The Limits of Gratitude

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I remember the Thanksgiving I began the tradition of asking everyone at the table to tell something they were grateful for.  Before then, we might have said grace or not, depending on who was there.  My extended family’s spiritual practices ranged from out and out atheists to Southern Baptists.

I didn’t have a particular religion, but I was spiritual, whatever that means.  I was in my mid-30s.  My two children were 9 and 10, I believe.  I don’t remember who in the extended family was there, except my younger brother.

He was around 30 and had been dealing with schizophrenia for about a decade, mostly through denial.  We were all in denial.  I’d hoped that the prompt would help him find something inside himself to be grateful for.  He was an incredibly creative and energetic person at times.  I wanted him to see that in himself.  Or to be grateful that he had a place to live, or for the food we were eating.  Something.  Anything.

When we got to him, he scowled and muttered that he had nothing to be thankful for.

“Nothing?” I asked.

“Nothing!” he said.  It broke my heart.

My gregarious and kind husband relieved the tension by talking about being thankful for family and food and some other things.  I’d had lots of experience covering up a broken heart, so it was easy to get on with the festivities.  My brother left after he ate.

I think he only spent one more holiday with the family, but each Thanksgiving, I remember that scowl and statement.  I’ve actually become grateful for it.  It reminds me that gratitude has its limits.  It’s taken me years, but it taught me that I can’t brush away, cure, or repair the darkest parts of life.

Minds, hearts, and bodies are so fragile.  Those who appear strong have invisible cracks and fissures on their souls that no amount of gratitude or denial can repair.  But we keep breathing and moving forward.

Unbearable things happen and we must carry them.  Some of us do it with grace, some of us with anger and despair.  I’ve carried my burdens both ways.  Sometimes I think anger and despair is the more authentic reaction, but the more I intentionally practice gratitude, the more I realize there are an infinite number of invisible forces helping me bear my burdens.

Since that Thanksgiving, my brother died a sad and lonely death, my own health has deteriorated from a disease called Transverse Myelitis that has compromised my strength, energy, ability to walk, and my ability to have a job.   Other loved ones have died, have suffered injuries and losses.  Wars have continued to mar and scar the world.  We rush blindly toward our own destruction.

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And yet, and yet…I’m more and more grateful for the challenges and heartbreaks I’ve experienced.  I’m so much more aware of how one thing carries the other, how we are always in darkness and light, always fully alive but stumbling toward the mystery of death.

The book Waking: A Memoir of Trauma and Transcendence by Matthew Sanford, is the story of the author’s journey to healing after being in a horrific car accident when he was 13.  His family’s car skidded off an overpass, killing his father and sister and leaving him paralyzed from the chest down.  A quote from him that I hold close to me is:

“When I ‘left’ my body during my traumatic experiences, it was my body that kept tracking toward living.  It was my body that kept moving blood both to and from my heart.  Often, as we age and can no longer do what we once could, we say that our bodies are failing us.  That is misguided.  In fact, our bodies continue to carry out the processes of life with unwavering devotion.  They will always move toward living for as long as they possibly can.”

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My life seems dark at times and I think I can’t bear another challenge.  I’ve learned enough, thank you very much.  Nevertheless, more challenges are coming for me.  As long as I walk this earth, along with every other human, I’ll struggle with loss and sorrow.

So my work is to not let it blind me to the beauty of nature, the cycle of seasons, the comfort of good friends and the blessing of a roof over my head.  I have to make an effort to balance the light and the dark.

A week ago, I was talking to a child in the neighborhood about being caught out in a rainstorm.  She said, “I saw you!  You were talking to a plant.”

I laughed.  I was actually taking a picture of a maple sapling growing from the center of a rhododendron bush, but I was in fact, talking to a plant.  Or communing with it.  Capturing it, too, treasuring it.  It was a thing of beauty on a cold stormy day.  I’m glad I didn’t keep my head down in the rain and miss these growing things.

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I know one day, my life will be over, and I’ll flit away into the mystery.  While I’m here, I’ll continue to pay attention when I can, and cry when I need to.

I’m mortal.  That’s the thing I’m most grateful for.

 

I’ll end this with a link to a lovely review by Maria Popova on Brain Pickings of a posthumous collection of Oliver Sack’s essays that he wrote while he was dying, aptly titled Gratitude:

https://www.brainpickings.org/2015/11/24/oliver-sacks-gratitude-book/

Thanks, my friends, for reading my post.

Spring Redemption

 

Into the Dream World: The Art of Dan Rhema

“Many people ‘find religion’ after such an experience.  I had the opposite reaction.  People are always coming to me in the hope that my near-death experience will confirm whatever theological doctrine they profess.  But my experience actually brought me to a place where I no longer need answers to all the big questions.  I’m content to let the mystery be.” — Dan Rhema, I Close My Eyes to See

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It’s been a few years since I first became acquainted with the art of Dan Rhema through his ebook, I Close My Eyes to See: The Dan Rhema Story as Told to Kevin Wilson.   

