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where wisdom gathers, poetry unfolds and divine light is sparked…

Month: May, 2025

May 30, 2025

musings on tenderness

of all the ways of love, tenderness is one i hold closest to my heart. it’s the lesson learned and practiced as a little girl, when my mother taught me to run for a shoebox, or little glass jar. to punch its lid with air holes. and to line it with grass and leaves, to bring the outdoors in for this space that would become an infirmary, whether the patient be a baby bird fallen from the nest, or one with a broken wing, or simply a ladybug or firefly who happened to straggle behind. 

i don’t remember signing up for the advanced class, but i do very much recall the village i (a kindergartener at the time) made for my singular ladybug, each edifice constructed of paper and cardboard, care and attention devoted to every adornment (a flower box under the paned window, a wiggly “flagstone” path to the house’s front door). the steeple for the ladybug church i recall being a particular construction challenge. (and i remember depositing said spotted-back bug into the church come sunday morning at 9, per clockwork familial custom.)

tenderness is love on its gentlest setting. tenderness is the heart pierced through with empathies, with quiet, with the barest wisp of touch. a touch so silken it breaks you out in chills down your spine, might make you audibly sigh. to be tendered is, well, to be buttered in love. it is a butterfly kiss of kindness. a heart petaled open, and dusted with golden-grained succors.

tenderness, maria popova tells us, “is the best adaptation we have to our existential inheritance as ‘the fragile species.’”

lewis thomas, the poet and physicist (the lives of a cell: notes of a biology watcher) who first named us “the fragile species,” gives context for why in a 1996 essay from his last such collection, published under the same title, in which he positions us in the context of the universe’s timeline:

“This is a very big place,” lewis begins, “and I do not know how it works, or how I fit in. I am a member of a fragile species, still new to the earth, the youngest creatures of any scale, here only a few moments as evolutionary time is measured, a juvenile species, a child of a species. We are only tentatively set in place, error-prone, at risk of fumbling, in real danger at the moment of leaving behind only a thin layer of our fossils, radioactive at that.”

olga tokarczuk

when olga tokarczuk, the polish psychologist turned poet and novelist, won the 2018 nobel prize in literature, she mused on the art of tenderness in her nobel banquet lecture, a lecture titled “the tender narrator,” and one widely regarded as nothing short of “magnificent.”

tokarczuk began by telling the story of a black-and-white photo of her mother that’s always haunted her, in a blessed way. it was a photo taken before olga was born, and i’ll let her words take it from here (emphasis mine throughout): 

“There’s nothing really happening in the picture—it’s a photograph of a state, not a process. The woman is sad, seemingly lost in thought—seemingly lost.

“When I later asked her about that sadness—which I did on numerous occasions, always prompting the same response—my mother would say that she was sad because I hadn’t been born yet, yet she already missed me.

“‘How can you miss me when I’m not there yet?’ I would ask.

“I knew that you miss someone you’ve lost, that longing is an effect of loss.

“‘But it can also work the other way around,’ she answered. ‘Missing a person means they’re there.’”

stopped by the tenderness of a mother telling her small daughter that she missed her even before she was born, popova comments, is “an astonishing gesture of love so total that it bends the arrow of time.”

ponder that string of words, and the meaning behind it, before reading on. “an astonishing gesture of love so total that it bends the arrow of time.” may we all know such love…

tokarczuk picks up her telling from there: 

“This brief exchange, someplace in the countryside in western Poland in the late sixties, an exchange between my mother and me, her small child, has always remained in my memory and given me a store of strength that has lasted me my whole life. For it elevated my existence beyond the ordinary materiality of the world, beyond chance, beyond cause and effect and the laws of probability. She placed my existence out of time, in the sweet vicinity of eternity. In my child’s mind, I understood then that there was more to me than I had ever imagined before. And that even if I were to say, ‘I’m lost,’ then I’d still be starting out with the words ‘I am’—the most important and the strangest set of words in the world.

