“know then that the body is merely a garment. go seek the wearer, not the cloak.” (rumi)
and the babycat chair – cloaked in snow – shielded all from the view of its real soul. its new trapping hides its decrepit wickered weave. one would not know not to sit – certainly not to sit back – with snow covering this seat, this chairback. the babycat chair’s garment of white belies what is truly there.
and yet, this chair – the other day – seated a squirrel or two. as i watched out the window, they took turns sitting, munching on something i could not identify, comfortable squatting on this handy seat.
i – like you – have known plenty of people who have cloaked themselves in all the trends, who have kept up in fashion, who dress for the time and continually refresh their wardrobe. indeed, they look fabulous and, like just wearing the right couture, their vehicles and homes and sundries are all cloaked in that same shiny wrap. with some, it might be hard to gauge what is truly inside, what soul is silent, what soul is loud. we may not know but we are entranced by the packaging, the masking, the shell – that which is superficial, evanescent, transient.
the spirit of the babycat chair carries on, with or without snow. its aging – like the aging of barney-the-old-piano in our backyard – lifts up the unchanging truth that aging is not negotiable.
we – inside our cloaks – whatever they might be – transcend the broken wicker of what we put on to cover who we are. like the babycat chair – but exponentially – the spirit of what we mean, what we have meant, remains.
what do we each choose that to be, individually, in community, in this world?
“life is strange. you arrive with nothing, spend your whole life chasing everything, and still leave with nothing. make sure your soul gains more than your hands.” (no attribution)
it’s happening.
we can feel it.
i stood in his shop’s driveway talking to our beloved mechanic. “a simple life,” we agreed. we just want to live a simple life. not a life lived for or gauged on the stuff we have.
because that stuff – the stuff of life – inundates us. everywhere we look people are chasing it – a materialism that just never culminates in any moment where it is “enough”.
and in these unbelievably fraught times, stuff seems even less important than it ever did.
one of my best friends from high school sent me a bunch of texts early this past week. we were out on a trail, trying to soak up sun and hold at bay the yucky cold symptoms we were experiencing. suddenly, there were multiple notifications. he had become a first-time grandpa.
i stopped short on the trail and looked at the photographs of the baby girl just born into this world. i was overwhelmed by the sheer miracle of that and the miracle that this man and i had been friends for over fifty years (despite seeing each other only once in all that time since high school) and – back then – it would have been hard to imagine the moment i was experiencing: standing on a trail in a completely different state five decades later while he shared the moment of his entry into grandparenthood. truly a remarkable gift.
there were other moments this week, moments when i felt more connected to the world: talking with the woman with the jeep in the parking lot at the market when we went to pick up more advil, the frog that suddenly showed up in our pond, the jalapeños we grew that were ready for picking, a note from a dear friend to “stay strong”. we virtual-tracked our daughter running an incredible half-marathon in the mountains and we listened to our son’s music online. friends checked in to ask if we needed anything. the other side of the spectrum from feeling appalled by the world.
soon it will be time to resume the cleaning out. i told our mechanic about the sentimental person’s guide to decluttering book i had purchased (hoping for osmosis to make it stick) and another title i had seen: “nobody wants your sh*t“, which we both found infinitely funny. and true. because it is. true, that is.
i remember when my sweet momma – in acts of generosity and kindness – began to give away possessions. she knew. she knew how little all that stuff really mattered. and, in these quieter moments of getting a bit older, i – we – can see that, even more than before. especially in these times.
it would seem that dropping the shopping bags and the trappings of the ladder are thresholds into the gains of one’s soul, into the real stuff of life – because, as my poppo used to say about the other stuff, “you can’t take it with you.“
and it would seem that – instead of the receipts of chasing and chasing – the buddhist prayer is that which to hold close:
“may you be happy. may you be at peace. may you be free of danger. may you be loved.”
it continues to peel back. each rainstorm, each gust of wind, the ice and snow of winter, the baking hot sun…they all have impact. and the layers of barney keep peeling back. every iteration of this piano reveals its soul, a soul that never changes. despite disappearing obvious visual cues that say “piano” it is still a piano. the keys are virtually gone now, but remain, nevertheless, in essence. the stand that held music way earlier in this past century of its life has broken down. the sheen of lacquered varnish highlighting the grain of the wood has faded, melting into rays and raindrops. changed, barney is unchanged.
i wonder at the tenacity of such a soul. i wonder at the steadfastness of spirit. i wonder at how much more beautiful it continues to get – each and every day – despite all it has endured, all it endures.
