauty, and radical self-care. I wish she would write more, but I understand that her arms are very full at the moment. Go on over to her place and check it out.

The other writer is Kevin Hardagan, who I think is the Joel Osteen/N.T. Wright of Ireland. He could go either way, really. He is wicked smart, a little cantankerous, half the time I do not know what he is talking about but when I DO I really like it. And he always makes me think (a good sign, right?). I would dearly love to know what he is working on in regards to his PhD (I think it has something to do with mammon. Mammon!) and everything he writes is funny. Including a response to a blogging round robin.

 

 

So there you have it. I would love (and I mean this from the bottom of my heart) to hear from any of you in regards to what you are working on, what your process is, and how you see yourself fitting into the writing world. So please comment and share!

 

 

 

 

 

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Upward Mobility

Image found here.

Image found here.

 

 

We moved into a house. A gorgeous, beautiful house that was built around 1860, and has been lovingly restored. The walls have been painted bright, soothing colors; the backyard is two lots of garden and trees. The owners are renting it to us at a song, partnering with us and blessing us. Today we planted seeds: kale and spinach and lettuce and snow peas and green beans and pumpkins and tomatoes and peppers and herbs and sunflowers. I know it is going to overwhelm us. I pick out weeds and I figure out what all those other gardeners already know: how nice it is to do something so tangibly good. What pleasure, what satisfaction. You are tilling the earth that the good Lord gave you. You are making the most of your talents.

My daughter wears a Tinkerbell outfit and declares herself to be a garden fairy, staring intently at worms and beetles, watering and mucking about. She has never lived anywhere with a yard before. She wants to get up first thing everyday and check on the plants. It is so beautiful, and so good, that I can scarcely keep from pinching myself. There is a room downstairs, with hardwood floors and little paintings I have put up, and I drink my coffee and journal in the mornings as the sun streams in. Someday, I will write there. This place is a gift. There is so much beauty here, and we all know that beauty is a part of what saving the world looks like.

 

//

 

In class, I am telling my students I moved. Just a few blocks away, from an apartment to a house. They ask me how many bedrooms. Three, I say, and tell them about the big yard and the garden. One of my students, the highest level in my class, looks at me and frowns. But teacher, she says, doing the math in her head. In your family there are only three people. She doesn’t say anything else. The question inherent in that statement hangs in the air; she is asking me about inequality, and there is nothing else I can say. I stare at her, and at the rest of my class. We never, ever forget the distance between us. But sometimes I pretend we do.

 

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The possession I have that I am most ashamed of is my TV. It is a flat screen, large (don’t ask me the inches, as I don’t know). It is flashy and looks new. I would be quick to tell (if you only ever asked) that we did buy it second-hand, at a thrift store. And yet, still, here it is, hiding in our bedroom. I don’t want it cluttering up our bright and cheerful and cool living room. I want people to think we don’t own a TV, that maybe we are opting out of it all. But we aren’t. My husband and I are running running running ragged during the day, and then we curl up together and watch something funny, something stupid at night. I am embarrassed, even as I see similar or larger TVs in the apartments and houses of my friends. I almost don’t want to mention this to you, because some of you will already have a stereotype. The poor have large TVs. The poor live very hard lives. Maybe they are just like me, and they collapse at the end of the day, wondering how to muster the strength to get up and do it again tomorrow. Maybe they stream in the channels from their home countries, the ones with the dancing and the singing and the news that they are so thirsty for. Maybe they watch crime shows, maybe they watch romances. Maybe they watch people fight and spit and scream and hug and kiss while a talk show host looks on. Maybe they will never take a vacation, never even travel outside of their state or city or neighborhood. Maybe none of those things. I don’t know about everyone else, I just know about me. And I was supposed to be different, I was supposed to do everything so right.

 

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I am also a little embarrassed about our house.

 

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Remember when I used to write about downward mobility all the time? I did not coin the term nor did I perfect or improve upon it. I am traveling up and down a continuum. Truthfully I was glad to leave that squat, unlovely apartment behind. I could tell you of the hardships, but it would be a disservice to those that have no choice but to live there; and they will always be on my mind.

Of course the garden is beautiful. Of course it is a tangible expression of a very good God. But it is mere blocks away from so many utilitarian  concrete stacks, and God is in those too. My husband likes to say that the real goal of downward mobility is simply reconciliation–to reconcile ourselves with others who are different from us. I would also say that it is a kind of reconciliation with ourselves, and the ways our very souls are wounded by the inequalities of the world.

I recently read a transcript of a testimony Pete Seeger gave to the Un-American house committee. They were asking him about his connections with communism, and if he was a communist. He repeatedly told them he wasn’t interested in the particulars, and that he sang for everybody and he loved his country very much. They kept pressing him. He articulated that he resented being asked to come before the committee. Then why don’t you contribute something for your country? they asked him. He replied: I feel that my whole life is a contribution. That is why I would like to tell you about it. The chairman interrogating him answered: I don’t want to hear about it.

