slowing time | pull up a chair

September 20, 2019

autumn is the season that begs your attention

curdle-clouded autumnal sky

enter into this open oak woodland

queen anne’s lace, autumn’s finest crewel work

All creation holds its breath, listening within me,
because, to hear you, I keep silent.

~ Ranier Maria Rilke ~

i’m deep breathing poetry and wisdom at the 2019 Catholic Imagination Conference in downtown chicago, a biannual sacred-infused assemblage this year drawing a roster of glorious writers including alice mcDermott, tobias wolff, patricia hempl, mary gordon, paul elie, and poets mary szybist, paul mariani, and dana gioia, and more and more to the shores of lake michigan. this year’s biennial is subtitled: “the future of catholic literary tradition,” a subject to which i am curiously drawn. while i’m off inhaling all that these wise ones offer, and as the seasons take their pivot, exuberant summer into majestic autumn, i am leaving here at the table the longer, unedited version of something i once wrote: a count-your-blessings calendar for autumn, the season of awe, the season that begs your deepest attentions. in all, there are four weeks in my blessed-be autumnal calendar, but i might leave two here now, and circle back with the next two later in the season. (on the other hand, i might leave the whole thing here now…)

an abridged version of this is found on pages 134 to 138 of Slowing Time, my first foray into the world of book publishing, a book that still sells at a slow and humbling trickle. (though not as humbling as the next two…) delight in making this the backdrop to your hours of quietude in the shimmering weeks ahead. i find i can’t ever wrap myself enough in the velvety folds of this turn in the year…

A Count-Your-Blessings Calendar: Blessed be Autumn, Season of Awe…*

In the Christian calendar, Ordinary Time continues, punctuated with Feast Days, All Saints’ and All Souls’, chief among many. Advent comes as autumn turns toward winter. We kindle lights amid the blanketing darkness. We await the Holy. In the Hebrew calendar, harvest time brings the Days of Awe, the holiest of holy days, from Rosh Hashanah, the Jewish New Year to Yom Kippur, Day of Atonement, and on to Sukkot, Feast of Tabernacles, the harvest celebration where we wrap ourselves in the whole of Creation and God’s abundant glory. From the golden glowing autumn light to the morning’s brisk first breath, this is indeed the Season of Awe.

Week One:

Day 1: Blessed be the golden days and star-stitched nights of autumn. Blessed be triumphant blast of light and jewel-toned tapestry, as the Northern Hemisphere lets out its final hallelujah before deepening, drawing in. And bless those among us who are wide-eyed to the wonderment that is ours for belly-filling feasting.

Day 2: Now’s the interlude when leaves drop their drab summer-worn green for jaw-dropping amber and gold, copper and crimson. Air turns wake-me-up chilly. Pumpkins weigh down the vine. The slant of sun drops in the sky, as we twirl farther and farther away, it is all autumn’s call to attention.

Day 3: Season riddled with goodbyes: Winged flocks take flight on night winds. Hummingbirds hover but an instant. The hearts and souls we love shove off, back to school desks and leafy college quads. Bittersweet the partings, filled with prayer for safe return.

Day 4: There is faith galore in tucking in a bulb, concentrated life. In setting it just so, roots poking down and the shoot facing skyward, where the vernal sun will come, will tickle it awake, coax it from the frozen earth, break through unannounced, startle us with tender slips of green. Resurrection, sealed beneath the earth.

Day 5: Wrap yourself in the prayerful cry of the cello, the orchestra’s autumnal offering. No deeper plea for hope than Bach’s Cello Suite No. 5 in C Minor, especially as unspooled by Yo-Yo Ma. Might it be the backdrop to your autumn prayer?

Day 6: Behold the piercing, minor-key dissonance, raining from on high. It’s the trumpet blasts of geese in Vs, far above the trees. In this season of migration, as feathered flocks follow heaven’s call, let us bow our hearts when we hear the mournful siren’s song.

Day 7: English poet and polemicist John Milton says of geese: They are “intelligent of seasons.” Contemplate that wisdom when next you absorb the snow goose’s unseen night cry.

Week Two:

Day 1: Some call this “the wabi-sabi season,” so defined as the season that pulses with the beauty of sadness and the sadness of beauty, and the breathtaking poetry of imperfection and impermanence. Embrace your own wabi-sabi self.

Day 2: Be on the lookout for the first frost of the autumn, the glass-beaded luminescence that captures the slant of the sun, refracts it, refines it. Wraps it in a ball, makes it more than it was, broadcasts it. When first frost comes — when the architecture of water and cold finds itself frozen — that morning light is magnified, glorified, held up for ovation, a show that won’t last. It’s all part of the whole-cloth majesty that is the autumn.

Day 3: Holy chores of autumn: Head outdoors to chatter with your birds and squirrel friends. Protect them from the coming cold. Toss corn. Pour water into shallow bowls. Smear peanut butter onto tree bark so they can peck it off, stave off the shivers and the rumbly tummies that we fear for them.

Day 4: Partake of autumn’s poetic fruits: honeycrisp apple, mission fig, pomegranate, persimmon, ruby-breasted pear, quince.

Day 5: Bless the miracle of the monarch, the one of all the 24,000 species of butterflies who migrates the farthest. And whose story brings on goosebumps. For most of the year, the monarch, like every other butterfly, lives an ephemeral life. It’s born, and within weeks, it dies. Not so the monarchs of autumn, they are the Methuselah generation — named for the oldest old man of the Bible, who, according to Genesis 5:27, lived “nine hundred sixty and nine years.” Monarchs born at summer’s end, way up in Canada, live as long as eight months. They exist for one purpose: To fly south, and, come spring, beget the next generation. Who in heaven’s name dreamed up such almighty wonder?

Day 6: Crack open the autumnal recipe box. Bake a crisp or crumble that draws upon the orchard’s harvest. Offer up a prayer for heirloom apple tree, and the woodsman who tended it, and plucked its drooping boughs.

Day 7: Fill the table with invited friends, friends whose big ideas soar like kites against the wind, and whose laughter makes the walls shake. We are blessed with such companions, a word with Latin roots meaning, literally, “bread fellows.”

Week Three:

Day 1: Bless the season of winged flight, of thousands of miles of flapping wings. Of painted-wing songbirds carrying off their full-throated melodies and charmed warblings, leaving us to absorb the new-found silence of the leafless trees.

Day 2: It is in the few fat fruits — American cranberry, rosehips — left on the bough and thorny stem, and the up-reached arms of oak and serviceberry that we might find the combination lock to our imagination — and our most satisfying comfort.

Day 3: Treat yourself to a mid-night’s moon lace. Tear off the bedclothes, tiptoe to a window — or if you’re feeling brave, straight out to under heaven’s dome. On a night when the moon is full or nearly so, behold the full-strength moonbeams as they spill across the boughs, the grass. All the earth is dappled in inside-out shadow. Better than Chantilly, and sure to take your breath away.

Day 4: Savor the gray days of late autumn. When all the world is stripped of excess, pared back to strictly elemental. When even a smidge of color — save, maybe, for the blood red of a clump of berries — is uncalled for, unnecessary.

Day 5: Regard the autumn frost, redux. Miracle of sunbeams captured in wee globes of dew. Or might it be the cold sweat of dawn’s labor, the hard work of night turning to day? Either way, let it take your breath away. First blessing of the day.

Day 6: Unearth a long-buried tome from your bookshelf, and curl up for a long afternoon’s contemplation. What title tickles your autumnal fancy, and gets you in the mood for counting all your bounty?

Day 7: Dollop sweetness, the gifts of summer’s labor harvested in autumn. Might you choose amber-liquid honey, or bronze molasses? Or do you take your sugar squared, in lumps? Heaped blessing, indeed.

