Let me begin by sharing my favorite For Better or for Worse strip. On a night that is dark, wet, and probably quite cold, John Patterson steps into a cab and says, "What a miserable day!" The cabby surprises him by saying, "Actually, to me, it is a very good day."
John is surprised, but the cabby explains. "You see," he says, "I am from Sudan. I have seen my friends shot and killed. I have a wife whom I have not seen in two years, and a son whom I have never seen. But every day I save a little, and I am that much closer to bringing them here." At the end of the trip, John rather pensively pays and tips the cabby.
Then he steps in the door—it is still dark, wet, and probably rather cold—and his wife says, "What a miserable day!"
John simply puts his arms around her and their little girl, and said, "Actually, to me, it is a very good day."
This is a good vignette to be mindful of, and if economic times are rougher now than when these words first appeared, it does not diminish their truth in the least. To me, it is a very good day.
To me, it is a very good day.
And let me explain what I mean.
One of my goals in life has been to be a scholar, and I've tried hard to earn credentials to teach in theology. Given the difficulties Ph.D. holders have getting a job, it seemed to me to be rather silly to apply for a job without getting the standard "union card:" a Ph.D.
I became a graduate student in theology while overcoming cancer, and earned a master's in theology under Cambridge's philosophy of religion seminar. And, after some time to recover, I entered a Ph.D. program. And...
I've spent a lot of time looking for a way to explain what happened in the Ph.D. program. Eventually, I began to suspect that I might be having such difficulty finding an appropriate way to explain those events because they are not the kind of thing that can be explained appropriately.
So let me say the following.
- I'm a pretty bright guy. Ranked 7th in a nationwide math contest. Did an independent study of calculus in middle school. Studied over a dozen languages. And so on.
- I honestly found more than one thing at the university to be worse than suffering chemo. (And chemotherapy included the worst hour of merely physical pain in my life.)
- The university is not budging in their position that, as my GPA in all that happened was 3.386/4.0 and a 3.5 was required, I have washed out of their Ph.D. program.
And I'm not sure, after an experience like that, that I'm really in the best position to apply to another program: references are important, and it would show a profound naïveté to tell a professor, "I know you retaliated for my gestures of friendship, but you'll still be kind and give me a good letter of reference, right?" I am not in the best position to apply to another Ph.D. program. And I wish to very clearly say, today is a very good day to me.
The goals I was pursuing are a privilege and not a right. For that matter, the job I have now is not something to be taken for granted. I have a job that is meeting all my basic expenses. Most jobs you have at least one pest to deal with. Not this one; there is not a single person at my job that I would rather not deal with. They're all decent people.
If I had my way and got my Ph.D., there are other things that probably would not have happened, including my books being published. And I am quite glad for that. And even in theology, I may never be involved with theology on the terms I envisioned, but that is not nearly so final as it sounds, and I would like to be clear about that.
A Christian in the West may or may not find it strange to place theology in the category of "academic disciplines." In Orthodoxy the placement is strange indeed, because theology, even in its treatment of texts, is much more a spiritual discipline of prayer than a technical discipline of analysis. And in that sense, the door to theology is as open to me as it ever was: it is a door that I can enter through repentance, and is as open to me now as much as any time.
To me, it is a very good day.
And perhaps I may well leave behind something value, but perhaps God did not intend it to be scholarship. Perhaps I was just meant to write.
And on that note, I would like to share some snippets, some highlights, from my books.
The books include several shorter works building up to a long piece; The Sign of the Grail tells the story of a young man whose world begins to deepen when he discovers, in his college dorm room, a book of Arthurian legends:
After eating part of his meal, George opened Brocéliande, flipping from place to place until an illustration caught his eye. He read:
Merlin walked about in the clearing on the Isle of Avalon. To his right was the castle, and to his left was the forest. Amidst the birdsong a brook babbled, and a faint fragrance of frankincense flowed.
Sir Galahad walked out of the castle portal, and he bore a basket of bread.
Then Galahad asked Merlin about his secrets and ways, of what he could do and his lore, of his calling forth from the wood what a man anchored in the castle could never call forth. And Galahad enquired, and Merlin answered, and Galahad enquired of Merlin if Merlin knew words that were more words than our words and more mystically real than the British tongue, and then the High Latin tongue, and then the tongue of Old Atlantis. And then Galahad asked after anything beyond Atlantis, and Merlin's inexhaustible fount ran dry.