I continue to be fascinated by his art and story.  Whenever I feel that I’m being pretentious about aspiring to create, I can look back at his story and feel revitalized.  To me, his art opens channels to the creative spirit that lives in each of us, that compels us towards making our marks, and communing with the divine through that even shifting thing we call art.

When I was in my teens, I had epilepsy, and was literally thrown to the ground and given visions that I still struggle to decipher.  My experience drew me to stories and art.  And while I didn’t suffer nearly the extent of transformation that Rhema did, I find many  truths in his work.

Dan Rhema suffered a life altering illness and near death experience. In 1991, he was living with his wife, Susan, and 3 daughters in Mexico, directing an international training center. An epidemic of Dengue fever spread through the town and he and Susan and two of their young daughters became infected.   Dan contracted 3 different strains of it, which deteriorated into meningitis and encephalitis.

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Memnoch by Dan Rhema

 

He says, “I traveled out of my body and began journeying down a long dark tunnel. As I progressed down the tunnel, I remember thinking that I did not want to die without my wife and children being with me. My progress down the tunnel ended and I began the long struggle back to consciousness, one level at a time.”

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The Red Way by Dan Rhema

His illnesses ravaged his memory, which became “like swiss cheese,” with holes and detours. Things he remembered were out of context and disjointed. He felt like his head was on fire. He felt like he was floating and had to grip the headboard of his bed to rest.

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Goddess of the Harvest by Dan Rhema

Before the fever he was very minimalist in his possessions, afterwards he was compelled to collect objects all the time. At a family reunion, he discovered he could remember things if he put them in a story.

He began to keep a dream journal. Although before the fever he never did art work, he began to create assemblages that took on a life of their own. He began to paint with his fingers like a child.

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Awaiting the Dawn by Dan Rhema

These compulsions made him fear he was going crazy, but through them he began to be able to reconnect aspects of his life and mind and soul. He had created 15 sculptures, unsure of them, afraid they were a sign of insanity.  Then Susan found an article on outsider and visionary art and it helped him accept the truth of his own creative nature, and his own mysterious existence.

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Remembering Kenya by Dan Rhema

He re-created himself.

I Close My Eyes to See is a beautiful telling of how he did so. The text is minimalist and the story unfolds through the art. The photographs of it by Steven Clark are crisp and vivid.  This was the first art book I’d read on the computer.  The sculptures are muted and have a floating quality; the paintings are bright and imbued with intense energy. I think the lighting of the screen gives the work a glow and presence that wouldn’t be there otherwise.  I like being able to enlarge the image and see the details and textures.

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Mid-wife to Creation by Dan Rhema

 

The narration through the art is moving and deeply engaging.  This is what recovery looks like.  It’s miraculous and frightening and amazingly rich with beauty.

The art tells the story not so much of survival but of rebirth. There are deep spiritual overtones. Dan says. “I continue to live with one foot in this world and the other foot in another world.”

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Declining Nude by Dan Rhema

I am especially grateful to read this book as we go rushing into the holiday season and are inundated with mixed messages about rebirth and gift giving.  Our lives can change drastically at any given moment.  The facades we build and cling to are the real illusions.  Going deeper into the mystery is the real gift.

This book is a real gift, unique and hard-won, that floats between reality and unreality; that celebrates the mystery of the future and the divinity of the present.

I encourage you to look at Rhema’s  website, where you can find links to buy the book, as well as get a look at his children’s books and other ventures.

I’ll close this post with a quote I found on his site:

“That we come to this Earth to live is untrue: we come but to sleep, to dream.” – Anonymous Aztec poet

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Self Portrait by Dan Rhema

Bullies Transformed

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“We went home and did all the things we always did.  But for some reason it was different.  I tried to look at them with “new eyes” just like I did with Miss Mary, hoping I would find something different.  I didn’t talk much, just tried to study them like I was meeting them for the first time.”  — Mina aka Mini Mouth, from The Offenders by Jerry Craft

I have two boys – brothers — I tutor in art and reading.  The younger one is 5 and the older is 10.  I usually work with them separately, but every once in a while we get to meet together, and a few weeks ago, we did.  They were each working on sock monsters – creatures made from various stuffed and mutilated socks.  Sam, the 5 year old, noticed a book on my desk, The Offenders: Saving the World While Serving Detention , by Jerry Craft, and was intrigued by the cover.  So I read him the title and subtitle.  His brother Jack came over for a closer look.

“How can you save the world while serving detention?”

“I just got the book,” I answered.  “I don’t know yet.”

Jack flipped through it quickly. “It’s a chapter book,” he said dismissively.

“No, look,” Sam said.  “There are pictures.”  Then to me, “Can you read it to me?”

For the next few sessions we read the about how bullies became super-heroes – sort of.  A freak accident gives five middle-school bullies the characteristics of the kids they bully and a special power linked to the change.  It’s a surprising transformation and kept both boys intrigued.  How are these new super-kids going to save the day when their self-esteem is at an all-time low?

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Both Sam and Jack have problems with attention deficit disorder.  They’ve both experienced bullying.  They’ve dealt with it different ways.  Sam is only 5, but even so, he’s been put in “time-out” often.  Jack is more of a quiet kid, who tries to get along with the teacher and ask for help.  They have an exotic last name and a mixed heritage.   They haven’t found a way of “fitting in” yet.