Week Four:

Day 1: The world is at work in its tasks that trace back to the birth of all time. There was darkness, there was light. Genesis says so. There are seasons, turning. Ask Ecclesiastes.

Day 2: Look out into tangled labyrinth of branch on branch — interrupted only by unkempt knot of leaves assembled by some squirrel intent on keeping warm — and understand what November reveals.

Day 3: As you begin kindling wicks, come nightfall, consider the honeybees’ hard labor to beget the beeswax. It’s estimated that, to gather the pollen to make the honey that’s consumed by bees to craft the honeycomb, the bees fly 150,000 miles to yield one pound of beeswax.

Day 4: Or, as Bavarian thinker named Karl von Leoprechting wrote, in 1855: “The bee is the only creature which has come to us unchanged from paradise, therefore she gathers the wax for sacred services.” Ponder that when next you strike a match to illuminate the darkness.

Day 5: These are the days when the stark poetry of gnarly branch and endless sky open up to us. When all around is naked, bared, stripped of its cloak, exposed. We might be spurred to pare away all but our very essence.

Day 6: It is jagged silhouette against the charcoal sky that haunts, rustles us, seeps slowly deeply in.

Day 7: “If the only prayer you said in your whole life was ‘Thank you,’ that would be enough.” — German philosopher and mystic Meister Eckhart (1260 – 1328).

what would you add to your own count-your-blessings calendar for this season of deepest awe?

6 Comments

June 28, 2019

when summer comes easy: things i wish i’d known

i was watching butter melt into a bath of milk and sugar and cinnamon when it dawned on me: there is something about this summer that there’s never been before. and it’s not just that the kid i love so much is leaving in less than 60 days, though that’s the thing that’s somehow at the root of it all.

watching butter pool across milk, apparently, is a stirring prompt for early-morning philosophizing, for checking one’s soul, and seizing a revelation or two. what i realized, as i whipped up blueberry bread pudding on a wednesday, no less, whipped it up simply because the kid i love loves bread pudding, loves it best in summer when the season’s rotund little berries the color of night are tossed in with abandon, is that somehow this summer’s defining watch word is easy, as in stripped of all the junk — my junk — that usually gets in the way.

easy as in not worrying. not worrying about the clock, or deadlines, or whether he’s home at the stroke of midnight or half an hour later. easy as in surrendering to the whims of the day, plopping onto the couch, finding his hand at the end of my fingers, wrapping mine around his, and then simply sitting there for enough innings to figure out who’s playing who, and who might be ahead, all the while weaving in the sorts of questions and curiosities that come in the lulls of lazy baseball.

i am, for this one short sweet summer, devoting my days and my nights to simply, softly, loving my kid. savoring every single thing about him. i am relishing as if there’s no tomorrow, because in some ways there isn’t. there really isn’t. except for the way tomorrow affords us the joy — the possibility — of trying all over again. each day another chance to love in the ways we hope and dream and know we can love.

i am, this short sweet summer, sinking deep and certainly into one and only one thing: mothering with all my heart. mothering without getting in my own worrisome way. (and truth truly be told, i’m mothering with all my heart because somewhere along the line it’s the one place in my life where i found my deepest wholest holiness, and i am not wanting to let that go…)

makes me think i sure wish i’d known to be this sort of mother at the other end of this equation, when i was just starting out, a quarter-century-plus ago. i remember how, back in the daze of a newborn living, breathing, squalling, hungry-like-clockwork baby, i armed myself with charts — breastfeeding charts and safety pins moved from bra strap to bra strap, my highly-evolved method for tracking which breast for how long, at what intervals — seeking solace in sharp-angled grids and penciled-in numbers. i steeled myself against the uncertainties and vicissitudes of toddlerhood by worrying about whether we were five minutes late to dump ourselves into the station wagon for the short drive to nursery school — as if someone at the schoolhouse door was doling out demerits — for the mothers who failed to make it on time. the soundtrack of my life was worry upon worry upon worry. no wonder firstborns wind up so crazily cross-wired.

i wish, some time before this very last summer of my very last kid (i know there are only two, and the way i phrase it it sounds like there’ve been a good half dozen), in these countdown weeks before he hauls off to college, i wish i’d realized how lovely it is to be, well, carefree. or as close as i’ll ever come, anyway. (someone once told me i was calm like a swan and after thinking, oh, honey, you sure don’t know me, i shot back, “yea, smooth on the surface, but paddling like heck underneath.”)

truth is, the credit for this newfound way of lazy-being goes to the kid himself. he’s intent on one thing this summer: savoring each and every hour of each and every day. savoring it even when he’s flipping burgers and shaking the baskets of fries for long hours at the short-order grill where he picks up a paycheck. savoring the nights with his toes buried in sand, the moon overhead, and the blankets around him filled with his gaggle of friends. savoring the long drives and deep conversations, the kinds best unspooled from behind the wheel, when two or three pile into the old sedan and clock miles up and down the leafy winding road that hugs the shoreline here in chicago. plopping himself on the bench where i sit at the kitchen table, stretching out his long-and-getting-longer legs, and idly clicking his phone while shooting me the occasional question. his mantra: gotta make the most of this. gotta love this summer.

and so i take my cues from the master. delighted to be tutored in the fine points of taking it slow. in savoring. in tossing aside the occasional heart-jabbing worry.

i am finding the succulence of summer. the succulence of mothering at its juiciest essence. i am letting the soft breeze blow across my bare toes. tossing out the to-do lists and time clocks. and making bread pudding on any old wednesday.

i am learning to summer — to mother — on the very last page of the chapter that ends just before one of us shoves off to college. if only i’d known all along.

how did you learn to savor — be it a season, or simply an hour? or is it something you’re still trying to learn? who have been your most unforgettable teachers, and what are the lessons they’ve taught?

p.s. because i didn’t want it to get lost in the shuffle, i posted yesterday (a rare thursday post) my latest chicago tribune review of a book for the soul, in this case, the glorious christine valters paintner’s dreaming of stones: poems, a glorious volume of which i wrote (in part): “Paintner is fluent in the lush language of earth and sky as well as the otherworldly, the mysterious beyond. Born and raised in New York City, she is old-soul Celtic, through and through. Her poems rise out of the monastic practice of dwelling in silence, and hers, often, is a churchless god. A god who can’t — and won’t — be confined. A god who belongs to any and all.”

9 Comments

January 27, 2017

baking bread: essential communion

i baked bread a sunday ago. all day. with a beloved friend. and in the rhythms of yeast and friendship — yeast leaping into action, yeast rising, yeast resting, interlaced with the pas de deux of courage instilled, folly shared, revelation of heart — i found an elusive blessing, one necessary, curative, in these steep and shaky times.

it began with the humblest of offerings (as all friendship, all holiness does): wheat milled into flour; grains from the field; seed from the sunflower; honey, the bees’ sweet contribution; and yeast, God’s gift to the belly — and parable, too.

by the time the oven was blasting its gas-fueled insistence, we’d savored the blessing of pushing up old sweater sleeves, one friend reciting instruction, the other (uncertain and seeking conviction) following along, the blessing of slow time, of deep unspooling conversation, and an afternoon in which the slant of light slipped imperceptibly away. all punctuated with a thick slice of grain, slathered in soft salty cheese.

it’s as determined an equation for healing as any i’ve stumbled into of late. it was the gift of the sharing of hours — not a phone call squeezed in between errands, not a text passed in the night — that held the miracle. it was the rare chambered nautilus of friendship, a structure within which we could burrow, nestle into sacred uncharted spaces.

perhaps, too, it was the particular alchemy of shared labor — engaged task — across those hours. we’d started from scratch and were working our way — together — toward shared triumph. it was altogether richer than my usual preferred art of sitting side-by-side or foot-to-foot under blankets, sharing words and stories and mugs of spiced tea.