there is a piano in our basement. it is my growing-up piano. it is a spinet, completely out of tune, even with itself. we had it moved down there and then built walls around the stairwell that turns and turns again, 90 degree angles making a complete 180. that piano may never be able to be moved back up those stairs. but if it could, i would bring it outside. the journey that barney has taken – with flowers and plants and chippies and squirrels – has only enhanced its real presence in the world. if i could, i would honor this old piano – this relic of my growing-up – with this same weathering of time.
though currently exponential, like most generations before us, we are living in a strange and scary time. the facade of our country is being peeled back. yet, what we are finding beneath this shiny well-lacquered veneer is not wholesome or all-american. as the soul of constitutional goodness is stripped – layer by layer, right by right, freedom by freedom – there is an ugly that is revealing itself.
when the keys are gone and the music stand is gone and the sheen is gone and the wood is splintering, falling into the garden to turn to mush, what will we find at the center of this country?
i fear it is not stalwart like barney. it is not getting more beautiful. its endurance is limited. changed, it will be changed.
barney – through wind and rain and snow and ice and blistering sun – has shed all the clothing of its keys – both black and white. this is the very last of it.
and, even stripped of so much, of the things that make barney look like a piano, barney is still a piano…barney’s soul is tenacious – still a smith-barnes upright – and we can feel evidence of scales and arpeggios and glissandos, of etudes and ballads, of pieces ethereal and bombastic. barney is changed and yet unchanged.
we will each face the storms of the future. we will surf waves and, sometimes, despite heroic tenacity, succumb to the inability to surf. but we will endure and persevere. we will look different and we will feel the same: changed-unchanged.
and, in the center of all of it, while we are on the way to later, stripped and naked of all that is superficial, smack in the middle of our souls, we will still be able to touch the black and white of our lives. just like barney.
“meaning is what’s left when everything else is stripped away.” (suleika jaouad)
i wear one contact lens. it’s in my left eye and it is to correct minor nearsightedness. wearing only one contact allows me to use my other eye to see close-up – to mostly be able to read without the aid of readers. somehow my brain figures this all out and i don’t have to close my right eye while driving or my left eye while reading – because all that would be awkward and weird.
clear vision – particularly at night in the rain with orange construction barrels and no streetlights and lane lines worn to little or no paint – is essential. it’s my least favorite set of circumstances to drive in, discounting white-out snowstorms and ice. it’s nice to be able to see.
and for those days when contacts are not working – the days of allergies or tired eyes – i have a pair of backup john-denver-glasses to don while driving. because it’s essential to see.
we just read the little prince aloud together. i don’t remember crying at the end any other time i have read this book. but this time i did.
as the prince’s soul was whisked away – his body dying on the earth by snakebite – back to his tiny planet where his tiny beloved rose waited – i wiped tears from my eyes.
this simple book – supposedly a children’s book but so much a necessary read-every-once-in-a-while adult’s book – was just the thing. the nature of love. of relationship. of responsibility toward each other.
the louisiana governor just declared that the ten commandments shall be displayed in every school in his governance. for heaven’s sake. how is it that we have become this narrow? for starters, how audacious he ignore every other religion’s tenets. this is not visionary. this is not seeing.
perhaps he would be better served to declare the little prince essential reading. he would be better served to encourage his populace to look with their hearts, to value the basics of goodness and fairness and loving one another. but in these days of politicizing every single thing, i guess he just decided to go with narrow bigotry to see where it might get him. narcissistic power is on the rise. as is the popularity of meanness and aggression. and the little prince shudders.
i’m pretty sure the little prince made me cry because of just that. there is so much – out there. we are hearing every single horrid thing. media is having a field day and it’s horrifying just to phone-scroll the “news”. what we see…what we find there…unconscionable.
instead, we will find the richness in the elderly woman pushing her walker on the trail, her son by her side, chatting. we will find the generosity in the gift of a garden flower. we will find kindness in the invitation of inclusion. we will find concern in the check-in text of an old friend. we will find hope in the little-less-lonely uplift of voice on the phone. we will find resilience in the planting of trees, the naming of stars, the grieving expression of loss. we will find forgiveness in time spent together. we will find healing in turning toward and not away. we will find love in another’s eyes.
the little prince – tiny, tiny. but with a giant and sighted heart.
we need to really look and see – what is transparent, what is truth, what is life-giving, what is equitable and not limiting, what is sustaining, what is fair, what is kind, what is loving – with clear eyes and whatever wisdom of the ages we might summon. we need to ponder and sort and be honest. what we may lose otherwise are the essentials. the basics. the geared-down actual heart of humanity.
read the little prince. you’ll likely weep a little.