“And so a young woman who was never religious—my mother—gave me something once known as a soul, thereby furnishing me with the world’s greatest tender narrator.”

a good bit later in the speech, tokarczuk raises this next question, more than worth considering:

“….Have you ever wondered who the marvelous storyteller is in the Bible who calls out in a loud voice: ‘In the beginning was the word’? Who is the narrator who describes the creation of the world, its first day, when chaos was separated from order, who follows the serial about the origin of the universe, who knows the thoughts of God, is aware of his doubts, and with a steady hand sets down on paper the incredible sentence: ‘And God saw that it was good’? Who is this, who knows what God thought?

“Leaving aside all theological doubts, we can regard this figure of a mysterious, tender narrator as miraculous and significant. This is a point of view, a perspective from where everything can be seen. Seeing everything means recognizing the ultimate fact that all things that exist are mutually connected into a single whole, even if the connections between them are not yet known to us. Seeing everything also means a completely different kind of responsibility for the world, because it becomes obvious that every gesture ‘here’ is connected to a gesture ‘there,’ that a decision taken in one part of the world will have an effect in another part of it, and that differentiating between ‘mine’ and ‘yours’ starts to be debatable.”

and then toward the very end of her speech, tokarczuk turns to a literature of tenderness: 

“Tenderness is the art of personifying, of sharing feelings, and thus endlessly discovering similarities. Creating stories means constantly bringing things to life, giving an existence to all the tiny pieces of the world that are represented by human experiences, the situations people have endured and their memories. Tenderness personalizes everything to which it relates, making it possible to give it a voice, to give it the space and the time to come into existence, and to be expressed.

“Tenderness is the most modest form of love. It is the kind of love that does not appear in the scriptures or the gospels, no one swears by it, no one cites it. It has no special emblems or symbols, nor does it lead to crime, or prompt envy.

“It appears wherever we take a close and careful look at another being, at something that is not our ‘self.’

“Tenderness is spontaneous and disinterested; it goes far beyond empathetic fellow feeling. Instead it is the conscious, though perhaps slightly melancholy, common sharing of fate. Tenderness is deep emotional concern about another being, its fragility, its unique nature, and its lack of immunity to suffering and the effects of time. Tenderness perceives the bonds that connect us, the similarities and sameness between us. It is a way of looking that shows the world as being alive, living, interconnected, cooperating with, and codependent on itself.

“Literature is built on tenderness toward any being other than ourselves.”

and a short bit later, she closes her remarks with this:

“That is why I believe I must tell stories as if the world were a living, single entity, constantly forming before our eyes, and as if we were a small and at the same time powerful part of it.”

in a world emblazoned with harshness and cruelties for the sake of cruelty, i will joyfully devote my days to making a living case for tenderness as a way of being. those who have touched me most indelibly in my life are those who wove their way in through that very rare and breathtaking capacity, the one that comes on with a whisper not a bang, the one that quietly says i’ve been keeping close watch on your finest-grained threads, and i see where those threads are tattered or thinned, and i am here to tenderly, yet certainly, place my palm against the small of your back, to let you know you are not alone, you are not unloved, you are seen and beheld.

a modest selection of olga readings:

the whole of her 2019 Nobel Prize acceptance speech here…

and an excerpt from one of the works that won her the 2018 Nobel Prize in Literature, and for which the judges cited: “for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life”

this one from Flights, her 2007 novel that twines fiction and non-fiction, and which james wood, the new yorker critic and harvard english professor, in 2018 described as tokarczuk’s “omnium-gatherum, a big book full of many peculiar parts: there are mini-essays on airports, hotel lobbies, the psychology of travel, guidebooks, the atavistic pleasures of a single Polish word, the aphorisms of E. M. Cioran. Some of these riffs, which themselves tend toward the aphoristic, are as short as a couple of sentences.”

HERE I AM

I’m а few years old. I’m sitting on the window sill, surrounded by strewn toys and toppled-over block towers and dolls with bulging eyes. It’s dark in the house, and the air in the rooms slowly cools, dims. There’s no one else here; they’ve left, they’re gone, though you can still hear their voices dying down, that shuffling, the echoes of their footsteps, some distant laughter. Out the window the courtyard is empty. Darkness spreads softly from the sky, settling on everything like black dew.

The worst part is the stillness, visible, dense – а chilly dusk and the sodium-vapour lamps’ frail light already mired in darkness just а few feet from its source.