indeed, the tea kettle would sing before the afternoon ended, before two toothsome loaves would be pulled from the oven. and ever since, each time i pull a slice from the loaf, each time i sit down to lunch, i return, at least a part of me does, to that fine afternoon and the knowledge that i can bake my own bread, leaning all the while on the sturdy friendship of the rarest of companions.

there is something breathtaking about baking with a friend. something in sharing a kitchen, a cookstove, something in finding our way together. i grew up afraid of two things (my inventory here is confined to fears in the kitchen): yeast and pie crust. the former i thought i could kill, a notion that felt murderous to me; and the latter i thought would crumble in my indelicate fingers. so i did what any deep-fearing girl would do: i stayed away. steered clear. bought my bread, more often than not, from the very nice baker who shared not my particular fears.

for me to enter the kitchen, to haul out the mixer with bread hook and paddle, to tear open the packet of yeast, to try not to wince when i submitted said yeast to the bath my friend promised would not kill it, leave it gasping for breath, well, that was, in fact, a small act of courage. and i find i’m in need of courage-building these days. there is a world that needs our voice — our calm and gentle and deeply considered voice. and there is a world that needs our conviction, our conviction put into action.

it came as something of a surprise that my starter class in courage, my beginner’s curriculum, unfolded in the kitchen. yet there i found steadier footing. it all came in the certain embrace of a friend to whom i could bare my uncertainties, my qualms about yeast and life far beyond. it’s friendship that weaves the strong with the faint. none of us come to the kitchen, to the world, with all threads emboldened. we are, each one of us, tapestries; some threads glimmering, some threads too thin, too easily frayed. and in the submission to friendship, the willingness to say aloud, “i’m scared of this” (be it yeast or life or speaking up in the face of opposition), and then dive in anyway, well that’s what finding courage looks like. and courage is the thing we need — in double doses, at least — if we stand half a chance of making a difference, making our one small life matter, of leaving this world more filled with even one drop of grace, of goodness, of kindness, of light.

and so i started with wheat + yeast + the dearest of friends, and i wound up with two fine loaves, and the wisp of knowledge that i’d moved a baby step or two closer to finding my way across the rocky landscape.

in these times that tear at my heart and my soul on a daily or hourly basis (depending on the news of the day), i found something holy, i found essential communion, in the baking of two loaves of power bread. and i did not kill the yeast.

my annotated recipe: power bread from food52
by someone who goes by the name boulangere

makes 2 large loaves

1/2 cup kamut*
1/2 cup buckwheat groats*
1/2 cup pearled barley*
3/4 – 1 1/2 cups tepid water
1 1/2 tablespoon active dry yeast
3 cups whole wheat flour
3 cups unbleached bread flour
1 tablespoon kosher or sea salt
2 ounces canola oil
2 ounces honey
1/4 cup chia seeds
1/4 cup golden flax seeds
1/4 cup sunflower seeds, toasted
1/4 cup polenta

*my dear friend tells me that you needn’t follow precisely the rules (see why i love her); any combination of grain will work, as long as you start with a total of 1-1/2 cups uncooked. i for instance skipped the kamut altogether and then forgot to double the buckwheat, and all ended well anyway.

Place barley, kamut, and buckwheat groats in saucepans with ample water to cover, bring to a boil, then reduce heat to a simmer, cover pot, and cook until not quite done through. They still want to be a bit toothy when you take them off the heat so that they retain their integrity in the dough. Kamut will take the longest, about 1/2 hour; barley about 15 minutes; and buckwheat groats about 10. When done, strain off water and allow to cool a bit before adding to the dough.

To mix dough, pour water into the bowl of a stand mixer fitted with the paddle. (my dear friend tells me 25 seconds in the microwave gets water to just the right non-murderous temp.) Add yeast and whisk to blend. Add all other ingredients, including slightly cooled grains. Mix on lowest speed until dough comes together and looks homogenous. This will be a sticky and fairly soft dough, but it should generally leave the sides of the bowl, so add some bread flour if necessary; just don’t add so much that it is too firm. (here we have the debate on whether to use the bread hook or the paddle on the super-stand mixer; we tried both, first hook, then paddle, then quickly back to hook.)

When dough comes together, stop the mixer and wrap a piece of plastic wrap around the top of the bowl. Let the dough have an autolyse for 20 minutes. (that’s a scary word to me, but my friend tells me not to be afraid, just let the dough have at it.) This will allow the whole wheat flour to become fully hydrated, and also allow the water in the grains to settle down. If you overknead this dough, you’ll essentially start squeezing water out of the grains.

After the autolyse, remove the plastic and again begin kneading on the lowest speed. Within a few minutes, the dough should come fully together, leaving the sides of the bowl. Knead for 5 minutes, then test for a windowpane. It will not be as thin as what you’d expect from a dough without all the grainy content, but it will form a general windowpane.

Transfer dough to an oiled bowl large enough to contain it as it doubles. (my friend tells me to use the largest possible bowl. i used one that might have bathed a plump tot.) Turn dough over once, then cover bowl with plastic, not a towel. Let it proof at room temperature until doubled in size.

Flour your work surface – remember, this is a sticky dough! Gently turn dough out onto it. Keep your piece of plastic! Divide dough in half, and shape each as you wish: either shape it for conventional bread pans (my friend says don’t forget to oil your pans), or shape as hearth loaves. Dust the top of each with flour (I love that rustic look!), then drape your piece of plastic over them. While your bread is proofing again (and the second proofing goes faster, so keep an eye on it), preheat oven to 375 degrees.

Just before putting bread in oven, decoratively slash the tops a good 1/2″ deep. Bake for about 30 minutes, rotating loaves halfway through. This bread is deceptive – it tends to look done before it is. When done, an instant read thermometer inserted in the middle should read 180 degrees. (or, says my friend, who is now your friend, anywhere between 190- to 210-degrees Fahrenheit.)

Remove from oven and cool on a rack. Because of all those great, moist grains, and a touch of honey, this is an excellent keeper, and also freezes just fine. While it is still warm, cut a slice, butter it, maybe add some honey or your favorite preserves, and get ready to power up!

notes from food 52 and boulangere:

Food52 Editors’ Comments: Boulangere’s multi-grain bread is hearty and delicious. The combination of grains and seeds makes the bread both flavorful and texturally appealing. I had to use the upper end of the water amount for my dough to have a good consistency. I was unable to find chia seeds, so substituted millet instead. One of the beauties of this recipe is its ability to accommodate different grains and seeds based on what you have in your pantry. It makes 2 pretty huge loaves of bread. I made mine 2 days ago, and have been nibbling on it ever since. I highly recommend giving this bread a try — you won’t regret it! – hardlikearmour