Then Sir Galahad asked Merlin of his wood, of the stones and herbs, and the trees and birds, and the adder and the dragon, the gryphon and the lion, and the unicorn whom only a virgin may touch. And Merlin spake to him him of the pelican, piercing her bosom that her young may feed, and the wonders, virtues, and interpretation of each creature, until Galahad asked of the dragon's head for which Uther had been called Uther Pendragon, and every Pendragon after him bore the title of King and Pendragon. Merlin wot the virtue of the dragon's body, but of the dragon's head he wot nothing, and Sir Galahad spake that it was better that Merlin wist not.
Then Sir Galahad did ask Merlin after things of which he knew him nothing, of what was the weight of fire, and of what is the end of natural philosophy without magic art, and what is a man if he enters not in the castle, and "Whom doth the Grail serve?", and of how many layers the Grail hath. And Merlin did avow that of these he wist not none.
Then Merlin asked, "How is it that you are wise to ask after these all?"
Then Galahad spake of a soft voice in Merlin his ear and anon Merlin ran into the wood, bearing bread from the castle.
George was tired, and he wished he could read more. But he absently closed the book, threw away what was left of his hamburgers and fries, and crawled into bed. It seemed but a moment that he was dreaming.
George found himself on the enchanted Isle of Avalon, and it seemed that the Grail Castle was not far off.
George was in the castle, and explored room after room, entranced. Then he opened a heavy wooden door and found himself facing the museum exhibit, and he knew he was seeing the same 5th-6th century sword from the Celtic lands, only it looked exactly like a wall hanger sword he had seen online, a replica of a 13th century Provençale longsword that was mass produced, bore no artisan's fingerprints, and would split if it struck a bale of hay. He tried to make it look like the real surface, ever so real, that he had seen, but machined steel never changed.
Then George looked at the plaque, and every letter, every word, every sentence was something he could read but the whole thing made no sense. Then the plaque grew larger and larger, until the words and even letters grew undecipherable, and he heard what he knew were a dragon's footprints and smelled the stench of acrid smoke. George went through room and passage until the noises grew louder, and chanced to glance at a pool and see his reflection.
He could never remember what his body looked like, but his head was unmistakably the head of a dragon.
And the story of this nightmare is part of the story of how he begins questing for the Holy Grail and ultimately wakes up in life.
A short story builds up in The Christmas Tales:
The crown of Earth is the temple,
and the crown of the temple is Heaven.
Stephan ran to get away from his pesky sister—if nothing else he could at least outrun her!
Where to go?
One place seemed best, and his legs carried him to the chapel—or, better to say, the temple. The chapel was a building which seemed larger from the inside than the outside, and (though this is less remarkable than it sounds) it is shaped like an octagon on the outside and a cross on the inside.
Stephan slowed down to a walk. This place, so vast and open and full of light on the inside—a mystically hearted architect who read The Timeless Way of Building might have said that it breathed—and Stephan did not think of why he felt so much at home, but if he did he would have thought of the congregation worshipping with the skies and the seas, the rocks and the trees, and choir after choir of angels, and perhaps he would have thought of this place not only as a crown to earth but a room of Heaven.
What he was thinking of was the Icon that adorns the Icon stand, and for that matter adorns the whole temple. It had not only the Icons, but the relics of (from left to right) Saint Gregory of Nyssa, Saint John Chrysostom, and Saint Basil the Great. His mother had told Stephan that they were very old, and Stephan looked at her and said, "Older than email? Now that is old!" She closed her eyes, and when she opened them she smiled. "Older than email," she said, "and electric lights, and cars, and a great many of the kinds of things in our house, and our country, and..." her voice trailed off. He said, "Was it as old as King Arthur?" She said, "It is older than even the tale of King Arthur and his Knights of the Round Table."
This story, incidentally, is set in a real place. I have been there.
One of the medium-sized works in A Cord of Seven Strands is a narrative as of a dream:
You pull your arms to your side and glide through the water. On your left is a fountain of bubbles, upside down, beneath a waterfall; the bubbles shoot down and then cascade out and to the surface. To your right swims a school of colorful fish, red and blue with thin black stripes. The water is cool, and you can feel the currents gently pushing and pulling on your body. Ahead of you, seaweed above and long, bright green leaves below wave back and forth, flowing and bending. You pull your arms, again, with a powerful stroke which shoots you forward under the seaweed; your back feels cool in the shade. You kick, and you feel the warmth of the sun again, soaking in and through your skin and muscles. Bands of light dance on the sand beneath you, as the light is bent and turned by the waves.