Nothing happens – the march of darkness halts at the door to the house, and all the clamour of fading falls silent, makes а thick skin like on hot milk cooling. The contours of the buildings against the backdrop of the sky stretch out into infinity, slowly lose their sharp angles, corners, edges. The dimming light takes the air with it – there’s nothing left to breathe. Now the dark soaks into my skin. Sounds have curled up inside themselves, withdrawn their snail’s eyes; the orchestra of the world has departed, vanishing into the park.

That evening is the limit of the world, and I’ve just happened upon it, by accident, while playing, not in search of anything. I’ve discovered it because I was left unsupervised for а bit. I’ve clearly found myself in а trap now, and I can’t get out. I’m а few years old, I’m sitting on the windowsill, and I’m looking out onto the chilled courtyard. The lights in the school’s kitchen are extinguished; everyone has left. All the doors are closed, hatches down, blinds lowered. I’d like to leave, but there’s nowhere to go. My own presence is the only thing with а distinct outline now, an outline that quivers and undulates, and in so doing, hurts. And all of а sudden I know there’s nothing anyone can do now, here I am.
—Olga Tokarczuk

maybe you’ll want to add olga to your summer reading list. if you’ve a favorite passage that holds tenderness to the light for you, we’d love to read along here at the table….

who taught you tenderness or, rather, how did you learn of its ways?

blessed birthday today to becca who i love, and who is as wise and strong as woman as i am blessed to know….

6 Comments
May 23, 2025

finishing school

i suffer from a common ailment. especially among a certain breed of bibliophile. i don’t finish. i start, enthusiasms drawing me in like ink to a blotter. pages are turned. pens pulled forth and margins scribbled with scrawl. and then another seductress comes along. another delectable enticement: author. idea. or merely a title.

and it happens all over again. 

i’m talking books, of course. and my long-held habit of starting and stopping. 

start. stop. rinse. repeat. 

crack open the binding, turn pages, ink it all up. add to the pile. the towering, toppling, could-knock-me-out-if-it-fell pile of books. 

there’s a name for the ailment: tsundoku. (積ん読)

it’s the japanese word meaning, quite literally, “reading pile.” nowhere in the definition—“the phenomenon of accumulating books but not reading them”—would you find evidence of the lethal nature of said phenomenon (ten books falling on your nose will leave a dent). nor the drip-drip-drip of guilt that accumulates every time one sashays past said pile and fails to move forward in a page-turning way. 

so i’ve hatched a plan, an antidote to what ails me. i call it finishing school. i shall, in the summer months ahead, the months when the sun is strong and summer sounds abound, commit to a single purpose: one by one tracking my way toward the last sentence of at least some of the many books piled on my nightstand, my reading nook, my writing room floor, and most any other horizontal plane sturdy enough to hold a vertical biblio-ascension. 

by virtue of this determination to see literary arcs through to the end, i shall be relieving all of you of the task of checking in on the chair to see what’s astir. i am intending to post mostly what leaps off the pages, as i plod along through plots, poetries, and otherwise paradisiacal paragraphs. 

i envision something of a commonplace summer reading adventure, in which we all can chime in with any ol’ ‘graph or line that makes your heart thump, or your eyes fill with tears. 

my summer’s focus will be more reading than writing, at least here. 

the writing portion of my summer will apparently have me bent over the keyboard tapping out pages for a new project i’m not yet free to chat about. there’s an end-of-summer deadline, i do believe, so i’ll be burning up the keys to make that happen. and my refueling time will be spent deeply in reading. in finishing, specifically. 

i plan to officially begin my finishing school with a book that’s tugged at me for years, one i started and loved, and truly need to wade deeper into. it’s etty hillesum: an interrupted life and letters from westerbork. begun in 1941, nine months after the netherlands fell to hitler, it’s the epistolary journal of a young dutch jewish woman who traces the darkening shadow of the nazi presence in her homeland as well as her own moral awakening before her death at auschwitz in november of 1943. it seems as essential a book in my stack as any there is. and i’m committing to etty.

back in 1986, in a review of the book in the new york times, michiko kakutani wrote this: 