I developed this bread originally using spent grains from a friend who is a gifted and endlessly creative artisan brewer, along with a mix of seeds, depending on what I had on hand. I never knew exactly what the mix would be, but it always made bread so deeply good that people would call ahead on bake day to reserve loaves of it. I adapted it for the Bulk Bin project to replace the mix of spent grains with some of my other most favorite grains and seeds. I still call it Power Bread for the intrinsically wonderful protein, fiber, and EFA qualities of kamut, buckwheat, pearled barley, chia and golden flax seeds. And I always toss in some uncooked polenta for a bit of crunch in every bite. It makes great toast, and a killer grilled cheese sandwich! As you read through the list of ingredients, if you think the water measurement seems unclear, bear in mind that you’re going to cook the whole grains, and though you’ll also drain them, they contribute a lot of hydration to the dough, depending on how thoroughly you drain them. Don’t press water out of them, in other words. And feel free to add additional water to the dough if need be. – boulangere

and a note from me, not about bread but about the state of the world and what i write about here: dear beloveds, because long ago i set out to make this a sacred place, a place that keeps close watch on the world, and close watch on the soul, i am trying to thread a very fine needle here and keep politics off the table. i know we come from myriad perspectives, and because i want to preserve the sense of shared communion, of a place where we can all breathe deeply and purely, away from the everyday noise and congestion, i am aiming for matters of the soul. you might have gleaned that these are hard times for me, and that would be an accurate assessment. but because i can’t stand the dissolution of conversation i see in so many places, because i can’t stand the sense that division is the math of the moment, i’m trying for inclusion, trying to weave and not tatter, staking my hopes on the deep faith that we have many places in our hearts that spark to the same beauties, crack at the same shatterings. i hope we all speak up for justice and never ever muffle our outcries against what we see as injustice — and i won’t muffle here. i emphatically aim to live a gospel of love, an instruction found in every holy book of every world religion, and, yes, in the books of those who claim no religion but follow a sacred light. as a journalist i have long practiced the art of keeping my politics out of my stories, and so even here, especially here, where my aim is deeper and higher at once, i continue to pray that this is a sacred place, a place for everyone of gentle heart, fierce belief, and carefully considered thought.

your thoughts? or if you prefer, your bread baking tips? or, perhaps, what you’ve found as the most delicious ways to deepen a friendship. xoxox

10 Comments

April 8, 2016

the liturgy of dawn

for years now, that banged-up tin has been ferrying my loads of seed from house to trough for feathered friends…

it begins, of course, in the dark. it begins when i release the loose cocoon, the flannel cocoon, that’s enwrapped my wisps of dream. i flip back the sheets and plant my soles wobbly on the ground. the vestments these days are nearly always variation on the same: stretchy yoga pants, long-sleeve T, bare feet, and the snuggliest sweater i can find.

there’s the splashing and dabbing in the room where water flows. then it’s down the stairs, around the bend, and into the kitchen where the ministration of the coffee begins. beans + water = the next-best reason i get out of bed, the first hot chalice of coffee, the one around which i wrap my palms, deep breathe and drink.

sometimes i play a game. tell myself the coffee has to wait. i can’t partake till i’ve gone outside, till i go deep into the liturgical practice of dawn. but some days i’m more gentle with myself: i pour the steamy black brew and tiptoe toward the door.

before i turn the knob, i pause to lift the lid on the old white tin, the one quite near the door, the one that holds the excuse for going outdoors. a banged-up coffee can, just big enough to hold a dose of seed for all my birds, awaits. i scoop and fill, now fully armed for my morning’s task.

i step beyond the kitchen. i step into the dawn.

that’s where i find the holiness every time. i stand beneath the dome, some mornings star-stitched, but this morning a vast gray puff of cloud. the morning song was no quieter for the lack of starlight. the morning song, already, was at full salute. a trill from the thicket to my left, a piercing cry from way on high and somewhere to my right.

not far off, i hear the morning train, paused at the station. it’s the only hint that other humans inhabit my morning hour. and because this is the april that yearns to be winter, my bare feet felt every ounce of cold. i dashed back in for boots before trudging across the ooze to dump my mix of seeds and nuts and plump dried fruit in the trough for birds.

and not a minute after dumping, the first of two papa cardinals came flitting in. chirped a certain note of gratitude, then filled his beak, and then his belly.

it’s the liturgy of the dawn. the carved-out fraction of an hour that settles deep into my soul. that makes one day richer than another. it’s where my prayer takes root. oh, there might be a whisper here or there, as i shake off sheets and tumble toward the pile of clothes. but it’s not till i’m alone, under the dome of dawn, that the deep-down prayer, and the deep-down quiet settle in.

just yesterday, someone asked me how i find the way to slow time, how i set my own internal clock to a rhythm that allows the sacred to seep in.

“well, it begins with the dawn,” i said. it begins when i’m all alone, just me and God and the birth of another blessed day. (truth be told, i still miss my old fat cat, the furry acolyte who met me at the door, who rubbed his ears against my ankles, followed me to the prayer bench where i often plop on days that don’t insist on abbreviated vespers.)

once i’ve inhaled deeply of the dawn, once i’ve filled my ears with the song of the feathered choristers, watched the flocks swoop in for their fill of what i’ve dumped from my old banged-up coffee can, once i’ve watched the curled-up buds on all the boughs, taken measure of their proximity to blossoming, i lay down an undercoat of prayer. i name the ones for whom the blessings are most urgent. i name the ones i love, one by one, as if the mere pronunciation of their name is an anointing. and then i press those prayers into place through the simple act of breathing. isn’t prayer sometimes simply intermingling earthly breath with the breath of the Divine, heaven’s reach swirling down to lift us from our leaden station? isn’t prayer the posture that takes away what weighs us down, that shares the yoke? that wraps us in the hold that whispers, “you’re not alone. this isn’t yours to carry all by your weary worn-out self…”

it’s the holy hour that pulls me from my bed. the one certain anchor to begin another day. the grace of dawn is my beginning. as if a golden-threaded vestment into which i slip my arms, it’s the only wrap i know that holds the hope of peace throughout the hours still to come.

how do you squeeze in the grace that fills the hours of your day?

9 Comments

May 1, 2015

magic day at magic hedge

we cleared the day, i and the friend i love. i and the friend who these days is measuring her life bar by bar. each interlude of each day, each interlude when she can muster the strength to be up and not down. each interlude when the ravages of beating back cancer don’t hold her in their impossible grip.

my friend is one of the ones, blessed ones, who has slipped behind the screen, the opaque screen that so often keeps all of us from seeing the sacred, breathing the sacred, filling our lungs with all that is holy.

she sees everything now.

she’d written me an email that felt almost like haiku, so spare, so distilled to the essence.

she wrote: “blessings, blessings, more blessings. every minute is bonus. sun. birds. now.”

i listened. with those few words as my prompt, i cleared the day of whatever was due, was demanding, because i knew there was no time to waste; there never is. because i read her message, and the three letters — n – o – w — that deserved their own sentence, i stopped trying to find a way to wedge in a visit between appointments and meetings. i beheld the miracle of an ordinary wednesday. i carved out the most precious gift in the world: time. a few quiet hours stitched into the weave of a week.

because of the words she wrote in her haiku, her insistent plea to be awake to the now, because she mentioned birds and sun, i started to scan for a place that was beautiful, one that offered a strong dose of sunlight and shadow, birdsong and silence. the yin and the yang of the springtime, of life — its dualities so deeply essential.

i thought right away of the magic hedge.

we didn’t know when we met there, in the lull of the carved-out hours, just how magic it might be.

the magic hedge, you should know, is a wisp of meadow and brush and groves of old gnarled trees. its paths rise and bend, so do its grasses, the trunks of its trees. it elbows into the lake, lake michigan, as if an offering, an outpost, to the rivers of birds who, come warm springtime winds, catch the updraft, fly thousands of miles, from way south in central america or mexico or the southern united states, to way up north, to the boreal forests of canada, or, just shy of the border, nestled in woods along the great lakes.

the river of birds — songbirds, nearly all of them — flows along the lake’s edge; the tracing between water and shore an avian navigational guide as ancient as any there ever was. one of the great north american flyways, it’s called, and the magic hedge is something of a bed and breakfast for the long-distance flocks. exhausted, their little throats parched, their wings so tired from flapping, from floating on air, they settle into the trees, into the brush. they partake of the vernal banquet that is the hedge in bloom.

one of the miracles of the magic hedge is that it wasn’t always there. God didn’t put it there. it’s landfill. the leftover earth — the dirt, the rubble — from building a city, from raising a metropolis at the edge of the prairie, and all of it dumped into the lake at montrose point in the 1920s and ’30s. blessedly, chicago is a city that makes no small plans. it was alfred caldwell, a noted prairie-style landscape architect, who plotted the hedge’s undulations and meadows, numbered the trees and the shrubs on his planting list. it’s a mere 6.8 miles from the crosshairs of chicago’s cacophonous epicenter at state and madison, the zero-markers of the straight-lined grid that measures the city, border to border.

yet, to step into the hedge, not half a mile from the rushing roar of lake shore drive — a flow of exhaust-spewing cars and burping, back-firing motorcycles — not a mile from the urban drama and squalors of uptown, a chicago neighborhood that’s long teetered on margins of every kind, to step into the hedge is to be swept, to be wrapped in the birdsong, the branches in bloom, the tender insistent unfurling of the season, whatever the season.

to step into the hedge is to surrender to the sacred.

we hadn’t guessed how sacred it might be.

it didn’t take long to figure that out.

right away i noticed a flock of the two-legged kind, the human kind. most of the flock were sporting long-nozzled lenses, pressed up to their eyes, pointed toward treetops. i tapped one such fellow gently on the shoulder and asked what the flurry was about.

