Isn’t curiosity marvelous? Something sparks your interest, and you’re off—questioning, learning, exploring, pondering. Say you meet someone new, share a bit about yourself, and they’re genuinely curious; suddenly you’re deep in conversation, sharing details about yourself or your work that you rarely otherwise disclose, and you begin to wonder whether this person might become a friend. Or say you receive a new artistic medium, a set of oil pastels; you’re eager to feel one in your hand, run it across a blank page, be surprised by the streak of color. Or say you’re a writer with one idea that leads to another, that leads to a few weeks buried in the library stacks and then a few years pursuing a project; you’re absorbed, you’re riding the rails of your heart without a clue where the train is going.
The gift of curiosity is this: We lose ourselves. (more…)
When seekers trekked out to the desert in the early centuries of Christianity, the wise Abbas and Ammas there advised them to “go to your cell, and your cell will teach you everything.”
I’ve been mucking around in this pre-original-sin wisdom lately, and, let me tell you, it’s mind-bending. Mistakes, weaknesses, temptations, sins—Augustine hadn’t yet made of these cause for guilt and shame, so instead they’re understood as unavoidable, even necessary to the life of faith, and worthy of gratitude. In story after story, thieves create chances for the monks to release material attachments and exercise compassion. The devil comes not as the temptation to do bad things but rather as distracting thoughts. This is a topsy-turvy faith, barely recognizable today as Christianity. (more…)
Okay, folks; hang on tight: I’m going to go metaphysical on you today. I think I’ve located a fallacy within how writers think about creation, and I want to unpack it with you. This fallacy is relevant to all artists and everyone committed to transformation, of self or society, so even if you’re not a writer, come along for the ride.
When writers work, we imagine ourselves as the source of an idea or at least as the channel for inspiration. We identify closely with our idea; we generate text; we revise; we as authors are the dynamic moving the project forward. At the other end of our project, we imagine a publisher acting as a gatekeeper to an audience, who will read our work and be entertained or educated or transformed by it. We picture this timeline like this:
Vietnamese Buddhist monk and teacher Thich Nhat Hanh tells this story:
A young man wanted to learn how to draw lotus flowers, so he went to a master to apprentice with him. The master took him to a lotus pond and invited him to sit there. The young man saw flowers bloom when the sun was high, and he watched them return into buds when night fell. Then next morning, he did the same. When one lotus flower wilted and its petals fell into the water, he just looked at the stalk, the stamen, and the rest of the flower, and then moved on to another lotus. He did that for ten days. On the eleventh day, the master asked him, “Are you ready?” and he replied, “I will try.” The master gave him a brush, and although the young man’s style was childlike, the lotus he drew was beautiful. He had become the lotus, and the painting came forth from him. You could see his naïveté concerning technique, but deep beauty was there. (more…)
The journal is a writer’s compost bin. It’s tucked out back, behind the fence or along the alley where the smell won’t waft into the kitchen and the fruit flies won’t irritate the gardeners. You add to it daily, or at least whenever you’ve got a heaping bucket of scraps (read: baggage) to unload.
Compost works best if you add equal amounts of “green” (grass, veggie bits) and “brown” (leaves). An occasional sprinkle of ash helps. Regular water and air speed up the decomposition, so it’s good to give it a stir. Likewise with the journal, which can be a dumping ground—and worthwhile as such—but with a smallest amount of intention grows fertile. How? (more…)