“All Holocaust writings, of course, must deal with the inadequacy of words in the face of events that defy the imagination, but while Miss Hillesum frequently speaks of her inability to convey the awful magnitude of events around her, she proves herself a most eloquent witness to history—a witness whose grave yet shining testimony attests to the resilience of the human spirit in the face of incalculable odds.”

it seems a book for this moment.

and even though the official starting bell hasn’t chimed, i tiptoed into my project this week by reading start-to-end not one but two magnificent poetry collections: water, by rumi, translated from the farsi by haleh liza gafori (new york review book classics), the second volume of gafori’s translations of the thirteenth-century persian poet (the first one, unfinished but in my pile, of course, was gold, acclaimed for its fluid rendering of rumi’s lyric ecstasies). water’s essence is Love, capital L, gafori writes in her introduction, in which she claims: “Love is a 360-degree embrace of creation, a compassionate acceptance of what it…Love is our unobscured essence, at the root of the root of all creation…Above all, Love is a practice.” 

and but one line that took my breath away in the poems themselves, was this: “Come or go, Love told me, / I am here, closer to you than the vein in your neck.” 

and the second collection of poems i gulped down, start to finish not once but twice, was a book i bumped into quite by accident and whose author immediately swooped into the inner circle of kindred spirits. it’s titled mending prayer rugs, poems by kathleen hirsch (finishing line press), and this collection mines the sacred amid the quotidian, with a particular focus on women of prayer, women whose wisdom is hard-won, be they women from the Bible, craftswomen, workers, wanderers or women we recognize from among our own generations.

in her opening poem, “prayer rug,” hirsch (a longtime journalist and spiritual director) writes in the voice of a woman i imagine with gnarled knuckles and fading eyesight, the cost of a lifetime spent pulling needle and thread through the tatters of prayer rugs for those who prostrate in prayer: “I bend in blessing toward all that breathes: / May each hour enlarge the pattern— / rose dawn, wind song, tender shoot of faith— / that I may see the weft of the hidden weaver.”

the weft of the hidden weaver. another name for the Unnameable One. it is the metaphors of poetry that catch the breath in our throats, and frame our seeing anew.

lines such as this, a line that had me choking back tears in a poem titled, “in the end”: “Kiss the light / before it dies / leave those you love / the heirlooms of your passion, your gratitude, your tears.” 

i envision a magical summer. 

straight through to the end. 

will you read along?

a subtly transgressive little poem from the bard of the bluegrass state:

The Hidden Singer

The gods are less for their love of praise.
Above and below them all is a spirit that needs nothing
but its own wholeness, its health and ours.
It has made all things by dividing itself.
It will be whole again.
To its joy we come together –
the seer and the seen, the eater and the eaten,
the lover and the loved.
In our joining it knows itself. It is with us then,
not as the gods whose names crest in unearthly fire,
but as a little bird hidden in the leaves
who sings quietly and waits, and sings.

+ Wendell Berry

p.s. a bit more on tsundoku: The term combines “tsunde-oku” (積んでおく), meaning “to pile up ready for later and leave,” with “dokusho” (読書), meaning “reading books”. 

a note: i’m sensing we all need to shake off some of the routines of our lives that begin to feel too confining, and i don’t ever want the chair to feel that way. so my intention is to be a little bit looser about it, but still to leave faint tracings here on the table, should you happen by. summer for me has long been synonymous with reading, and thus a reading project. feel free to bring your favorites.

6 Comments
May 16, 2025

gravitational pull

i can’t stay away. 

etched on a map, you might not notice; its tucked-away nature is but the flint of its charm: a treasure in almost plain sight. i might have zipped by a thousand times. it only took once for curiosity’s lure to draw me into its fold. and now it won’t let me go.

i’m coming to think of it as my footpath to the wellspring where the sacred stirs me, a nowhere-else-like-it sanctuary under the arbors, carved into the banks of a slow-flowing channel, a serpentine zig and a zag, through patches of woodland and birdsong. 

as far back as i can remember, the woods behold wonder to me. my biography would be laced with a trail through woodlands and ponds and gurgling creeks. the never-ending acres of lily of the valley where my papa once drove me as a wee girl of three. the woods across from the house where i grew up, a copse that came to life in my imagination, one day a pioneer’s outpost, the next day a place to pretend i’m laura ingalls wilder in the big woods. 