“came here on a text that there was a hooded warbler, but it hasn’t been seen in 20 minutes,” he kindly told me, not bothered at all that i’d asked.

now, a hooded warbler, you should also know, is a wee little thing, one not often seen, apparently. it flies in saffron-colored robes, and for once i’d say the female is even more luminous than the male (but that’s getting ahead of the story). the hooded warbler is enough of a rarity, enough of a gem upholstered in feathers, that busy birders hard at work at their day jobs, drop everything when a text comes in that one, just one, is flitting through the magic hedge.

i felt a quiver of thrill as i leaned against a fence post, awaiting my friend. and that’s when a scarlet flash appeared before my eyes. right there in a branch i could reach out and touch. mind you, papa cardinals in my backyard do not allow visitors. this one, a proud papa, practically begged me to pat down his feathers.

that’s when i first felt the tap on my very own shoulder: magic was settling in for a visit.

not many minutes later, my beautiful friend arrived. a cap pulled tight over her head. wide-lensed glasses shielding her eyes. the cures for cancer are taking their toll.

we stepped into the birdsong, i and the friend i so love. the woods were achatter, aswoop, as spread wings crisscrossed the sky, as Ws made Xs over our heads. we followed a trail. we talked about those things that matter when you are staring down cancer. we talked of surrender, and healing and prayer in multiple tongues. and that’s when yet another cardinal decided to not be afraid. he hopped onto the grasses that spread between the forks in the trail right before us. he hopped closer and closer. this was a hedge alive with very brave birds, alive with a rare sort of courage.

we did what you do when a cardinal befriends you: we crouched down low. we stayed very still. we barely moved a blade of grass. we whispered his name. he hopped closer and closer. and then his life’s mate, not quite so resplendent in her haus-frau feathers of drab brown and washed-out red, she plopped onto a fence post. she must have beckoned him. he darted away, leaving us slack-jawed at just how close he’d dared to come.

we wound this way and that. we paused at a grove of mayapple, one of the woodland’s underthings caught in the act of spreading its umbrella of wide-berth leaves. we marveled at the ruffled furls of the papery bark on a birch tree. and then we came to the flat slabs of rock, the ones that soak up the sun like a hard-shelled tortoise, the ones just inches away from the lap of the lake.

that’s when a kite-flying fellow appeared out of nowhere. one minute no one was there; the next, there came a man spinning his arms around an invisible spool. we couldn’t see at first what he was doing; it looked like some form of tai-chi, the way he swooped his hands and his wrists through the air at the edge of the lake. but then he called to us: “i made that,” he said, nodding toward high in the sky. we peered into the clouds and the sunbeams and that’s when we spied the red dot.

by then, the man with the kite on the string, he’d wandered close to our rock. without prompting he told us: “i wake up every morning, thank God for another day. you never know. i thank God every night, thank God for another day. you only got one life.”

and then, not long after that, he was gone. poof. vanished. lost in some haze. he’d wafted in long enough to tell the two of us to savor the moment, the minute, the hour. each and every interlude.

which was precisely what we’d been doing, were doing, will do. we promise.

once he was gone, had slipped away into the thin air from which he had come, my friend with the cap pulled over her head, she slipped down her dark-lensed glasses, and, looking straight at me, she said: “i think that was an angel.”

we both did.

we stayed on the rocks. we talked about life. we talked of the hard parts. we talked of the parts we so love. we whispered barely a word about cancer; there wasn’t much need to. we sipped mineral waters, ate clementines, dabbled spoons in two tubs of yogurt.

and then we got up, to meander some more. and there was more magic. the details of which i needn’t spell out (for this is getting to be too long a tale, though some tales are worth it). as we got to the edge of the hedge, though, as we got ready to step back into the day, into the bustle, we spied the last two insistent watchers of birds. they were poised in that way that birders are likely to be: lenses to eyes, pointed to limbs and to sky.

and that’s when we saw it, saw them, without any lenses, without any help (of the man-made kind, anyway): the rare and elusive hooded warbler, a pair of them to be precise. first mama, then papa. we watched, from our post alongside a log, as they darted and played in the trees. the afternoon light shone on the saffron-hued robes of mama warbler. she perched at the end of one very high branch, just sat there, practically glowing, making certain we inhaled the whole of her glory.

and we did.

the friend i so love leaned her head on my shoulder. and we stood in the hedge beholding the magic. beholding the love.

and that’s the answer to the prayer that comes when you carve out a holy hour or two or three, when you surrender to magic there at the watery edge. can you see mama hooded warbler, all plump-bellied and saffron there on the edge of the bough?

have you carved out holy time lately? and what magic wafted your way, alighted right before your deeply believing eyes?

23 Comments

April 24, 2015

the wisdom of “it needn’t be correct”

when you wander through life utterly certain that there are volumes you’ve yet to learn, a certain thing happens. a wonderful thing. you wake up every morning with your eyes, and your ears, and your heart at full alert. you are the ever-scanner, knowing that at any minute, from any crevice, the light might seep in. might flash in. the wisdom, gosh darn it, will come.

by day’s end, by the time you plop that cheek back onto the pillow, by the time you snuggle the sheets up by your chin, tucked back in for one more round of dreams, you’ll have — perhaps — learned a thing or two. gotten just a wee bit wiser. all because the teacher appeared, and you, the eternal student, were ready.

so it was the other afternoon as i was listening along in poetry class, when all of a sudden a fellow, a dancer with the new york city ballet, said something that shocked right through me, that slipped in through the crack, just off to the edge of the frame.

the subject, allegedly, was poetry. emily dickinson’s poetry, specifically. but in this wonderful class that i can’t stop inhaling, all sorts of wise souls wander onto the scene and peel back the layers of emily, of poetry, in ways i’ve not before known.

the discussion at hand was emily’s poem, “i cannot dance opon my toes,” the last poem of the four-week class taught by my beloved professor elisa new. she’d invited damian woetzel, a retired principal dancer with the new york city ballet, and now director of the aspen institute arts programs, to parse emily’s poem. as is professor new’s knack for unlikely pairings in the parsing of poetry, woetzel, a classically-trained ballet dancer, was joined in conversation by charles “l’il buck” riley, a practitioner of a street-dance form known as memphis jookin’ (think breakdance; it’s otherwise known as “gangsta walking”).

as street dance and ballet twirled in conversational tango, woetzel suddenly said this: “when i go to see people dance, it’s not to see them do it correctly. i’m not that interested in correct. i want to be moved. i want to cry. i want — (his voice faded away). i want to find voice, essentially.”

now, this was nothing short of revolutionary to my little mind. i felt the shock of a chill run through me. (my brilliant friend amy, by the way, just yesterday afternoon defined “chill” to me in this way: “a chill is a current of truth that runs through your body,” when you see beauty, she said, or when you hear flat-out wisdom in a way you’ve never thought it before, i’d add.)