When you want to tell the whole story of your life, you find few takers. We want either communists or patriots, sell-outs or self-righteous. We are seeking either blessing or lament, despair or hope, faith or faithlessness. But I have always had everything, everything in spades. Hope and doubt and fear and faith. I accept good gifts from God and I feel angry that others don’t get the same. I am embarrassed and conflicted and full of angst. I am also quick to celebrate every little thing, to be goofy, to cry over beautiful poetry and paintings. I am pushing myself hard to reconcile myself with people who are so different from me. I have found it true that relocation and redistribution had to come first, before the seeds of reconciliation will start. I am a part of the neighborhood still, I am living through tragedies every day, and I can see the connections growing up and out. I remember the early days, how lonely I was, how hard I worked for every acquaintance. I think about now, how I am drowning in relationships and needs, and I have to laugh.

The very medium of the blog, of the internet, is to be so quick and tidy and sure of yourself. But I want to tell you the story of my whole life, every time. I want to tell you the story of everyone I ever met, because they are a part of me. I want to be an observer, I want to be genuine.  I want to detail how I am addicted to doing everything right, and how nervous I was about writing about this house. Until I decided to be honest and tell you:

I love it, and I am so grateful. I will cherish it and give thanks for it and invite my friends and neighbors who don’t have access to gardens over to enjoy it with me, together, in relationship. But underneath the appreciation there lies an unease. A sadness. The images of where other people in my neighborhood are living, many of them looking for better and bigger places themselves. I want to live for everyone, and I am tired of pretending otherwise. I am on a journey of reconciliation. I am not there yet.  But I just wanted you to know the whole story of my life, starting with this house.

That is what I would like to tell you about.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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i am the beggar of the world

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I was at a writing conference over the weekend, the first one I have ever been to. The highlight was meeting up with my friends, my lifeline, my cheering squad, my angel editors–calling them a writing group does not even begin to cut it. I also had the strange sensation of trying to match people up to their online profiles, with varying degrees of success. I knew, even before the conference began, that everyone would be so much more interesting than I could possibly believe. I wandered from session to session, from poet to writer to thinker to theologian. Sometimes I skipped and sat in the grass with good people. By the end, I was overwhelmed in every way.

During the sessions, my mind would sometimes wander. The conference itself was such a small microcosm: dismayingly white, educated, Christian, social media savvy types. I would think about my other life, the one back home. I kept thinking about my students, about the beautiful chaos of my classroom, my friends. As I listened to smart people talk about smart things, hovering between being accessible and literary, I was thinking about cell phones. I was thinking about how every morning I teach, the cell phones always ring, over and over again. I had given up on outlawing them; dozens of times a day I politely yet firmly tell my students to get up and go to the corner of the room to talk, so we can get on with class.

At the conference, I sat and listened to people talking about Novel of Ultimate Concern. My hand wanted to shoot up, to ask the same question in every session I went to: What about the poor? I should get the question tattooed on my forehead. I should make it backwards, just so I have to ask myself it first thing in the mornings when I look into the mirror.What does any of this mean if it is only available for a few?

I am thinking about how my ESL students are at the very bottom of our Empire, but whose lives are very much of ultimate concern. I am thinking about the cell phones, going off every few minutes, similar to the poor around the world, adapting to our shifting, stateless world. I am thinking about how they always answer the phones–not because they do not respect me or because they do not want to learn. They answer every phone call that they receive, because each one is of equal importance to them. They never know who is calling–a family member in Africa, a case-worked in America. They have to answer every single one, because it might be life or death, like so many things are.

They answer every call that comes in because they cannot read, not even the numbers.

 

 

I went to a session with Eliza Griswold, author of the Tenth Parallel: Dispatches from the Fault Line Between Christianity and Islam, a women who has been on the frontline of war and poverty and religion, all over Asia and Africa. She talked about her new book of poems by Afghan women which she collected, and what they mean for those who create and recite them. Why does she share them? Because they are valuable. Why does she share them with us, with the world? Because she sees the limitations of how we portray people in the media, and she wants to subvert that. “I am not interested in the headlines,” she told us. “But I am very interested in the places where the headlines are happening”.

I’m taking that one for a new life motto. I am uninterested in the stories of poverty that you and I already know. I am very invested in the ones that surprise us, thrill us, knock us on our asses. The humor, the pathos, the sin, the ingenuity. Griswold shared with us one of the poems in her book, from which the title comes:

 

In my dream, I am the president.

When I awake, I am the beggar of the world.

 

As you would expect, the rest of the poems are stunningly varied; tragic, violent, romantic, naughty, hilarious, contemporary, ancient. Reminiscent of my students, my friends, my neighborhood. Today, in class, another crisis was revealed, and I at a loss for how I can help, limited by my language and knowledge and the overwhelming magnitude of the problems that the poor and the non-literate face in my corner of the world. The beggars of the world is how some would view it, and I confess at times I am tempted to do the same. But we are not headlines. We are real people, real women, real stories. We are living in the places where the headlines take place, and I on a quest for the work of the kingdom of God in the midst of the violence and greed of our world.