There is a time of rest and stillness; all is at a deep and serene peace. The slow motion of the waves, the dancing lights below and above, the supple bending of the plants, all form part of a stillness. It is soothing, like the soft, smooth notes of a lullaby.
Your eyes slowly close, and you feel even more the warm sunlight, and the gentle caresses of the sea. And, in your rest, you become more aware of a silent presence. You were not unaware of it before, but you are more aware of it now. It is there:
Like a tree with water slowly flowing in, through roots hidden deep within the earth, and filling it from the inside out, you abide in the presence. It is a moment spent, not in time, but in eternity.
Firestorm 2034 tells the story of a brilliant medieval traveler transported to some twenty or thirty years in our future. It's a little like a story told more compactly and more like a dream:
It was late in the day, and my feet were hurting.
I had spent the past three hours on the winding path up the foothills, and you will excuse me if I was not paying attention to the beauty around me.
I saw it, and then wondered how I had not seen it—an alabaster palace rising out of the dark rock around it, hidden in a niche as foothill became mountain. After I saw it, I realized—I could not tell if the plants around me were wild or garden, but there was a grassy spot around it. Some of my fatigue eased as I looked into a pond and saw koi and goldfish swimming.
I looked around and saw the Gothic buildings, the trees, the stone path and walkways. I was beginning to relax, when I heard a voice say, "Good evening," and looked, and realized there was a man on the bench in front of me.
He was wearing a grey-green monk's robe, and cleaning a gun. He looked at me for a moment, tucked the gun into a shack, and welcomed me in.
Outside, the sun was setting. At the time, I thought of the last rays of the dying sun—but it was not that, so much as day giving birth to night. We passed inside to a hallway, with wooden chairs and a round wooden table. It seemed brightly enough lit, if by torchlight.
My guide disappeared into a hallway, and returned with two silver chalices, and set one before me. He raised his chalice, and took a sip.
The wine was a dry white wine—refreshing and cold as ice. It must have gone to my head faster than I expected; I gave a long list of complaints, about how inaccessible this place was, and how hard the road. He listened silently, and I burst out, "Can you get the master of this place to come to me? I need to see him personally."
The servant softly replied, "He knows you are coming, and he will see you before you leave. In the mean time, may I show you around his corner of the world?"
I felt anger flaring within me; I am a busy man, and do not like to waste my time with subordinates. If it was only one of his underlings who would be available, I would have sent a subordinate myself. As I thought this, I was surprised to hear myself say, "Please."
We set down the chalices, and started walking through a maze of passageways. He took a small oil lamp, one that seemed to burn brightly, and we passed through a few doors before stepping into a massive room.
The room blazed with intense brilliance; I covered my eyes, and wondered how they made a flame to burn so bright. Then I realized that the chandaliers were lit with incandescent light. The shelves had illuminated manuscripts next to books with plastic covers—computer science next to bestiaries. My guide went over by one place, tapped with his finger—and I realized that he was at a computer.
Perhaps reading the look on my face, my guide told me, "The master uses computers as much as you do. Do you need to check your e-mail?"
I asked, "Why are there torches in the room you left me in, and electric light here?"
He said, "Is a person not permitted to use both? The master, as you call him, believes that technology is like alcohol—good within proper limits—and not something you have to use as much as you can. There are electric lights here because their brilliance makes reading easier on the eyes. Other rooms have torches, or nothing at all, because a flame has a different meaning, one that we prefer. Never mind; I can get you a flashlight if you like. Oh, and you can take off your watch now. It won't work here."
"It won't work? Look, it keeps track of time to the second, and it is working as we speak!"
The man studied my watch, though I think he was humoring me, and said, "It will give a number as well here as anywhere else. But that number means very little here, and you would do just as well to put it in your pocket."
I looked at my watch, and kept it on. He asked, "What time is it?"
I looked, and said, "19:58."
"Is that all?"
I told him the seconds, and then the date and year, and added, "But it doesn't feel like the 21st century here." I was beginning to feel a little nervous.
He said, "What century do you think it is here?"
I said, "Like a medieval time that someone's taken a scissors to. You have a garden with perfect gothic architecture, and you in a monk's robe, holding an expensive-looking rifle. And a computer in a library that doesn't even try to organize books by subject or time."