“i’m not that interested in correct.”

i felt the ties that bind snap loose. i felt myself freed from the tethers that, long as i can remember, have bound me. do it right, do it correctly, or don’t even try. that was pretty much the lesson i grew up believing. and while it didn’t stop me from trying, it set a nearly impossible bar. “get it right.” or else.

but here was a brilliant dancer, here was the director of aspen institute arts, for crying out loud, telling me it needn’t be correct. needn’t be perfect. stumbles are okay. bumps and bruises are beautiful.

your whole imperfect self is the most ravishingly beautiful self imaginable.

because it’s about something much deeper. it’s about opening up and saying, “this wobbly old soul, this soul that tries and tries, and sometimes makes it and more often stumbles, this is me.

“and you’re here for the likely chance that our two stumbling fumbling selves will find communion — not in our perfect pirouettes, but in the moments when i trip and you catch me. you brush me off and set me back upon the path, and you point the way forward. or better yet, you take me by the hand. you walk together with me. and you laugh, besides, at the way the two of us, we so often nearly fall off the stage.”

it’s a whole new paradigm: the paradigm of imperfection as aim. because what matters lies deep therein.

“i’m not that interested in correct. i want to be moved. i want to cry. i want to find voice, essentially.”

and voice we all have. and, yes, sometimes it warbles. and sometimes it cracks. but it’s a voice and it’s ours. and it’s how we put words to what rustles around deep inside. it’s where our breath resides. it’s the topography that puts height and depth and nooks and crannies — glorious texture — to all that air flowing in and out of our lungs, air keeping us alive.

all of this is all the more immediately essential because this sunday i am doing something i’ve never done before. something that might have scared me out of my behoozies. i am walking onto a stage, and i am sitting down beside a cellist and a pianist. it’s a spoken word concert, inspired by one that a beloved friend and editor of mine once saw in japan.

i am, for the first time ever, invited into conversations about lighting and stage set, and in the faintest of ways, costume. i’m immersed in the full dimensionality of theatre. and i am discovering what happens when words are lifted from the page. when words are set soaring by the power of cello strings and piano keys, and the alchemies of audible, ephemeral creation.

and, as is my natural inclination, i was scared silly. until two things happened: until damian woetzel taught me that it’s not about correct; correct holds little interest, little tension, scant transparency.

and the other thing that happened is i stepped into the music during rehearsals, and i felt the most astounding flight: cello and piano, cellist and pianist, dove into conversation with the words i was unfurling. and then this, which i’ll preface by saying that many a writer’s whispered prayer is that, in between and through the words, music might come for those reading or listening. and, suddenly, there in the light-filled rehearsal room, i heard it, i felt it. the music did come, did lift and vault and carry the words to places and heights they’d not otherwise have ascended. it comes, the music does, i discovered, when you step onto a stage, and sit down beside a cellist and a pianist who’ve spent their lives deepening their knowledge of the landscape that’s theirs. the power of music, i’ve realized, is the safety net to my trapeze. is what holds me aloft, shooshes away my perpetual fears, is a medium that suddenly felt like coming home, a place where i, at long last, belong. how utterly unlikely.

so sunday afternoon at 1, at the midwest buddhist temple in chicago’s old town, i will be walking out from behind a curtain, all in black with a wrap of fuchsia. i’ll be sitting down in a japanese armchair, a bowl of oranges beside me, a vase spilling with springtime white. the cellist will pick up her bow. the pianist will strike a key. and i will put breath, put voice, to my words.

and i will remember that the wise ones in the room aren’t there to hear “correct,” they’re there to be moved, to cry, to find a voice, essentially.

and that is a truth that sets me soaring.

do you, like me, spend far too many hours of life being worried you won’t get it right? and thus binding yourself in ways that demand houdini-like tricks to set you free?

that said, here’s an invitation: if you’re near chicago sunday afternoon, find your way to the temple, and plop yourself in a chair. cellist sophie webber and pianist soo young lee, both of fused muse ensemble, will take you places that might take your breath away…..

a few things:

1.) emily’s poem

I cannot dance opon my Toes –
No Man instructed me –
But oftentimes, among my mind,
A Glee possesseth me,

That had I Ballet Knowledge –
Would put itself abroad
In Pirouette to blanch a Troupe –
Or lay a Prima, mad,

And though I had no Gown of Gauze –
No Ringlet, to my Hair,
Nor hopped for Audiences – like Birds –
One Claw opon the air –

Nor tossed my shape in Eider Balls,
Nor rolled on wheels of snow
Till I was out of sight, in sound,
The House encore me so –

Nor any know I know the Art
I mention – easy – Here –
Nor any Placard boast me –
It’s full as Opera –

2.) the program for sunday’s “interludes on mindfulness: words and music for slowing time”

and a post-script:

it’s sunday night, the interludes have ended. it’s quiet now and i’m breathing again. a dear friend snapped this moment of the concert. and i’m enchanted by what appear to be fairy lights wafting across the stage. the cellist is sophie webber, the pianist is soo young lee, both have PhDs in music. both are beautiful. sophie founded fuse muse ensemble, a collective of musicians who dedicate themselves to social causes as well as beautiful music in all forms. i hope this is only a beginning for us….here’s a peek at the magic of “interludes on mindfulness: words and music for slowing time.” thank you, from the bottom of my heart….

26 Comments

January 9, 2015

once, i had a dream…(or slowing time in real time)

the wintry night couldn’t have made it more daunting. the roads were thick with snow, hadn’t seen a hungry plow. the winds began to whip. the flashing sign on the highway warned that it would take two hours, nine minutes, to snail our way (a mere 11 miles) to the spaghetti bowl of interchanges that only then could shoot us out the next long stretch of byway.

we were, with all our might, trying to get to the little town that once was home to frank lloyd wright and ernest hemingway. a bungalow, candle lit by then, would soon be filled with folk who’d come to taste a wintry eve of slowing time.

we’d be lucky if we got there by 10. and the evening was slotted to unfurl at seven bells. our bellies lurched as we did the math, realized the full throttle of our predicament. and then the car began to shake — convulse, more like it. i thought perhaps it was on the verge of blowing up. or, perhaps, merely screeching off the icy bridge. turned out to be the wheels protesting the ice that stood between the tire treads and traction.

by stroke of side streets, and the zany map in which chicago plows the backroads but not the main roads, we managed to get there at the stroke of half past seven. we’d zigged and zagged and beat the doomsday clock.

once we walked inside the golden-glowing house on grove street, we were soothed. slowed. wrapped in candle light and logs crackling on the fire.

the one who’d done the dreaming up of all of this — a lovely woman named harlene who lives to find the common thread that weaves us all together — she was stirring at the slow time pot, the name she’d pinned to the cauldron of three-bean chili, thick with chicken, zinged with squeeze of lime, the one she’d cooked all sunday.

i got predictably teary-eyed soon after walking in. i only knew four of the 30-some folk who were huddled round the wine, the chips, the hearth. they’d come, i whispered to my flabbergasted self, to hear a bit of slowing time.

oh, it takes a rather packed equation to make a dream come true. but what stirred as i slowly made my way to the stove, to sidle up to the one stirring the chili, was the knowing that i was walking through a dream.

the dream, born long ago, was something like this: what if, in a world that chatters so noisily few can make out any sense, what if we quietly carved out a sacred place, a safe place where words and hearts were shared, and harshness never was invited? what if we could mine the landscape of our simple ordinary lives, our messy stumbling fumbling lives, the one where day after day we try again to get it right? what if we might gather kindred spirits, and hold each other up, on the days when we wobble, yes, but even on the rarer days when we swear we just might glow a little hallelujah glow?