I am thinking of the phones, ringing constantly in my ear, of what it means to never know who is on the other line. I am thinking about the frustration of never knowing how to translate well. I am thinking about how much I enjoy erudite, complex, academic conferences, and how ashamed and small it makes me feel. I am thinking about all the wonderful people I met this weekend, the gifts they are to me. I am thinking about all the people who weren’t there, who felt excluded in some way–due to race or education or religion or money. I am thinking about how rich we are in some currencies, and utterly poor we are in others. I am thinking of how in order to tell stories well we must first be obsessed with them, how love covers a multitude of transcribing sins.

 

I am thinking about cell phones. I am thinking about how little I know, what a beggar of the world I am.

 

 

 

 

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Upside-Down Art: Jaw Harp Jam

It’s trite to talk about culture/art allowing us to break down walls, but in my experience it is so true. Books, music, movies, paintings–all of it has brought me outside of myself and my own carefully constructed ghetto of imagination. I love Bethany’s perspective, because I too have had similar experiences. When you catch a glimpse of culture at it’s finest, so strange and beautiful and free of appropriation. In our world, where cultures vie for survival, for power, the influence of joy cannot be understated. I am so grateful to Bethany for writing this beautiful piece on the legacy of culture. 

 

 

 

 

 

Upside-Down Art: Jaw Harp Jam

By Bethany Bassett

 

When Marcus Mumford and his band of indie folk-farmers hit the scene back in 2010, I had never heard the term hipster. I didn’t know suspenders were the new rubric of cool; I just knew that their music spoke to me, that Mumford’s “newly impassioned soul” plucked the strings of my own longing for a full-volume life. I queued up Sigh No More and played it on repeat for the next six months. Chances are, you did too. The album peaked at #2 on the Billboard 200 and was the third most downloaded album of 2011. Everyone, it seemed, was getting his or her British bluegrass on.

 

But this story isn’t about Mumford & Sons. It’s about an almost impossibly obscure group of musicians from rural India who recorded an untitled EP with them.


Image from last.fm user rahsa

 

They went by Dharohar Project (pronounced “Dah-RHO-har”), and the only thing I knew about them was my own disappointment. I’d been hoping for a fresh dose of the barn-dance rock I’d been cycling through my stereo—not the wailing and twanging I associated with traditional Indian music. I gave the MP3 samples a once-over, but they only confirmed what I already knew: Jaw harp just wasn’t my jam.

 

My perspective landed on its head, however, once I saw the video of their live performance in London:

 

 

The quality isn’t amazing, but I didn’t need HD resolution to see the joy reverberating across that stage, bounding from banjo to bhapang, rippling down from Indian bells and up the soles of British feet. Do you see it too? The way they laugh and beat their drums and move to the pulse of their collective art? Do you hear their delight? I had goose bumps within thirty seconds, wet eyes within ninety. This was no gentrified performance with cultural differences smoothed conveniently away; this was harmony at its freest, tribes and tongues and traditions rollicking together to create a new song. I couldn’t shake the impression that I was watching a six-minute preview of heaven.

 

Dharohar Project fascinated me. I wanted to find out more about this group who had brought so much color to my view of Kingdom-come, and as I researched, my goose bumps returned full-force. I learned that the nine Indian musicians came from different castes and religions. Some were Muslim and others Hindu. They came from social classes with barriers as thick as history, but they united to test their belief that music can overcome cultural differences. No wonder I saw heaven in their performance; Dharohar Project’s very existence is a redemption story.

 

I know to some extent what it’s like to break out of oppressive traditions masquerading as birthright. For the Dharohar musicians, it was the caste system; for me, it was the Quiverfull movement. Like them, I was born inside a series of walls, and learning to see the humanity of those on the other side required some hefty dismantling.  I learned through that experience, though, that God is in the [re]construction business: beauty out of ashes, new songs out of olds spites, a bright and harmonious Kingdom out of discordant humanity.


Image from last.fm user rahsa

 

I don’t know if Dharohar Project is still together or not, but I do know that what they created together is here to stay. It’s right there in their name, in fact—what their redemption story entails for their community, their children, and those of us still facing down walls. “Dharohar,” you see, is a word that has crossed from ancient Sanskrit into modern-day Hindi, quietly defying all attempts to confine it to the past.

 

It means legacy.

 

 

 

unnamedBethany Bassett is a fundamentalism survivor, a sedentary snowboarder, and a cappuccino junkie. She originally hails from Texas but has been adventuring in Italy with her husband and their two little girls for the last seven years. She blogs at coffeestainedclarity.com, where you’ll find out quickly that grace is her favorite thing in the world.  

 

 

 

 

 

 

 

 

 

 

For all posts in the Upside-Down Art series, please click here.