trailheads beckon. the barely-noticed aperture into the brush, where suddenly suburbia is leagues and leagues away. maybe it’s my imaginative overdrive, or my storybook tendencies. but give me a path, and a parting of trees leaning this way and that, and my feet cannot but go forward.

so it was on mother’s day morn when at last i found myself at the trailhead i’d vaguely noticed in the making. trees had been felled, and buckthorn burned by the wheelbarrow full. logs were yanked from where they’d fallen, and laid in a line, woodchips carpeted the paths in between. a woodland trail that meanders along and through a woods both ancient and newly imagined. 

enchanted at first footfall, the only way to describe it. the ups and the downs, the dappling of light, and the peek-a-boo shadow. i walked with my eyes and my mouth wide open. over and over i marveled. 

it’s a woods best described as delicate, at least in the moment—a petit point of vernal ephemerals stitched into the hillsides. springtime at its tenderest, springtime in may when it’s no longer tenuous. 

it’s a place that suddenly holds inexplicable pull on me. enough to lurch me out of my wintry posture, curled over a book or an alphabet keyboard, snug in the nook by the wall-to-wall windows. it’s a place that lured the prayer right out of me. a place to dwell in my quietest stillness. 

it’s my axis mundi, you see. 

my friend chelsea steinauer-scudder, a breathtaking writer and author of the new book, mother, creature, kin: what we learn from nature’s mothers in a time of unraveling (broadleaf), explains: “i’ve heard countless stories of what i’ve come to think of as axis mundi experiences: encounters that have pulled someone into a deep experience of felt belonging upon the tiny bit of Earth that they find themselves upon. 

“…within the study of religion, an axis mundi is a sacred pole, literal or figurative, which is fixed in a particular place, connecting Earth to the realms of heaven, underworld, and divine. “

these holy places might be a mountain (the Mauna Kea on Hawaii’s Big Island, known by the Indigenous peoples to be the umbilical cord, “the place from which the world emerged”), a cosmic tree (Norse mythology), the Ka’aba in Mecca (which pilgrims encircle seven times, as within it is the stone believed to have been handed to Adam as he was banished from Eden, so his sins would thus be forgiven). 

or, in my case, an undulating woodland path along what in fact is a sanitation canal, though i pretend for the life of me that it’s an idyllic stream or a creek. one that just happens to shimmer an odd shade of aqua, a phosphoresence that might signal toxins astir. 

my friend chelsea goes on to write that “we are a species in need of centers,” and within us there is encoded “an inherent capacity for place-based awe.”

those are the places with gravitational pull. a pull from the deepest well. the sacred well. 

or, as chelsea distinguishes between the capital-A Axes Mundi (the most sacred of places so recognized by cultures or religions), and the small-a axes mundi (the ones you and i might call our own), the ones i know best are the quotidian, intimate ones, defined as “small, daily irruptions of majesty, those any-place encounters with the sacred.”

no surprise then that i can’t stay away. it’s an itch that can’t be scratched till i double-knot my sneakers, and try to remember sunscreen (i never do). 

and it’s walking through a poem, quite literally. the soundscape a montage of birdsong and trill, punctuated with quarter notes and a screech that scares off the feeble.

these are the verses i walked among on just one of my mornings traipsing along the trail: common yellowthroat; red-bellied woodpecker; swainson’s thrush; red-winged blackbird; northern cardinal; blue jay; goldfinch; baltimore oriole; rose-breasted grosbeak; gray catbird; and a hairy woodpecker to boot. it’s as if the crayola crayon box was suddenly feathered in flight. 

and in the flora department, a whole other poem: bloodroot, bluebells, celandine poppy, and columbine. lily of the valley, trout lily, spring beauty, wood anemone, and blue cohosh. jack-in-the-pulpit, shooting star, mayapples, and dutchman’s breeches. 