what if, from time to time, the holiness leapt off the screen, or off the page, and took shape in real time, with the flesh of human hands reaching across the table, or real tears slowly mapping their way down a cheek, across a lip, and off the precipice of chin?

what if there were real circles of real chairs in real living rooms? what if stories flowed, and hearts opened, and voices dared to speak beyond the whisper of talking to ourselves?

and there i was: inside the dream. surrounded by smart and soulful women. surrounded by women who’d left behind their day jobs, their kids, their noisy little lives to brave the bitter cold, the whipping snow, and the slip-slidey front steps, to slow time long enough to share a wintry evening’s conversation, to turn a page or three. and, not too much later, to step back into the icy night, behold the glowing arc of moon, and feel a heart a wee bit fuller.

these past few months — the months since slowing time (the book) was birthed — have invigorated and tested, and stretched and stung from time to time. but all of it, every butterfly in my belly, every sleepless hour of the night, even gasping aloud when i was called a “very pagan wiccan,” (yes, ouch), it’s all been the road to last night’s dream come true. and the even-longer potholed path to putting life to hope, to faith, to believing that — whatever it is — it might be done.

so here’s the wondering aloud: might we all not birth a dream? a simple dream, perhaps; maybe just to make it through a morning without the sound of harsh screeching from our throat. or maybe, take it up a notch and declare we’ll paint, we’ll write, we’ll knit till kingdom come — whatever is the shape and form you put to your creative genius (and, oh, yes, it’s genius, all right. every one of us was born with speck of genius, and is it not our job to figure out just how to let that genius out from wherever it’s been hiding all these years?).

what if we envision a world where unlike minds sit in quiet conversation? what if we pray all in one room — jews, muslims, buddhists, christians, wiccans, and, yes, druids, too? whether it’s filling the empty belly of one hungry child, or disrupting the hollow loneliness of the old man next door who sits all by himself, hour after hour. whether it’s tackling tolstoy at long last. or committing to memory every last line of emily dickinson, or maya angelou, or w.s. merwin.

what if we dig down deep and pull out our wildest dream, and then day after day, sometimes after weeks have slipped away unnoticed, what if, little by little, we added flesh to the bones of that dream, and one cold winter’s night, we walked into a bungalow, where bowls of oranges and chocolates waited by the door, where chili bubbled on the cookstove, and women’s words whirled through kitchen and keeping room, dining room and parlor?

what if we all believed that, given time and hope and the great gift of friends who pick us up every time we stumble, skin our knees, or feel our hearts get knocked around far too achingly, even our wildest little dream might come tumbling true?

what’s your dream?

and how might you begin to make it come to life?

and here’s an invitation: perhaps you too have a circle of souls you love — or even ones you barely know — and you, like beautiful harlene above, might put a pot of something bubbly on the cookstove, pull chairs into a circle, and softly, quietly, openly, invigorate the night with what you know to be beautiful, and holy, and deeply needed in this aching, sometimes scary world…(p.s. of course i don’t mean a slowing time night, per se, just a night in which you gather with great good souls and carve out time for what deeply matters. in real time. slow time…)

and from the bottom of my heart, harlene, bless you and thank you and thank you…..

14 Comments

October 2, 2014

led by a deep, still voice

here is an essay i wrote this week for the nieman storyboard, a writerly nook of the nieman foundation for journalism at harvard that explores the craft of longform narrative and storytelling in all its guises. this was an essay that took particular courage. you’ll read why. you can read it below, or see it here on the storyboard, where you might decide to poke around and find a host of marvels and morsels….

I’ve written about my mother’s cancer. And the string bean of an unborn baby who slipped through my fingers in the dark of the hollowest night, amid clots of blood and a wail of primal grief.

I’ve written about the abyss of the hour when I paced an emergency room, waiting to hear if my older son’s spinal cord had been severed when he flew from his bike to a trail in the woods. I even once dared to write — in the pages of the Chicago Tribune, my hometown newspaper — how I became anorexic my senior year of high school, and, in the flash of a few short spring months, plunged from glory to shame in my infamy as the homecoming queen who had to be hospitalized after dropping 50 pounds.

But saying out loud that I look for and find God nearly everywhere I wander? That scared me.

Especially among my fellow journalists, for whom skepticism is religion. Pulling back Oz’s curtain, taking down the too-powerful, those are the anointed missions. To stand before an imagined newsroom and say I bow to the Almighty source of all blessing, I believe in the Unknowable, the Invisible, a force I know to be tender and endless and ever in reach, a magnificence that animates my every hour, that is to stand before the firing line. That is to expose yourself, I feared, as unfit for Fourth Estate duty.

But I did it. Led by a deep, still voice.

Now, it’s all bound in a book, called Slowing Time: Seeing the Sacred Outside Your Kitchen Door (Abingdon Press, 2014). And, as of Oct 7, you’ll find it in bookstores, on Amazon, even on the shelf of my town’s library.

The burning question for a journalist who’d dare to chart the spiritual landscape is how, using the tools of the craft, do you toughen the fibers, sharpen the edges, of a subject that, by definition, is formless? How do you put hard-chiseled words to believing, indeterminate act that it is?

For me, it boils down to three non-negotiables: Pay exquisite attention, even when it’s your soul you’re sliding under the examiner’s lens; root yourself in the earthly while soaring toward the heavenly; and don’t flinch. Your edge comes from your capacity to pull back the veil where others dare not.

Paying Attention.

It struck me recently that my paying-attention curriculum, the part that came from syllabus as much as natural-born curiosity, began in the halls of a college of nursing, where in shiny-linoleum-tiled classrooms, in the fall of 1976, a whole lot of us — sophomore nursing students on a four-year track — began to learn to see the world through a nurse’s dare-not-miss-a-detail eyes.

My very first assignment, once a white nurse’s cap had been bobby-pinned to my run-away curls, was to bathe a woman who was dying of a cancer. I was taught, straight off, to look deep into her eyes, to read the muscles flinching on her face, to hear the cracking of her words as she tried to tell me how warm she liked her bath, and which limb hurt too much for me to lift it.

And on and on, the learning went — as I became a pediatric oncology nurse at Chicago’s Children’s Memorial Hospital, and watched the waning light in the eyes of a 15-year-old boy at the hour of his death. As I gauged the depth of blue circling the lips of 6-year-old girl with cystic fibrosis. As I buried the sobs of a wailing father against my shoulder, as he absorbed the diminuendo of his 12-year-old daughter’s final breaths.

At the precipice of life and death, I learned to live a life of close examination. And when I made the leap from nursing to newsroom, a narrative twist brought on by the sudden death of my father, and an off-handed comment after his funeral that I ought to try my hand at journalism, I only broadened my lens. Paid keener attention to the singular detail that revealed the deeper story.

Root yourself in the earthly.

Even if I’ve never broadcast the holiness that informs my every day, it’s always been there. It was front and center, back in 1985, when I criss-crossed the country, documenting the faces and forms of hunger in America, for a 10-part series unspooled in the Tribune. It was a pilgrimage that put flesh to my own personal gospel: One that drove me to see the face of God in everyone whose path I happened to tread, everyone whose story spilled into my notebooks. From ramshackle cabins in Greenwood, Mississippi, to urine-stenched stairwells in Chicago’s Cabrini-Green, high-rise housing hell.

I never set out to be a religion writer, though when the slot opened once at the Tribune, I gave it a moment’s consideration. Nor did I ever set out to expose the whispers and truths of my soul. All I wanted was to hold up to the light the stories of everyday sinners and saints who so richly animate the grid, urban or rural or spaces between. It was in the backwash of the forgotten, the pushed aside, the indomitable that I noticed the glimmering shards.