 

 

 

 

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Upside-Down Art: Opera Outside the Mainstream

Some of the people who are most deeply connected to the joys and the sufferings of the world seem to lose their minds for the opera. I am not there yet, but I want to be. I absolutely adore this guest post by Newell, because he is writing about himself being the outsider–the one writing the operas for funsies. The history of the form and music also surprised me, in the best way possible. I encourage you to check out Newell and his other writings. This little post is like a teaser for his great, mysterious, music-filled life. 

 

 

 

 

Upside-Down Art: Opera Outside the Mainstream

by Newell Hendricks

 

I am in the process of publishing a collection of stories from my life.  One section of the book is five stories about major musical compositions I have written.  The last story in this section is about my opera, ASCONA.  The excerpt below is near the ending of that story.  

 

Writing operas was a wonderful way to spend my days.  I loved it – getting lost in my imagination – feeling the most extreme emotions and trying to capture them in sound and form – living a fantasy life to the max that actually had a tangible notation and had the possibility of being reconstructed by performers and experienced by audiences.  It was a constant high – living in ecstasy as long as I could maintain the energy and distance myself from obvious reality.

That reality is that the socio-economics of our day does not lend itself to the production of operas.  The larger musical forms of western culture evolved under a very different socio-economic system, one in which there was a highly talented, highly skilled, completely exploitable class that could perform the music.  In the Renaissance and earlier, the choir schools of the major cathedrals were where musicians were trained.  The church was also the institution that took in orphans.  This was the pool from which musicians came.  Some of the great composers of the Renaissance were Josquin de Pres:  “Joe from the field,” and Pierre de la Rue: “Pete from the street.”  Well into the Baroque period, many musicians came from orphanages.  All of the Vivaldi violin concertos were written for girls at the orphanage where he worked.  In the Classical period, the cathedral schools were still the center of musical education.  The Kapellmeister would go out into the rural countryside looking for talented peasants, take them back to the school as scholarship students, and train them and use them for their music program.  Hayden was such a student.  Even at the height of his fame, Hayden, the most renowned composer of Europe, had to dress up in his servant’s uniform and report to his patron for duty every day.

And well into the twentieth century, musicians were low down on the economic scale.  They were tradespeople.

It is true that in the nineteenth century a few musicians did achieve star status and became extremely wealthy.  Accompanying the phenomenon of the superstars was the cult of art as religion with these stars having their devoted worshipers.  Opera composers and singers were certainly in the center of this cult and Richard Wagner reigned supreme as the high priest.  His opera Tristan und Isolde was commissioned by a wealthy count who not only paid him a handsome sum to write the opera, but set him up in his summer villa to compose it.  Wagner responded by seducing the count’s wife, making that the story of the opera, selling the finished opera to someone else, and saying that it was a story about “ideal Christian love.”

What was I thinking, wanting to be an opera composer?

I loved writing opera.  It fit with the day dreaming, but I balked at the social role expected of one in this profession.  Denise Levertov, who had written the libretto for my oratorio, El Salvador: Requiem and Invocation, told Karen, librettist for my last 2 operas, that she had never known anyone as bad as me at promoting his art.

The year I lived under a tree I had a job conducting a church choir in Isla Vista, the student housing community for the University of California at Santa Barbara.  The popular service for the students was at 11:00 and was a joyous celebration with balloons ending with people dancing around the communion table singing Lord of the Dance.  I played string bass in the band as a volunteer.  But the church was funded by older people who, for themselves, wanted a more traditional service.  This was the service for which I was paid $8 per week to provide a choral anthem.  I had three women in the choir.  I sang tenor and the organist sang bass and we rehearsed at 8 a.m. before the church service on Sunday.  There was a time when I would go into the church on Thursday night, after the bulletin had been printed, and look at what the minister had written as “The Collect” words that were read by all at the beginning of the service.

For three weeks in a row, I took this text and on Friday and Saturday wrote a simple anthem using these words.  The bulletin simply said “anthem.”  No one ever asked or wondered how I had found the piece which used the same words as the Collect, but it felt good to me.  I was contributing in a special way to the worship experience of this community.

 

I think I would take that feeling over the adulation that Wagner received.

 

 

 


unnamed-8Newell Hendricks, as an opera composer, received two National Endowment for the Arts fellowships and a grant from the Massachusetts Council on the Arts to write an oratorio: El Salvador: Requiem and Invocation, with poet Denise Levertov.   In honor of his 50th birthday, Richard Dyer, reviewer for the Boston Globe, wrote a feature article on him with the headline “An interesting and productive career outside the mainstream.”   This headline would equally apply to his later work leading popular-education-style workshops, his homesteading activities, or his political activism.  Newell lives in Cambridge, MA, with his violinist wife, Barbara Englesberg.   They have two adult daughters, and two granddaughters. Website: newellhendricks.wordpress.com Facebook: https://www.facebook.com/newell.hendricks
For all posts in the Upside-Down Art series, please click here.
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D.L. Recommends vol. 2

D.L. Recommends vol. 2. 