all these names, which whirl in me thanks to the Original Mother Nature who schooled me, got me to wondering who in the world gave the names to the winged flocks and the leafy ones too. the stories behind names are their own wonders. the ones from folklore and legend are the ones that charm me most: jack-in-the-pulpit is said, of course, to resemble a preacher spreading the Good Word; the trout lilies’ mottled leaves resemble the markings of the freshwater fish; and dutchman’s breeches clearly resemble the pantaloons of one who’d also wear wooden shoes.

those, though, are merely the preamble curiosities, the ones that loosen my soul, open me up to the prayer that burbles up whilst sauntering deeper and deeper, per God’s gravitational pull, unwilling to pause till i get there. to the place where i go to feel as saturated with the sacred as i do of the sun when at last i plop onto the stump of a log, and consecrate the most blessed moment of being.

where is your axis mundi?

wislawa szymborska

and before we part, a poem worth pondering, from the late, great polish poet and nobel prize-winner, wislawa szymborska

Life While-You-Wait

Life While-You-Wait.
Performance without rehearsal.
Body without alterations.
Head without premeditation.

I know nothing of the role I play.
I only know it’s mine. I can’t exchange it.

I have to guess on the spot
just what this play’s all about.
|Ill-prepared for the privilege of living,
I can barely keep up with the pace that the action demands.
I improvise, although I loathe improvisation.
I trip at every step over my own ignorance.
I can’t conceal my hayseed manners.
My instincts are for happy histrionics.
Stage fright makes excuses for me, which humiliate me more.
Extenuating circumstances strike me as cruel.

Words and impulses you can’t take back,
stars you’ll never get counted,
your character like a raincoat you button on the run?
the pitiful results of all this unexpectedness.

If only I could just rehearse one Wednesday in advance,
or repeat a single Thursday that has passed!
But here comes Friday with a script I haven’t seen.
Is it fair, I ask
(my voice a little hoarse,
since I couldn’t even clear my throat offstage).

You’d be wrong to think that it’s just a slapdash quiz
taken in makeshift accommodations. Oh no.
I’m standing on the set and I see how strong it is.
The props are surprisingly precise.
The machine rotating the stage has been around even longer.
The farthest galaxies have been turned on.
Oh no, there’s no question, this must be the premiere.
And whatever I do
will become forever what I’ve done.
~ Wislawa Szymborska ~

(Poems New and Collected 1957-1997, trans. S. Baranczak and C. Cavanagh)

not all gravitational pulls are without hazard

8 Comments
May 9, 2025

standing at the doorway of time

i found myself standing in a bedroom doorway the other day, staring. you might have thought i’d momentarily lapsed into freeze frame, but my mind was whirring wildly. it must be a sign of the times — my times, my where-did-the-years-go, i-remember-all-that-unfolded-in-this-storybook-room flash in time. 

i call it a kodak-carousel moment, a name in itself that dates me. as obsolete a term as there might be here in the age of slide shows on phones. no need to plunk in the slides, the film framed by cardboard, a portrait in miniature, and click-click-click to advance. 

the kodak carousel in my mind was playing and replaying the little boy room, the room where my miracle baby grew up. the room where we once stacked his baseball jersey and glove, his ballcap of his very first team, on the eve of his very first game. the room where a fallen-out wiggly tooth was laid to rest (in hope for the fairy) under the pillow. the room where night after night we prayed he would please fall asleep so we could tiptoe our escape without raising a plaintive cry. 

i suppose i’ve made something of a museum of that room. added a few paper-wrapped hand-me-downs tucked in a corner (a safe spot for storage) but otherwise it’s all as it was. the alphabet rug, where i taught two boys their ABCs. the four-poster bed where my grandma once slept, a bed where i too slept for years, and then both of our boys. and now whoever comes to visit. the bins of blocks and bears and hand puppets, too. a whole childhood frozen in time. 

and i won’t touch it. 

the drawers of the dresser are filled these days with extra sheets, and art project makings. no longer stuffed with little boy PJs, and shorts and T shirts, size small. but if you open the top drawer on the right you can still find a vial filled with the teeny-tiniest babies of teeth. i couldn’t bear ever to toss those. 

in time, an old house starts to show its cracks. and chips in the paint. and squeaks in the floorboards, and layers of impenetrable grease in the vent of the diner-grade six-burner cookstove. 