I looked around on the wall, and noticed a hunting trophy. Or at least that's what I took it for at first. There was a large sheild-shaped piece of wood, such as would come with a beautiful stag—but no animal's head. Instead, there were hundreds upon hundreds of bullet holes in the wood—enough that the wood should have shattered. I walked over, and read the glass plate: "This magnificent deer shot 1-4-98 in Wisconsin with an AK-47. God bless the NRA."
I laughed a minute, and said, "What is this doing in here?"
The servant said, "What is anything doing here? Does it surprise you?"
I said, "From what I have heard, the master of this place is very serious about life."
My guide said, "Of course he is. And he cherishes laughter."
I looked around a bit, but could not understand why the other things were there—only be puzzled at how anyone could arrange a computer and other oddments to make a room that felt unmistably medieval. Or was it? "What time is it here? To you?"
My guide said, "Every time and no time. We do not measure time by numbers here; to the extent that time is 'measured', we 'measure' by what fills it—something qualitative and not quantiative. Your culture measures a place's niche in history by how many physical years have passed before it; we understand that well enough, but we reckon time, not by its place in the march of seconds, but by the content of its character. You may think of this place as medieval if you want; others view it as ancient, and not a small part is postmodern—more than the computer is contemporary."
I looked at my watch. Only five minutes had passed. I felt frustration and puzzlement, and wondered how long this could go on.
"When can we move on from here?"
"When you are ready. You aren't ready yet."
I looked at my watch. Not even ten seconds had passed. The second hand seemed to be moving very slowly.
I felt something moving in the back of my mind, but I tried to push it back. The second hand continued on its lazy journey, and then—I took off my watch and put it in my pocket.
My guide stood up and said, "Walk this way, please."
He led me to a doorway, opening a door, and warning me not to step over the threshold. I looked, and saw why—there was a drop of about a foot, into a pool of water. The walls were blue, and there was sand at the far end. Two children—a little boy and a little girl—were making sand castles.
He led me through the mazelike passages to rooms I cannot describe. One room had mechanical devices in all stages of assembly and disassembly. Another was bare and clean. The kitchen had pepperoni and peppers hanging, and was filled with an orange glow that was more than torchlight. There was a deserted classroom filled with flickering blue light, and then we walked into a theatre.
The chamber was small, and this theatre had more than the usual slanted floor. The best way I could describe it is to say that it was a wall, at times vertical, with handholds and outcroppings. There were three women and two men on the stage, but not standing—or sitting, for that matter. They were climbing, shifting about as they talked.
I could not understand their language, but there was something about it that fascinated me. I was surprised to find myself listening to it. I was even more surprised to realize that, if I could not understand the words, I could no less grasp the story. It was a story of friendship, and there is something important in that words melted into song, and climbing into dance.
I watched to the end. The actors and actresses did not disappear backstage, but simply climbed down into the audience, and began talking with people. I could not tell if the conversation was part of the act, or if they were just seeing friends. I wondered if it really made any difference—and then realized, with a flash, that I had caught a glimpse into how this place worked.
When I wanted to go, the servant led me to a room filled with pipes. He cranked a wheel, and I heard gears turning, and began to see the jet black keys of an organ. He played a musical fragment; it sounded incomplete.
He said, "Play."
I closed my eyes and said, "I don't know how to play any instrument."
He repeated the fragment and said, "That doesn't matter. Play."
There followed a game of question and answer—he would improvise a snatch of music, and I would follow. I would say that it was beautiful, but I couldn't really put it that way. It would be better to say that his music was mediocre, and mine didn't quite reach that standard.
We walked out into a cloister. I gasped. There was a sheltered pathway around a grassy court and a pool stirred by fish. It was illumined by moon and star, and the brilliance was dazzling.
We walked around, and I looked. In my mind's eye I could see white marble statues of saints praying—I wasn't sure, but I made up my mind to suggest that to the master. After a time we stopped walking on the grass, and entered another door.
Not too far into the hallway, he turned, set the oil lamp into a small alcove, and began to rise up the wall. Shortly before disappearing into the blackness above, he said, "Climb."
I learn a little, I think. I did not protest; I put my hands and feet on the wall, and felt nothing. I leaned against it, and felt something give way—something yielding to give a handhold. Then I started climbing. I fell a couple of times, but reached the shadows where he disappeared. He took me by the hand and began to lead me along a path.