Here are some things I recommend:

 

 

 

Busting out the Easter Dress Early

I got Ramona an Easter dress at the thrift store that gets all of it’s clothes donated from Target (I know. I found a way to work the system). Yesterday was nearly 60 degrees, so I had to let her wear it early. And go tromp around in the muddy rivers the snow was making. Because you are only 3 once.

 

Turning 30

It’s really quite nice.

 

Reframing the words to excellent songs in order to make them Toddler Appropriate

I used to sing “Oh Yoko” to my daughter when she was a baby, but I changed “Yoko” to her name, and the chorus became “my love will lead you home”. Tonight we danced around and sang it to each other. It was pretty great. Very Rushmore-esq.

 

Found

This is a book by Micha Boyett. I love the poetic-ness, and how she juxtaposes the mundane aspects of the stay-at-home life with the contemplative life of Benedictine monks. Since I am also a recovering savior complex, spend a lot of time with a certain 3 year old, and also yearn to pray more, this book was excellent. Slow, simple, and it made me realize how much space there already was for contemplation in my life.

 

Watching Cat Vines

Vine is very newfangled to me. But watching 6 second loops of cats being cute/ridiculous/funny is seriously soothing to my soul.

 

Eating Sugar Cereal

Having a bad week? Buy a $3 box of sugar cereal (preferably: Lucky Charms) and pour yourself a tall bowl. Aaaah.

 

Throwing Class Parties

As a teacher of adults, it really is my prerogative when it comes to throwing class parties. Sometimes the complexity of it overwhelms me: perhaps not everyone can afford to bring food, what if nobody shows up, how do we communicate (remember I teach level 0 pre-literacy). But I am leaning into this commitment to celebration thing we have going on in our order. This week we had a class party and it was so smashingly fantastic. I had SO much pasta and so many sambusas. East African food FTW!

 

Sambusa

If you have never had one, you are missing out. Like the Indian Samosa, but filled with ground beef and onions and occasionally peppers. The best East African snack/street food EVER.

 

Brooklyn 99

Oh my gosh this is our new favorite show. So funny, the characters are so endearing, Andy Samberg and his big goofy smile just win you over. It is not a cop show at all. It is a show about a bunch of dorky people doing what they love. This show makes me sad for other shows.

 

Applying/Pitching for Scary Things

Grants. Week-long retreats. An article at a place you have never written. For me and my writing, if I don’t push myself, I tend not to produce. And for every 99 rejections, there seems to be 1 acceptance! Yay!

 

Reading YA during Spring Break

I am officially on spring break. While I have a few deadlines to make (plus, I crammed in a ton of socializing time in like I do), I am determined to make it somewhat feel like a reprieve. Enter the Young Adult literature.. I have gotten all of John Green and Rainbow Rowell’s entire oeuvre’s on hold for me at the library. Remember when life was simple but felt really complicated? When you fell in love with the first boy you kissed? When you were s emotional and sure that nobody felt like you, until the one day you realized how beautiful the world was and everyone in it? Yeah, that’s like my norm. So YA just feels right.

 

Listening to Built to Spill While the Snow Thaws

It just feels right.

 

Americanah

You will be hearing more about this book from me at some point in the near future. Chimamanda Ngoze Adichie writes in a way that is lulling and piercing. Her descriptions of immigrant life in America resonated so deeply with me I was almost embarrassed. Her words on racism in America have not left my mind. It’s not ok, the author is telling us, over and over again. Cruelty is never ok. You don’t get to gloss over that fact, ever.

 

Figuring out your Rule of Life

Pope John Paul the II had one. So did MLK.  So do all the Benedictine  monks. Basically, pick a few spiritual disciplines and incorporate them into your life.  I personally like to crib from Dorothy Day (a personal hero of mine): find the face of Christ in the poor every day, and journal journal journal.

 

Ditching Netflix/Hulu plus for Amazon prime

Guys. Amazon Prime is amazing. Quit your Netflix and your Hulu and instead get free 2 day shipping and access to shows like Veronica MarsPushing DaisiesZach Stone is Gonna Be Famous, and the Pride and Prejudice that has Colin Firth as Mr. Darcy. Yes. If you divide the cost of Prime over 12 months, it’s like $6 a month or something. Caveat: Amazon is also not the best thing ever. Support local and all that. Make your own instead of consumption. Yeah. But I have ordered a few killer Doctor Who mugs and some organic fair trade coffee at some sweet deals. Just don’t go all crazy!

 

Read Genesis Again

I am in a Bible study with a neighbor and we are going through the Women of the Bible–starting in Genesis. Pretty bleak stuff, ammiright? Except there are so many stories of God hearing/seeing the oppressed. The stories of the Hagars, the Leahs. They just make me want to cry. I am also left with the unshakeable belief that God uses the most crazy miserable mess-ups to bring about his kingdom. I don’t get it at all, but it makes me feel a bit more hopeful about myself.