she said it: “we’re 9 to 5’ers!” and i laughed. “so are we!!” i replied. and, most days, it is pretty much true. sleepynightnight time comes earlier these days – with exceptions – and so does the first coffee in the morning. much earlier. and i like it this way. there is nothing like the sunrise streaming in the window, spilling onto our quilt, dogga at our feet and hot coffee in our hands. perfection.
in life, though, neither of us has spent all our time as a 9 to 5’er – in the traditional sense. though we have both had positions in professional arenas, we have mostly spent our lives either working for non-profits or in entrepreneurial projects and ventures. neither of those are 9 to 5 jobs. they are whenever-wherever-however-you-are-needed jobs.
from an earnings point of view, these are usually not spectacularly paying positions. they are not laden with benefits; they generally do not provide any kind of annuity or retirement.
from a practical point of view, there are often not enough hours in a day to do all the work you invest in when you sign on with a non-profit. it takes a big heart and an absence of calculators and time clocks to keep moving the soul of an organization forward. one would be saddened to divide salary paid by hours worked. instead, it takes true joy and every good intention. because it is about service and about passion, patience and resilience. from indeed, “when working for a nonprofit, the work you’re doing is meaningful. instead of working to grow a company, you’re working to make a difference.” the bottom line is mission. 9 to 5 flies in the face of nonprofit anima.
it is what it is.
we drove – early morning – to milwaukee a couple weeks ago. in the thick of commuter traffic and travelers, i was reminded that this was somewhat unfamiliar for me. it was a little hard for me to grok the unhappy faces of drivers around us. maybe they were heading to the 9 to 5. maybe they were tired of the grind. maybe they were just tired. i don’t know.
it prompted conversation between us about the kind of hours we worked in various service organizations and institutions over the decades. always on some kind of salary, those hours weren’t etched in stone. there weren’t time sheets and – likewise – there weren’t end-of-year bonuses. there were giant ideas and creative collaborations, camaraderie developed through shared interests and abilities, dedication with real-live love at the core. that stuff isn’t etched in stone. it’s soul.
i laughed when kate said they were 9 to 5’ers, for they are now retired and volunteering up a storm. but i agreed. for we are as well.
early to bed and early to rise. we are – at long last – real-life 9 to 5’ers.
“all i can do is be me. whoever that is.”” (bob dylan)
it’s an imperative. composing, songwriting, producing, performing – they aren’t really choices. they are inherent – something inside that begs you to feel it. it is an ancient call for an answer that tugs and prods and taunts until you comply, baring your soul. it makes you vulnerable and demands courage and fortitude, sacrifice and a stalwart sense of purpose. it is not a straight path. It is fluid. it is failure and a phenom. it is devastation and ecstasy. it is necessary.
standing backstage – our son and the board clearly in view – i am whisked away to the place parents are taken when they see their children doing something they wildly love to do.
i have stood on a giant mountain – one of the highest skiable terrains in the united states – and felt this feeling as our daughter flew past on a snowboard, everything in her aligned in the freedom of expression that single piece of wood opened in her.
and now i have stood on a wood floor in a crowded nightclub – way past my bedtime – and felt the exhilaration of my son’s music – truly moving him, bringing forth who he is from a place deep in his heart.
and in both circumstances, i have been in awe. and in both circumstances, i have celebrated.
because though they have both been scrappy and deliberate, non-traditional, intentionally creating the ability to have the room to express – with any combination of full-time work, layered jobs, skimping and saving, lack of resources – in an ever-changing river, they have led with who they are. what is important to them – deep down – is their truth. their heartbeat. figuring it out as they go.
our son is an EDM artist – electronic dance music. his music is powerful and pulsing, driving you to dance. it is layered and complex and technical and, as a composer – even understanding a slice of the process – i stand back in wonder. we are both creating music and, even in its difference, it has the same goal.
“some people feel the rain. others just get wet.” (bob dylan)
he is feeling the rain. and his music invites everyone else to feel it as well. that’s the imperative. it’s what has compelled me to compose. it’s what compels me to write. it’s what compels david to paint. it’s what compels the potter to sculpt, the dancer to dance, the climber to climb, the actor to act, the skier to ski, the athlete to push, the chef to craft, the aerobatic pilot to soar on bluesky days, the creator to create. it takes some guts. but it’s necessary. for the world.