I could feel a wall on either side, and then nothing, save his hand and my feet. Where was I? I said, "I can't see!"
A woman's voice said, "No one can see here. Eyes aren't needed." I felt an arm around my waist, and a gentle squeeze.
I felt that warmth, and said, "I came to this place because I wanted to see the master of this house, and I wanted to see him personally. Now—I am ready to leave without seeing him. I have seen enough, and I no longer want to trouble him."
I felt my guide's hand on my shoulder, and heard his voice as he said, "You have seen me personally, and you are not troubling me. You are here at my invitation. You will always be welcome here."
When I first entered the house, I would have been stunned. Now, it seemed the last puzzle piece in something I had been gathering since I started hiking.
The conversation was deep, and I cannot tell you what was said. I don't mean that I forgot it—I remember it clearly enough. I don't really mean that it would be a breach of confidence—it might be that as well. What I mean is that there was something special in that room, and it would not make much sense to you even if I could explain it. If I were to say that we talked in a room without light, where you had to feel around to move about—it would be literally true, but beside the point. When I remember the room, I do not think about what wasn't there, but what was there. I was glad I took off my watch—but I cannot say why. The best thing I can say is that if you can figure out how a person could be aware of a succession of moments, and at the same time have time sense that is not entirely linear—or at very least not just linear—you have a glimpse of what I found in that room.
We talked long, and it was late into the next day when I got up from a perfectly ordinary guestroom, packed, and left. I put on my watch, returned to my business, and started working on the backlog of invoices and meetings that accumulated in my absence. I'm still pretty busy, but I have never left that room.
Hayward's Unabridged Dictionary is a thin volume for a dictionary, but then it works a little unlike the more standard dictionary one uses to look things up:
Form, n. A piece of paper used by administrations to deter people from using their services. It is the opinion of this lexicographer that the following form could be of the utmost assistance in helping bureaucracies more effectively serve those under their care.
Form to Request Information in the Form of a Form
Section 1: Personal Information
Name: ___________________________ Sex: [ ]M [ ]F Date of Birth: __/__/__
Social Security Number: ___-__-____
Driver's License Number: ____-____-____
VISA/MasterCard Number: ____-____-____-____
Mailing Address, Business:
Street:_____________________________ City:________________ State:__ ZIP Code:_____
Mailing Address, Home:
Street:_____________________________ City:________________ State:__ ZIP Code:_____
Telephone, Work: (___)___-____, Ext. ____
Telephone, Home: (___)___-____
Telephone, Car: (___)___-____
Beeper: (___)___-____ Chicago High School: [ ]Y [ ]N
E-mail Address: ____________________________________________________ (if address is in domain aol.com or webtv.net, please explain on a separate sheet of paper)
Height: _', __" Weight: ___# Hair: ______ Eyes: _____ Blood type: __ IQ: __
Political Affiliation: [ ]Federalist [ ]Republican [ ]Democrat [ ]Libertarian [ ]Monarchist [ ]Socialist [ ]Marxist [ ]Communist [ ]Nazi [ ]Fascist [ ]Anarchist [ ]Other (Please specify:_____________)
Citizenship: [ ]United States, including Canada and other territories [ ]Mexico [ ]California [ ]Other (Please specify:_____________________)
Race: [ ]Caucasian/Pigmentally Challenged [ ]African [ ]Asian [ ]Hispanic/Latino [ ]Amerindian [ ]Heinz-57 [ ]Other (Please specify: __________________) [ ]An athletic event where people run around an oval again and again and again.
Page 1 * End of Section 1 of 3
Section 2: Form Description
Length of Form, in Characters: _____
Number of Questions or Required Data: ____
Expected Time to Complete: __ Hours, __ Minutes, __ Seconds.
Expected Mental Effort Required to Complete: __________________________ (if form would insult the intelligence of a senile hamster, please explain on a separate sheet of paper)
Expected number of questions judged to be annoying, unnecessary, and/or personally offensive: __
Expected time wasted on questions judged to be annoying, unnecessary, and/or personally offensive: __ Hours, __ Minutes, __ Seconds.
Expected blood pressure increase while filling out form: __ mmHg systolic, __ mmHg diastolic.
If further contemplation has led you to believe that some of the questions asked are not strictly necessary to provide the service that you offer upon completion of said form, please enclose revised prototype here.