 

About Time

This movie came out last year and went under my radar. It is delightful–time travel, stiff upper lip British people, Bill Nighy!, that guy who played Bill Weasely . . . don’t be freaked out by the fact that there is a soft-focus Rachel McAdams on the cover. This is not the Notebook. It is very sweet and poignant and witty and just a really great movie (by the same people who brought you Love Actually). There is a phrase on love and death that will never leave me mind. But I won’t tell you. You will have to watch it for yourself.

 

 

 

So that’s what I am recommending these days. Hit me up with whatever you have got!

 

 

 

 

 

 

 

 

 

 

 

 

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Upside-Down Art: Bakerwoman God

 

Alissa’s post today stems from a beautiful poem that encourages us to see God in new ways. I love it. This is also my year of reading/learning to love poetry, so I greatly identified with this piece. Isn’t that the point of art–to help us connect with people/Christ in new ways? To create threads between the world we experience and the ones we don’t? I’m so grateful Alissa shared this gorgeous piece, and gives us all a chance to think about the One who is kneading us. 

 

 

 

 

 

Upside-Down Art: Bakerwoman God

by Alissa BC

 

 

 

 

 

The summer I found myself perusing the shelves of the public library like it was my job, I was a newlywed, unemployed, college student in a new city. God had grown increasingly and unrelentingly distant over the past year, and by that summer I had become unable to pray, read my bible, or relate in any way to the God I knew, white and bearded in the clouds. So I filled my days with piles of books from the library and old films from the DVD section, alternately attempting to fix and distract myself from my new spiritual realities.

One afternoon, knee deep in the religious section looking for the God I seemed to have lost, I happened upon a book called The Divine Feminine: The Biblical Imagery of God as Female by Virginia Ramey Mollenkott. Published in 1984, the copy I held in my hands was old and worn, with an outdated, mustard design on the cover and what I assumed would be outdated contents.

Still, the concept intrigued me. I had not been raised with any sort of awareness of divine feminine nor with the option of calling God She. For most of my life, I had struggled with the concept of a male-only God, but I never once thought to challenge the traditions that had been passed down to me, to see God as both Father and Mother. That kind of thing was forbidden in the evangelical circles I inhabited, condemned as “goddess worship,” and I obediently accepted the restriction. Instead, I had worked quietly for years at overcoming the baggage that a male God carried for me. I tried my best to imagine a Father God who was nurturing rather than authoritative, who was loving rather than stern. But by the time I encountered The Divine Feminine, I had lost all ability to feel any sense of intimacy with or trust in the God of my youth. I took the book home.

Over the next few days, I pored over it in small chunks, soaking up each bit of wisdom I found within its pages. Despite having read the Bible in its entirety several times over, I was astounded by the amount of distinctly female imagery for God to be found there. As I read, I took my little neglected Bible and found every verse said to allude to the Divine She, highlighting each one in bright orange so I would never forget it. I learned to see God as Nursing Mother and Midwife, Homemaker and Mother Hen.

But the imagery that captured me most, was that of the baking woman. In this section of her book, Mollenkott quotes the first two stanzas of the poem “Bakerwoman God” by Alla Renee Bozarth:


Bakerwoman God,

I am your living bread.

Strong, brown Bakerwoman God,

I am your low, soft, and being-shaped loaf.


I am your rising bread,

well-kneaded by some divine

and knotty pair of knuckles,

by your warm earth hands.

I am bread well-kneaded.


The imagery wrapped it arms around me with its warmth. As I read, I could see Her hands, calloused but soft, moving silently over some divine countertop dusted with flour. I could feel Her knuckles, strong yet tender, digging, digging, digging into the doughy depths of my being. Bakerwoman God was gentle in Her firmness, kind in Her correction. Her kneading was not painless, but it was filled with love. I felt safe in Her hands.

This description of God felt more true and comforting than any I had ever known. It came as a brief but refreshing sip of cold water to my soul that year, allowing me a glorious peek into God’s love at a time when I had all but lost sight of it.

Even now, years later, as my feelings of distance from God remain, I often find myself returning to the image again and again. Sometimes, in my darkest moments, the nights when God feels like little more than a deep chasm of absence, I’ll close my eyes and remember Bakerwoman God, who even in Her silence is making me bread well-kneaded.


 

unnamed-7Alissa BC is a writer, wife, and mother. You can find her at alissabc.com, where she writes her heart out about doubt, mystery, and other everyday discoveries.

 

 

 

 

 

 

 

 

 

 

For all posts in the Upside-Down Art series, please click here.

 

 

 

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Upside-Down Art: Disappearing, Endless Love

I so resonate with Deidre in this piece. I am not a huge modern art fan myself, but when I do find a piece that speaks to me–it sort of takes my breath away. I am so grateful for this beautiful, succinct essay on finding universal themes of sorrow and love in art–and how similar we all are despite our world doing it’s best to convince we are all alone in our miseries. Any piece of art that asks us to crack our hearts open just a bit wider is to me a blessing from Christ himself. 