i fear i might be blind to the blemishes as the house crumbles around me. 

all i see is the room where i tucked into bed one reluctant sleeper, night after night, for sooo many years. where he learned how to read, and chased away night-prowling monsters. and another (the room at the bend in the stairs) where we brought home the boy with the broken neck. where he wrote his essays to get into college, and years and years later studied for LSATs. (and just a few weeks ago, home for easter, sat at the old desk and recorded a lecture for all of his first-year law students.)

i look at the pillows on the old four-poster bed, and remember the nights and the mornings we propped up against them, turning the pages of books that left us—both reader and readee—with tears soaking our cheeks. charlotte’s last web. or giggling at the antics of a big raspberry-hued rascal named Ted. or that little monkey named George. 

it seems a holy thing. to pause, to turn back in time. to anoint each moment, each memory, with the deepest form of thanksgiving. to soak in to the deepest fiber of your soul those hours you thought might never end. 

i hope, in that ephemeral fluidity of time, we can rewind the clock, even if only in our soul, to finger each hour, each grace, as if the bead of a rosary. to press it against the whole of who we are now. day by day each of us more graced. as we fill ourselves with accumulation of blessing we’ve lived. the boy who defied every odd of a very old singular ovary, the pregnancy that lasted all nine months, the chromosomes that aligned just as prescribed. the life that was given to me. the years upon years of joy, of undiluted wonder, that grew up in that room where i now stood. soaking it in. soaking and soaking. 

saying my prayers once again. 

yesterday was a glorious day in the life of the soul, and in the life of the church i was born into. it was a stunner of a moment as we listened, in italian, to the first then the middle name of the new Il Papa. in all the italian we didn’t yet know that for all of his life, he was just Bob. Bob the priest. Bob the cardinal. now Leo the Pope.

as i wrote to my boys in the flurry of texts that then punctuated the day, “i feel close as i’ve felt in a long time that God had an actual hand in worldly affairs. this world needs a voice unafraid to speak to worldly power, and proclaim the rule of God. it’s a paradigm the polar opposite of so much idolization in this world. peace and love are not vagaries. huge swaths of the world desperately need both.” 

there is much to learn and to listen to from this unlikely pope from chicago’s very own south side. a pope who roots for the sorry sorry white sox, a pope who loves an aurelio’s slice. a pope, we learn, with creole roots. a pope whose grandparents identified as black in a turn-of-the-century census from new orleans’ seventh ward. a pope who left for peru as a very young priest, to work with the poor. a pope with the courage to set straight those who misread Catholic theology—no matter their office, nor the power they wield. i have been praying with all my heart for a voice of true courage in this world. and this morning, i am thinking that in time the moral arc of the universe does sometimes bend toward justice.

what doorways to time have you found yourself staring into of late? and what stirred through your heart at the news of the new Il Papa?

happy blessed almost birthday to a most beloved chair who, around here, goes by the name lamcal. a wise woman of the highest order.

and happy mothering day to all. because, in my book, mother is a verb, and if you gather here you do it magnificently. xoxox love, bam

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May 2, 2025

springtime’s reluctant suitress

i was, for reasons that escape me, something of a reluctant suitress this year. the season’s slow-building seductions did little to seduce. i turned a blind eye. gave the cold shoulder. 

harumph.

spring wasn’t an easy sell this time round. it came on thin, and unconvincingly. it taunted, played catch-me-if-you-can. and i couldn’t. couldn’t catch it. 

i worried it might wholesale evade me this year. where was the catch in the throat, in the heart, in the soul, that usually caught me? had i been numbed, beaten down by the thrum of the world? was the malaise of the moment eclipsing the vernal exuberance?

but then, this week, it opened the spigot, came on rushingly, came on like a buttery rivulet poured on a mound of mash. i couldn’t resist. 

i fell hard. have found myself dizzily staring out windows. even more dizzily tracing the garden’s edge. staring. marveling. asking again and again how it does it. how it knows. how, year after year, for all the inhales and exhales of the millennia of this holy Earth, does it find the oomph to give forth again and again and again?