Page 2 * End of Section 2 of 3
Section 3: Essay Questions
Please explain, in 500 words or less, your philosophy concerning the use of forms.
Please explain, in 200 words or less, why you designed this form as you did.
Please explain, in 300 words or less, why you believe that this form is necessary. If you are in a service oriented sector and desire to require the form of people you serve, please explain why you believe that requiring people to fill out forms constitutes a service to them.
When this form is completed, please return to the address provided. The Committee for Selecting Forms will carefully examine your case and delegate responsibility to an appropriate subcommittee.
Please allow approximately six to eight weeks for the appointed subcommittee to lose your file in a paper shuffle.
Page 3 * End of Section 3 of 3
But many of the definitions are shorter: "Christmas, n. An annual holiday celebrating the coming of the chief Deity of Western civilization: Mammon."
Yonder is a shorter work, like the others can be mischievous and iconoclastic, and opens with a fictitious news article heralding the discovery of an inclusive language manuscript for a good chunk of the Greek New Testament. The culminating work is a Socratic dialogue, set in a science fiction thoughtscape that paints a terrifying silhouette and asks a terrifying question, "What if we really didn't have the things about a world of men and women and all the things that we chafe at?" Along the way to that work comes a moment of rest:
The day his daughter Abigail was born was the best day of Abraham's life. Like father, like daughter, they said in the village, and especially of them. He was an accomplished musician, and she breathed music.
He taught her a music that was simple, pure, powerful. It had only one voice; it needed only one voice. It moved slowly, unhurriedly, and had a force that was spellbinding. Abraham taught Abigail many songs, and as she grew, she began to make songs of her own. Abigail knew nothing of polyphony, nor of hurried technical complexity; her songs needed nothing of them. Her songs came from an unhurried time out of time, gentle as lapping waves, and mighty as an ocean.
One day a visitor came, a young man in a white suit. He said, "Before your father comes, I would like you to see what you have been missing." He took out a music player, and began to play.
Abby at first covered her ears; she was in turn stunned, shocked, and intrigued. The music had many voices, weaving in and out of each other quickly, intricately. She heard wheels within wheels within wheels within wheels of complexity. She began to try, began to think in polyphony — and the man said, "I will come to you later. It is time for your music with your father."
Every time in her life, sitting down at a keyboard with her father was the highlight of her day. Every day but this day. This day, she could only think about how simple and plain the music was, how lacking in complexity. Abraham stopped his song and looked at his daughter. "Who have you been listening to, Abigail?"
Something had been gnawing at Abby's heart; the music seemed bleak, grey. It was as if she had beheld the world in fair moonlight, and then a blast of eerie light assaulted her eyes — and now she could see nothing. She felt embarrassed by her music, ashamed to have dared to approach her father with anything so terribly unsophisticated. Crying, she gathered up her skirts and ran as if there were no tomorrow.
Tomorrow came, and the day after; it was a miserable day, after sleeping in a gutter. Abigail began to beg, and it was over a year before another beggar let her play on his keyboard. Abby learned to play in many voices; she was so successful that she forgot that she was missing something. She occupied herself so fully with intricate music that in another year she was asked to give concerts and performances. Her music was rich and full, and her heart was poor and empty.
Years passed, and Abigail gave the performance of her career. It was before a sold-out audience, and it was written about in the papers. She walked out after the performance and the reception, with moonlight falling over soft grass and fireflies dancing, and something happened.
Abby heard the wind blowing in the trees.
In the wind, Abigail heard music, and in the wind and the music Abigail heard all the things she had lost in her childhood. It was as if she had looked in an image and asked, "What is that wretched thing?" — and realized she was looking into a mirror. No, it was not quite that; it was as if in an instant her whole world was turned upside down, and her musical complexity she could not bear. She heard all over again the words, "Who have you been listening to?" — only, this time, she did not think them the words of a jealous monster, but words of concern, words of "Who has struck a blow against you?" She saw that she was blind and heard that she was deaf: that the hearing of complexity had not simply been an opening of her ears, but a wounding, a smiting, after which she could not know the concentrated presence a child had known, no matter how complex — or how simple — the music became. The sword cut deeper when she tried to sing songs from her childhood, at first could remember none, then could remember one — and it sounded empty — and she knew that the song was not empty. It was her. She lay down and wailed.
Suddenly, she realized she was not alone. An old man was watching her. Abigail looked around in fright; there was nowhere to run to hide. "What do you want?" she said.