 

 

Upside-Down Art: Disappearing, Endless Love

Guest Post by Deidre Sanchez

 

Felix Gonzalez-Torres. Untitled (Portrait of Ross in L.A.). Image from the Brooklyn Museum

Felix Gonzalez-Torres. Untitled (Portrait of Ross in L.A.). Image from the Brooklyn Museum

 

I am not one for contemporary art. Most of the large scale displays in the big museums fail to evoke any emotion in me. I always feel so disconnected from whatever the artist is trying to say. As if we live on two different planes of meaning and we’re talking to cross purposes. It’s always the Pollacks and Van Goghs that I linger in front of. The O’ Keefes that steal my breath. The Chagall’s that draw me to wonder.  When I visit museums, I dutifully walk the floors of contemporary art, sometimes almost at a run. I don’t want to miss something creative and beautiful just because of my own prejudice but I am always prepared for disappointment. In the Chicago Museum of Art I was (almost) running the top floor, smirking inwardly at the two hipsters stopped in front of some tangled up string engaged in a very serious discussion on how this was so derivative of Lindberg. (I know. I’m the worst).

 

I enter a new room and a flash of glowing color catches the corner of my eye. I spin right. There is a luminous heap of something. Glass? Lightbulbs? I’m not sure what it is that’s piled in the corner of the room. It seems so alive, iridescent, incandescent. I thought this pile must be lighted up from the inside: pulsing with color and light as I move towards it. I read the card. Felix Gonzalez-Torres, Untitled (Portrait of Ross in LA). Ross Laycock was the artist’s partner and died of AIDs. The pile was originally 175 lbs worth of cellophane wrapped candy, which represented his ideal body weight. Visitors are encouraged to take a piece of candy to represent his slowly diminishing body weight. The artist asked that the museum replenish the pile “thereby metaphorically granting his partner perpetual life.” Love. The word rings like a gong struck in my head. All the pain of loss and love sitting on the ground in front of me. I reach my hand out to take a piece, meditating on the pain of watching someone you love shrink smaller with disease. Is that a universal experience? Do we all at some point lose one we love to deadly disease? Watch them disappear piece by piece. If we could all grant them perpetual life in the vast array of  colorful glory in which they lived!

 

I have the piece of candy still. It’s sitting in the basket by my bed. The cellophane wrapper dulled with dust, less stunning now that it’s separated from its mound. Every once in a while I take it out and roll it between my fingers. I don’t know Gonzalez-Torres. I wouldn’t recognize him if I passed him on the street. I don’t assume that I have much in common with a gay, Cuban-American artist. And yet his work threw out a thread and drew me in. Into his pain. He tied our shared experience together with one stroke of breathtaking imagery. And when I close my eyes I see the glow of cellophane wrappers lit by a skylight overhead and I think of Ross.

 

 

unnamed-6Deidre Sanchez is a Jesus-follower, wife and mother, a disillusioned optimist, amateur cook and obsessive reader. She currently writes at agapeeverywhere.wordpress.com. Her blog is a personal exploration of the nature of love. It’s an experiment in how far love can go, what it looks like and how people experience it.

 

 

 

 

 

 

 

For more information on the Upside-Down Art series (and to submit your own!) click here.

 

 

 

 

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Upside-Down Art: Prison, Beauty and Common Grace

I’m so excited for this first guest post in this Upside-Down Art series. RO contacted me about an area she is passionate in–prisons and their inhabitants, whom she views with such grace and love. I had heard of writing/oral history classes with prisoners, but never art projects. This post eloquently explains the horror of incarcerating people and withhold from them the beauty of the world–while still showing that God is still there. A challenging, thoughtful post for us on the outside. 

 

 

 

 

Prison, Beauty, and Common Grace by R.O.

 

There have been times in my life where depression and anxiety have walked every step with me. Their weighty bodies cemented to my shoulders like gargoyles, mouths permanently open-wide, hissing into each ear: “You are not good enough. You don’t work hard enough. You will mess up everything good in your life.”

But even in the midst of these lies, God finds ways to remind me of his truth. So often he does this through the beauty of the world around me. I see pink light from the setting sun angled on a grey building, hear something as simple and amazing as an echo, feel cold air sting my cheeks. And I think, “even if I fail at everything, no one can take this away from me.” This everyday beauty of the world, available to me in some form no matter my circumstances, is God’s common grace to all people. It is our Father reminding us that his love for us does not depend on our good performance.

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It seems sort of simple when compared with all the atrocities of prison— the state’s misguided idea that trading violence for violence will end violence— but the profound indignity of denying a person God’s common grace of this world’s everyday beauty is striking to me. Prisons are designed for exactly this. They replace the beauty of creation that God would give to every person with cinderblock walls, artificial lighting, a stainless steel bowl acting as toilet a foot from your bed, access to an “outside” patch of concrete surrounded by walls for maybe thirty minutes a day—day in and day out, all the same.