if there’s wisdom in this year’s slow coming—and we know there is, for the earth is the vessel of wisdom without end—it must be one of patience. of giving it time. no need to go anxious when the oomph isn’t there. “live the questions,” taught rilke, in the one phrase we’re most apt to remember. but it came at the end of a wisdom more fulsome in the whole:

“Be patient toward all that is unsolved in your heart and try to love the questions themselves, like locked rooms and like books that are now written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.” 

so much of life swirls in the liminal time of not knowing, of waiting, of dwelling in the not-yet. 

so this spring was for me. i knew what the calendar said. i knew how the sun had crossed its equinox, how light and shadow had fallen in equal measure and we were now slithering toward light and more light.

but the light out my window didn’t convince me. nor the nubs of green pushing up from their winter’s retreat. maybe it was the noise of the world blocking the sense that something lush and luscious might really be coming. 

and then the abundance came. the climbing hydrangea emphatically leafed and greened, all but tapping at my kitchen window, come rub your nose in us. the viburnum buds about to burst with their pyrotechnic perfumery. the nodding heads of bluebell and snowflake. the aubade of the cardinal. the rampant rufflings of feather as sparrow mounts sparrow in the delirious dance of procreation. 

and when the wind blows, which it has quite often this year, magnolia petals take flight, filling the air with what appear to be wings. a fluttering of perfumed birds playing on the breeze.

fibonacci spiral

it might have been the question mark of a woodland fern unfurling that first stopped me on a path this week. a flock of inquiry rising from the garden, in all the shadowed places. it’s the mystery of the universal spiral that catches me by the throat, the fibonacci spiral a leitmotif of all creation. born of the mysterious fibonacci sequence of 1, 1, 2, 3, 5, 8, 13, 21—wherein each number is the sum of the preceding two, beginning with 0—the spiral is the geometry laid upon that very grid. a geometric pattern constructed by connecting the corners of squares whose side lengths are consecutive fibonacci numbers, the spiral (sometimes known as the golden spiral) pervades the cosmos, from the spiral in a sunflower, to the question mark arising from my garden, to the scales of a pine cone, to the swirls of the chambered nautilus. 

chou Romanesco, or Romanesco cauliflower

i sometimes imagine God so delighting in the whorl that the divine enthusiasms couldn’t be tamped, and thus its profligate presence wherever we look: into the vast galaxies above or the dappled woodlands below.

i often sense the spiral is but a trace of the soul’s very geometry, the innermost chamber tightly held at the apex. but what i don’t know is whether we spend our lives unfurling, from the nucleus of the sacred from which we divide and multiply in the womb, or whether ours is a journey inward, inching closer and closer into the fertile and eminently holy nub. 

is it furl or unfurl? twining in or unspooling beyond?

such are the questions that arise from the earth’s thawing, such are the questions put before me, whirling within me, as the season begs only one thing: come close, bend low, watch what arises. from the earth, yes, but more so your soul. 

a poem plucked from the book of garden wisdoms….

this is the recipe of life
said my mother
as she held me in her arms as i wept
think of those flowers you plant
in the garden each year
they will teach you
that people too
must wilt
fall
root
rise
in order to bloom
–The Sun and Her Flowers by Rupi Kaur

what stopped you in your tracks this week?

a few summers ago, in one of the wonders of my life, my beloved friend kat the priest handed me a ticket to a summer course at yale divinity school, a course i came to call my “poetry school.” my firstborn (now the law professor) was at law school there at the time, and for the summer had shuffled off to DC, meaning there was an empty apartment where i could play house–or college–for the week. so every morning i shuffled down the lanes of new haven and settled in for a day of poetries with a professor who happens to be named david mahan–yes, exactly like my last name, only without the “y”. when he wasn’t brilliantly teaching poetry, he was running a glorious something called the Rivendell Institute, which “seeks to examine and advance the contribution of a Christian vision of life to human flourishing and the common good within the academy and contemporary culture.” within the institute there is another something called the Rivendell Center for Theology and the Arts (RCTA), and their mission is “curating conversations between a variety of interlocutors.” long story short, this week, in their spring issue of Among Winter Cranes, RCTA published an excerpt from my Book of Nature, and since publishers love eyeballs, here’s the link to the essay, On Paying a Particular Attention.

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