The Offenders represent a full range of ethnic and economic backgrounds.  It’s written in different voices, each child tells their story, the way their transformation impacts them, and the way they learn what it means to have compassion – both for others and themselves.  Except they don’t sound that clinical.  The characters talk in the language you’d hear on the playground, giving it an authenticity in the midst of fantastic adventure.

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Though it’s mostly a chapter book,  Craft is also an illustrator and author of the comic Mama’s Boyz, we’re treated to a bit of the comic strip format.

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There’s also a flip book along the bottom pages, another charm of this well designed book.

I loved how this book brings to life the idea of redemption in a way that even a 5 year-old can understand, and that a 10 year old can find exciting.

I think part of the charm and authenticity comes from the fact that Craft wrote this book with his sons, Jaylen and Aren.  The boys made sure the story was accurate for slang, clothing, texting and video games.  It was published only last year, so it’s very timely – both in characters and themes.

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And it was good for an oldster like me to hear what school is like for a boy who is learning to read, and for one who is reluctant to read.  The games they play, the things that make a kid cool or uncool, the way school seems like an alien battleground – these were all side discussions inspired by the book.

Jerry Craft has illustrated and written many books.  He has a great website and is a very accessible author.  Read more about him here.

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For a great picture book that brings to light what a super power really is, see this post on the book The Day I Lost My Superpower.

Thanks for reading my blog.  If you like it, you can subscribe by email in the side bar on the right, and never miss a post.

Wordstock Loot

I got to go to Wordstock: Portland’s Festival of the Book, 2015, this last week-end and had a blast.  It was held at the Portland Art Museum, and even though it was raining buckets, thousands of people attended.

I only attended one talk, though there were lots of authors there.  It was with illustrator Brian Floca who discussed how he illustrated Avi’s new book Old Wolf.  He was warm and wry and showed slides of how the book was written and illustrated.

As much as I would have liked to hear more of the authors, my time was limited and I really wanted to shop for books.  It was so encouraging to see so many small and independent presses showing their books.  The festival room was packed, too.  We inched forward through crowds to find delights at each table.  I thought I was aware of most of the publishers in the Northwest, but I wasn’t.  I hope to be sharing books from those newly discovered publishers over the next few months.

I’d been wanting Whitman Illuminated: Song of Myself, illustrated by Allen Crawford, since last year when Portland-based publisher Tin House released it.  An exuberant presentation of Walt Whitman’s exuberant poem, it’s a gorgeous book.  Crawford has a unique and playful style.  His website shows not only the illustrations of this book, but some of his other art and endeavors.

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Beautifully designed cover
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Crawford’s process
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The text goes in every direction animating the book

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The other two book I bought were actually McSweeney’s Quarterly Concern, a magazine/book hybrid that defies description.  On their website, they say:

McSweeney’s began in 1998 as a literary journal that published only works rejected by other magazines. That rule was soon abandoned, and since then McSweeney’s has attracted work from some of the finest writers in the country, including Denis Johnson, Jonathan Franzen, William T. Vollmann, Rick Moody, Joyce Carol Oates, Heidi Julavits, Jonathan Lethem, Michael Chabon, Ben Marcus, Susan Straight, Roddy Doyle, T.C. Boyle, Steven Millhauser, Gabe Hudson, Robert Coover, Ann Beattie, and many others. At the same time, the journal continues to be a major home for new and unpublished writers; we’re committed to publishing exciting fiction regardless of pedigree.

Each issue of the quarterly is completely redesigned. There have been hardcovers and paperbacks, an issue with two spines, an issue with a magnetic binding, an issue that looked like a bundle of junk mail, and an issue that looked like a sweaty human head. McSweeney’s has won multiple literary awards, including two National Magazine Awards for fiction, and has had numerous stories appear in The Best American Magazine Writing, the O. Henry Awards anthologies, and The Best American Short Stories. Design awards given to the quarterly include the AIGA 50 Books Award, the AIGA 365 Illustration Award, and the Print Design Regional Award.

I was able to get one of their classic McSweeney’s Issue No. 16 (2005) (I got the pictures from their website)

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Beautifully bound little package
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A comb named Timothy?

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A novella by Ann Beattie, a story collection, a story printed on a large deck of cards, and that comb

and a more recent Issue 47 (2014):

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a lovely case announcing  intriguing authors
And each story is published in its own chapbook.
And each story is published in its own chapbook.
But wait -- layout all the chapbooks together and you get a floating cityscape that mirrors itself
But wait — layout all the chapbooks together and you get a floating cityscape that mirrors itself!

McSweeney’s is an innovative publisher and I’m so glad they’ve stayed in business.  They recently became a nonprofit, so hopefully they’ll be around for many more decades.  In addition to the Quarterly, they’re publishing fiction, art, comics, nonfiction and children’s books

So in my purchases, I went for quality over quantity.  I also made a very long list of books to acquire in the future.  So stay tuned.  I’ll be sharing my best finds.

You can never have too many stories.

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