And still there is beauty.

Prisoners become artists, creating the beauty that prison denies them, and I consider myself blessed to have heard some of their stories. There is the fourteen-year old boy who wrote poems in his cell, the man who is serving a life sentence without the possibility of parole who paints scenes of the world he hasn’t experienced in over thirty years, the girls at the youth prison who wrote and performed in their own musical, even the tough-looking young men who draw intricate and delicate designs on the backs of their letters.

These are people who are often excluded from that popular new category “creatives,” but they still are made (and are making) in the image of our Creator God. They create because there is no beauty unless they make it themselves. They create for the same reasons we all do: to comfort, to entertain, and to tell their stories. There are still more imprisoned people who are without the support of prisoner-arts programs, some without even pencil and paper, some in solitary confinement; let’s not forget that they are creatives, too. This is God’s common grace, which no one can take from us, that he has made us in his image; he has made us all creatives.

“For his participatory project, Some Other Places We’ve Missed artist and photographer Mark Strandquist held workshops in various jails and prisons, and asked prisoners, ‘If you had a window in your cell, what place from your past would it look out to?’ Along with the written descriptions, individuals provided a detailed memory from the chosen location, and described how they wanted the photograph composed. Strandquist then photographed and [an] image is handed or mailed back to the incarcerated participants.” from Prison Photography:

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R.O. is a Midwestern law student who will soon be a Southern public defender. She loves to talk (and learn) about justice and mercy, living in the upside down kingdom, and criminal justice reform. Her Enneagram type is 5 and she is an INFJ, if that means anything to you.

 

For more information on the Upside-Down Art series, click here. And submit your own essay!

 

 

 

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Expensive Narratives: Captain Philips and the Somali Community

I watched the Oscars on Sunday (how did I make it through award shows before the snarky, humorous insights of Twitter?) and I rooted for my boy, Barkhad Abdi. Even though I knew it was a long shot for him to win Best Supporting Actor, it was still surreal to see one of my neighbors, a Cedar Riverside proud Somali boy, walking that red carpet. And it made me long for the day when actors like Barkhad and Lupita have thousands of roles to choose from–and they don’t just have to play pirates or slaves.

 

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Illustration courtesy of Seth T. Hahne

 

I recently wrote about what it’s been like to be at the periphery of the East African diaspora in America. Every day I am astonished at who is carving out a life in this frozen tundra of a land (Lewis and Clark deemed it “inhabitable” back in the day, and I am inclined to agree with them). I find myself living and working in the heart of a community which is complicated, inspiring, thriving–and repeatedly misrepresented by the media.

I haven’t written too much about my personal life here, for many reasons. The spotlight on Barkhad Abdi and his role in Captain Philips made for a timely piece, and it finally felt appropriate for me to share my own experiences here.  While I am not an expert on Somalis or the East African community, I believe that it might be helpful for other outsiders like myself to get a peek at a different narrative than the one we are being told over and over again.

Here’s the beginning:

 

 

My friend was celebrating Eid Al-Adha, the Islamic holiday commemorating the feast of Abraham, like everyone else was: by going to the Mall of America. I went with her and her family, wearing the clothes she had given me for the occasion. My dress was colorful and flowy; we wandered around the mall and people-watched. It was still a bit early, but the large East African diaspora in the middle of the Midwest was already beginning to pour in. Families, as far as the eye can see, laughing husbands, smiling mothers, children running and shrieking, everyone dressed up in their best clothes, shopping, riding the carousel. I followed my friends, insecure in my outfit, feeling like an imposter or worse—someone playing dress up. The clothes that hung so elegantly on my friends looked like a costume on me, and I couldn’t shake the feeling that I had done something wrong, just by trying to fit in, to look like everyone else, to celebrate a day and a culture that is not my own.

After a few hours, my friend took off to go see the movie Captain Phillips in the the theater, while I headed home. Later, I asked her what she thought of the film. Oh my gosh, she said, it was amazing. Really? I asked, slightly taken aback. Yeah, she said, the whole theater couldn’t stop laughing. Laughing? I asked, at what? Isn’t it a sad movie?

Yeah, I know, she said, but we couldn’t help it! Although I was a little worried—the few white people in the theater started staring at all of us. But any time one of the Somali boys on-screen would start talking, we would start to laugh. It was just so funny to see them up there, talking in Somali.

Why was it so funny? I asked, still confused.

She turned to look at me, and said it matter-of-fact: because we had never heard anyone speak Somali in a movie before. It was so strange, and so, so funny.  She paused a beat, and then acknowledged: even if what they were saying wasn’t really funny at all.

Go to Christ and Pop Culture to read the rest. The piece is an exclusive feature that has been shared with you but is otherwise available only in Volume 2, Issue 5 of the Christ and Pop Culture Magazine. For more features like this, download our app for iPad and iPhone from Apple’s App Store.  More information here.

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