"There is music even in your wail."
"I loathe music."
There was a time of silence, a time that drew uncomfortably long, and Abigail asked, "What is your name?"
The man said, "Look into my eyes. You know my name."
Abigail stood, poised like a man balancing on the edge of a sword, a chasm to either side. She did not — Abigail shrieked with joy. "Daddy!"
"It has been a long time since we've sat down at music, sweet daughter."
"You don't want to hear my music. I was ashamed of what we used to play, and I am now ashamed of it all."
"Oh, child! Yes, I do. I will never be ashamed of you. Will you come and walk with me? I have a keyboard."
As Abby's fingers began to dance, she first felt as if she were being weighed in the balance and found wanting. The self-consciousness she had finally managed to banish in her playing was now there — ugly, repulsive — and then she was through it. She made a horrible mistake, and then another, and then laughed, and Abraham laughed with her. Abby began to play and then sing, serious, inconsequential, silly, and delightful in the presence of her father. It was as if shackles fell from her wrists, her tongue loosed — she thought for a moment that she was like a little girl again, playing at her father's side, and then knew that it was better. What could she compare it to? She couldn't. She was at a simplicity beyond complexity, and her father called forth from her music that she could never have done without her trouble. The music seemed like dance, like laughter; it was under and around and through her, connecting her with her father, a moment out of time.
After they had both sung and laughed and cried, Abraham said, "Abby, will you come home with me? My house has never been the same without you."
There are some other passages that I would like to quote, but I'll stop with one more, from The Steel Orb, which ends with a paired science fiction short work and a fantasy novella. Both of those works share in this paean's joy:
With what words
shall I hymn the Lord of Heaven and Earth,
the Creator of all things visible and invisible?
Shall I indeed meditate
on the beauty of his Creation?
As I pray to Thee, Lord,
what words shall I use,
and how shall I render Thee praise?
Shall I thank thee for the living tapestry,
oak and maple and ivy and grass,
that I see before me
as I go to return to Thee at Church?
Shall I thank Thee for Zappy,
and for her long life—
eighteen years old and still catching mice?
Shall I thank thee for her tiger stripes,
the color of pepper?
Shall I thank thee for her kindness,
and the warmth of her purr?
Shall I thank Thee for a starry sapphire orb
hung with a million million diamonds, where
"The heavens declare the glory of God;
and the firmament proclaims the work of his hands.
Day to day utters speech,
and night to night proclaims knowledge.
There are no speeches or words,
in which their voices are not heard.
Their voice is gone out into all the earth,
and their words to the end of the earth.
In the sun he has set his tabernacle;
and he comes forth as a bridegroom out of his chamber: he will exult as a giant to run his course."?
Shall I thank Thee for the river of time,
now flowing quickly,
now flowing slowly,
now flowing straight and clear,
now swirling in eddies that dance?
Shall I thank Thee for the hymns and songs,
the chant at Church, when we praise Thee in the head of Creation, the vanguard of Creation that has come from Thee in Thy splendor and to Thee returns in reverence?
Shall I thank thee for the Chalice:
a shadow of,
a participation in,
a re-embodiment of,
the Holy Grail?
Shall I forget how the Holy Grail itself
is but the shadow,
the golden surface reflecting the light,
secondary reflection to the primeval light,
the wrapping paper that disintegrates next to the Gift it holds:
that which is
mystically and really
the body and the blood of Christ:
the family of saints
for me to be united to,
and the divine Life?
Shall I meditate
on how I am fed
by the divine generosity
and the divine gift
of the divine energies?
Shall I thank Thee for a stew I am making,
or for a body nourished by food?
Shall I indeed muse that there is
nothing else I could be nourished by,
for spaghetti and bread and beer
are from a whole cosmos
illuminated by the divine light,
a candle next to the sun,
a beeswax candle,
where the sun's energy filters through plants
and the work of bees
and the work of men
to deliver light and energy from the sun,
and as candle to sun,
so too is the bread of earth
to the Bread that came from Heaven,
the work of plants and men,
the firstfruits of Earth
returned to Heaven,
that they may become
the firstfruits of Heaven
returned to earth?
Shall I muse on the royal "we,"
where the kings and queens
said not of themselves"I", but "we"
while Christians are called to say "we"
and learn that the "I" is to be transformed,
when we move beyond "Me, me, me,"
to learn to say, "we"?