“dear artists. don’t hold back. that’s it…” (okuntakinte)
in most rehearsals, i would remind the choir that their smile could be heard. there is a major difference to the timbre of voice brought forward with or sans smile. the same is true with speaking; even when you are not seen, the difference in tone is distinguishable.
it’s the season of the christmas cantata – a major work of multiple pieces with various voicings, instrumental lines, accompaniment and narration – closer to an hour in length. i’m writing this on the sunday morning that was usually chosen as the day of performance – the second sunday in december. i can’t even begin to remember how many cantatas i’ve directed – and written and arranged – through my decades as a minister of music. just recently a facebook memory came up – it was my post thanking the choir and worship band at a church where we had just performed such a work. the creation of narrative and song is exhilarating – for both director and participants – and everything drives to the downbeat. there is a glow that emanates from such a group – these people who have diligently prepared a musical piece of larger extent – and the camaraderie that weaves its way through – it is joy.
it’s been a few years now since i have directed a cantata. i’m guessing it’s a few years since many of the people who participated have sung or played a cantata. not every minister of music or choir director is up to it and some choose other programming. while you are preparing weekly anthems for sharing in service you are concurrently rehearsing this large work, so it takes time and energy, a compositional spirit, an innate ability to discern cantatas of value, ingenuity, the ability to rearrange on the fly, the belief in showcasing your choir – as a choir – accommodating any ability level, the recognition that simplicity is potent, much flexibility and humor, meticulous planning and true dedication. it is knowing as a conductor – in the moment after the downbeat – that you will merely guide this integrated group of singers and musicians through this visceral experience of purity. yours is a backseat to the magic – this is not your microphone. it is an undertaking not for the meek.
to say that i miss cantata-day would be understating. the gift of music is to make resonant that which is hard to see, that which is not tangible. the gift of music is to evoke powerful imagery and to open emotions tucked away. the gift of music is to bring forward beauty and the magnificence of producing something together. the gift of music is to offer just that – the gift of music. impactful, moving, music has the ability to change souls.
we pass the leaf on the trail – so very obviously lips curled in a smile. i think about all the times i have urged a singer to smile, all the times i have listened to the difference between smiling and not smiling – like the difference between the keys of d minor and e minor. vast.
and right now – as i write this – i wonder how many choirs are gathered on chancels, singing their hearts out, smiling inside and out.
“the sun shines not on us but in us. the rivers flow not past, but through us. thrilling, tingling, vibrating every fiber and cell of the substance of our bodies, making them glide and sing. the trees wave and the flowers bloom in our bodies as well as our souls, and every bird song, wind song, and tremendous storm song of the rocks in the heart of the mountains is our song, our very own, and sings our love.” (john muir)
there have been moments – holy and glorious moments – when i remember that i am, yes, one with nature. i am no more or less a part of the whole than the heart-leaf on the side of the trail, no more or less a part of the whole than the rocks on the beach, no more or less a part of the whole than the cloud as it floats by. and i remember that in my tiny-ness – within the vastness – i could just as easily have been the energy of the leaf or the rock or the cloud.
“how will you spend your time?” asked the thru-hiker at the end of the trail. mary oliver asks the same, “what will you do with your one precious life?”
i realize – in these sacred and suspended moments when i can feel the threads of soul connect me to the trees, to the living plants, to the creatures – that i am, perhaps, spending too much time in worry.
barney’s nails are popping, its layers are peeling back even more, rust is gathering on surfaces subjected to air and moisture. this is not a surprise. barney has been outside in the sun and the rain and the snow and ice and wind and humidity and drought for almost ten years now. a decade has a way of peeling things back. i wonder what barney might look like in another decade or maybe two. its soul will be intact; its boxy exterior will be falling away, opening strings, hammers, soundboard to the world. and always, its soul, present, true.
barney is no less beautiful now than the day it arrived in our yard. in fact, as it changes, its transformation is a metamorphosis into an aged piece of art sans any expectations. it stands as a stalwart symbol of constancy in our backyard. it reminds me that soul is resilient, fluid. no matter the weathering, the chippies and bunnies nesting, the birds stopping off to rest, the squirrels sitting and taunting the dog. no matter only eleven white endpieces of keys are left. no matter the line of popped nails in a row along its upright top. its soul – exposed – carries on, aged and stronger than before.
“this is the first, the wildest and the wisest thing i know: that the soul exists and is built entirely out of attentiveness.” (mary oliver)
if barney needed to express itself, tell stories of its past, the narrative of a life of a hundred years, it would merely stand and speak – firmly planted. time and nails have loosened its jointed wood and the container of a million tales, and have – figuratively – unlidded the top of the shoebox under the bed or on the top shelf of the closet. every story counts and, as we sit in the backyard, we pay attention. we listen to barney, giving credence to its voice, glad that even in its aged appearance – and its agedness – it is not silent.
in ways i can’t explain, i can feel the nails popping.
reverse threading 