And the royal priesthood is one in which we are called to be
a royal priesthood,
a chosen people,
more than conquerors,
a Church of God's eclecticism,
a family of little Christs,
sons to God and brothers to Christ,
the ornament of the visible Creation,
of rocks and trees and stars and seas,
and the spiritual Creation as well:
seraphim, cherubim, thrones
dominions, principalities, authorities,
powers, archangels, angels,
rank on rank of angels,
singing before the presence of God,
and without whom no one can plumb the depths
of the world that can be seen and touched.
For to which of the angels did God say,
"You make my Creation complete," or
"My whole Creation, visible and invisible,
is encapsulated in you,
summed up in your human race?"
To which of the angels
did the divine Word say,
"I am become what you are
that you may become what I am?"
To which of the angels did the Light say,
"Thou art my Son; today I have adopted Thee,"
and then turn to say,
"You are my sons; today I have adopted you;
because I AM WHO I AM,
you are who you are."?
So I am called to learn to say, "we",
and when we learn to say we,
that "we" means,
a royal priesthood,
a chosen people,
more than conquerors,
a Church of God's eclecticism,
a family of little Christs,
the ornament of Creation, visible and invisible,
called to lead the whole Creation
loved into being by God,
to be in love
that to God they may return.
And when we worship thus,
it cannot be only us, for
apples and alligators,
boulders and bears,
creeks and crystals,
dolphins and dragonflies,
eggplants and emeralds,
fog and furballs,
galaxies and grapes,
horses and habaneros,
ice and icicles,
jacinth and jade,
kangaroos and knots,
lightning and light,
meadows and mist,
nebulas and neutrons,
oaks and octupi,
porcupines and petunias,
quails and quarks,
rocks and rivers,
skies and seas,
toads and trees,
ukeleles and umber umbrellas,
wine and weirs,
xylophones and X-rays,
yuccas and yaks,
zebras and zebrawood,
are all called to join us before Thy throne
in the Divine Liturgy:
Praise ye the Lord.
Praise ye the Lord from the heavens:
praise him in the heights.
Praise ye him, all his angels:
praise ye him, all his hosts.
Praise ye him, sun and moon:
praise him, all ye stars of light.
Praise him, ye heavens of heavens,
and ye waters that be above the heavens.
Let them praise the name of the Lord:
for he commanded, and they were created.
He hath also stablished them for ever and ever:
he hath made a decree which shall not pass.
Praise the Lord from the earth, ye dragons, and all deeps:
Fire, and hail; snow, and vapours;
stormy wind fulfilling his word:
Mountains, and all hills;
fruitful trees, and all cedars:
Beasts, and all cattle;
creeping things, and flying fowl:
Kings of the earth, and all people;
princes, and all judges of the earth:
Both young men, and maidens;
old men, and children:
Let them praise the name of the Lord:
for his name alone is excellent;
his glory is above the earth and heaven.
He also exalteth the horn of his people,
the praise of all his saints;
even of the children of Israel,
a people near unto him.
Praise ye the Lord.
And my blessings are not just that, unlike the cab driver, I have not seen my friends shot and killed. Nor is it just that I have a job in a time when having a job shouldn't be taken for granted—working with kind co-workers, and a good boss, to boot. I've received my first major book review—and, I hope, not the last:
Down through the centuries, the Legend of King Arthur has been used as an icon for so many literary works in the western world. "The Sign of the Grail" is a collection of memorable literary works by CJS Hayward centering around the Holy Grail and what it means to orthodox religion, as well as those who follow those teachings. Tackling diverse subjects such as iconography and an earthly paradise, he pulls no punches when dealing with many of the topics laid out through the legends. "The Sign of the Grail" is a unique, scholarly, and thorough examination of the Grail mythos, granting it a top reccommendation for academia and the non-specialist general reader with an interest in these subjects. Also very highly recommended for personal, academic, and community library collections are CJS Hayward's other deftly written and original literary works, essays, and commentaries compilations and anthologies: "Yonder" (9—615202174, $40.00); "Firestorm 2034" (9—615202167, $40.00), "A Cord of Seven Strands" (9—615202174, $40.00), "The Steel Orb" (9—615193618, $40.00), "The Christmas Tales" (9—615193632, $40.00), and "Hayward's Unabridged Dictionary" (9—615193625, $40.00).
[The Midwest Book Review]
Actually, to Me, It Is a Very Good Day.