In my own way, always drifting toward stories that fell in the crosshairs of human struggle or anguish and rose in crescendo toward triumph or wisdom gained, I was gathering notes on the human spirit, and never surprised when I felt the hand of God — like a thud to the heart, or, more often, a tickle at the back of my neck.

There’s an ancient Hebrew text, one with echoes of Plato’s “Allegory of the Cave,” that teaches us that while we can’t see God, we can see God’s shadows. The more etched the shadows, the more we know God, according to the teaching. It’s wisdom that drives me to tether my prose in the concrete, to allow the metaphor to spring from the particular, to capture a glimpse of the Holy from the depths of ordinary.

Don’t flinch.

Back in 2006, my then 13-year-old, who’d scored enough in bar mitzvah gifts to cash in on a refurbished MacBookPro, bequeathed his old laptop to me. As part of the deal, he built me a website one December night when the winds whistled in through the cracks in the door. He told me I could handle a blog. I shivered.

Then I started to type. Called it “Pull Up a Chair.” Set out to write about the heart and soul of the home front.

Each weekday morning for a year, I rose before dawn, poured a tall mug of caffeine, and I wrote. Exercised narrative muscles I’d never known were there. Connected dots in the course of free-flowing sentences. Sometimes felt the particular buzz that tells you you’ve tapped just the right vein. The one, in my case, that flowed from my heart to my soul. I’ve been writing that blog ever since. Nearly eight years of accumulated essays.

By day, I forged on with the daily grind of newspapering. But what happened at dawn – the writing that drew me into places I’d never explored aloud – it freed a particular voice. What had been un-utterable became a tremulous whisper, and, in time, a brave clear call.

Along the way, I’ve endured what might be the hardest lesson: The one where I find myself plumbing depths that are truer than true, though I’d never quite put them to words. As in: “I seem to hum most contentedly when my canvas has room for the paint dabs of God. When I hear the wind rustling through pines, when I take in the scarlet flash in the bushes, when I trace the shift in the shadows through the long afternoon, that’s when I feel the great hand of the Divine slipping round mine, giving a squeeze. That’s when I know I am not deeply alone. But, rather, more connected than in a very long time.”

Or: Writing of the sleepless night when, in desperation, I reached for a rosary I’d not fingered in years. “It’s the [rosary] I squeezed till my fingers turned white when they threaded the wire into the heart of the man who I love, the man who I married. And when they dug out the cancer from the breast of my mother. And that I would have grabbed, had I known, on the crisp autumn night when the ambulance carried me and my firstborn through the streets of the city, his head and his neck taped to a stretcher. I prayed without beads that night, I prayed with the nubs of my cold, clammy fingers.”

Call me crazy — or oddly courageous — to invite readers under my bedsheets, where I finger the rosary. To whisper aloud the words of my prayer, not cloaked in cotton-mouthed vagaries, but laid bare in the most intimate script, the one that unfurls from my heart to the heavens.

Instead of playing it safe, instead of turning and running, I plunge forward. I follow the truth. I say it out loud. And then I hit “publish.” Often, I find myself queasy. Call a dear friend. I rant, and I fret. Consider deleting the post. Then the emails come in, the ones that tell me I’ve captured a something someone never quite noticed, something that gave them goosebumps. And therein, I discover communion, in its deepest iteration. That’s how you learn not to flinch.

The story of how my book came together — how hundreds of pages were sorted and sifted and whittled and culled, how words written in silence at my old kitchen table would emerge to be passed from friend to friend — is, like most things spiritual, an amalgam of the mystical and the prosaic.

It all traces back to books I spied on the desk of the Cambridge professor who would become our landlord during our Nieman year. I knew, once I saw the stacks of poetry and divinity titles, that his book-lined aerie, the top floor of a triple-decker just off Harvard Square, was the one we needed to rent. What I didn’t know is that the gentle-souled professor would soon introduce me to a Boston book editor he termed, “the best of the best.” Nor that I would fly home to Chicago at the end of that Nieman year with a contract and an end-of-summer deadline for a book I’d loosely conceived of as a Book of Common Prayer, believing it’s the quotidian rhythms that hold the deepest sparks of the Divine, and it’s in the rush and the roar of the modern-day domestic melee – held up to the light — that I find improbable holiness.

And so, what had been occasional dabblings into the sacred realm — written over seven years, refined over one summer — became a tightly woven tapestry that now, as I read from beginning to end, feels something like a banner. Or maybe a prayer shawl in which I quietly, devoutly, wrap myself.

I’m braced – I hope – for the cynicism, or maybe worse, sheer dismissal. A dear friend, one whose book spent the summer on the New York Times best-seller list, gave me what amounts to a lifeline: “The real reviews,” she said, “come in handwriting and human voices.” Already, those voices have begun to trickle in, to tell me they’re staining the pages with coffee rings as they read and ponder and read some more. To tell me they’re giving the book to their dearest circle of friends. To tell me they’ve underlined and scribbled in the margins. To tell me one particular essay carried one reader through the week-long dying of her mother.

I’ve found my holiness slow and steady. It crept up unawares, almost. I never expected that I’d write a prayerful book, with my name on the cover, and my heart and my soul bared across its pages.

But nothing has ever felt quite so right. Nothing so quietly sacred.

Barbara Mahany is an author and freelance journalist in Chicago, who writes these days about stumbling on the sacred amid the cacophony of the modern-day domestic melee. She was a reporter and feature writer at the Chicago Tribune for nearly 30 years, and before that a pediatric oncology nurse. She tagged along on the 2012-13 Nieman fellowship of her husband, Blair Kamin, the Tribune’s longtime architecture critic.

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September 26, 2014

mullipuffed

…it is written.

those were the words onto which my eyes locked, as i turned to page 108 in the morning prayer service of the new union prayer book for the days of awe:

“on rosh hashanah it is written..”

those words burrowed deeper than they might otherwise have burrowed, those words that inform us that God is on high, is etching our fates into the great book of life, of destiny; a refrain of the jewish new year that is ancient and every year new. it is the beginning somber note of a two-part doxology: on rosh hashanah, it is written; on yom kippur it is sealed.

weighty enough. but even weightier this year for me.

for far beyond the walls of the synagogue, where i bent in prayer yesterday, i knew that cardboard boxes were plopping on door stoops, sliding into the hungry maws of mail boxes. i knew because blessed friends had been sending me pictures. a book landing here, landing there. each one a birth.

indeed, it was written.

and that’s when suddenly the image popped into my mind: the wafting seeds, airborne puffs roto-coptering across the landscape, over farmer fields, over desert mountaintops, from sea to shining sea.

there’s a word that’s gone out of vogue, but i am on a one-woman campaign to revive it, breathe life back into it. it’s mullipuff, a delightful collection of syllables and spill-from-your-mouth cotton-ball consonants, and it is the word for the seed head of the dandelion, when its yellow fronds are spent, but its deepest job is just beginning: it’s about to take flight, and in that breathtaking way, transformation has occurred. it has seed dropping to do. holy act of faith, indeed. flinging itself to the winds and the rains. counting on calm blanket of air, of breeze, to carry it to where it might plop, sink in, begin the birth and rebirth.

mullipuff.

…it is written.

and so i find myself this morning, twirling and spinning the thought of all those books, of those pages being turned, and i know this is where i need to pray most mightily. this is where the holy act begins. the book is landing, and with it the words, the prayers burrowed deep down inside. lying in half-sleep this morning, i prayed that those words — like seedlets in motion — would begin their journey, their voyage, their sacred beginning….i imagined each word propelled, each one decked out with little flagella, those microbiological wings — propellers — that scurry amoeba along. if you’ve ever put your eye to the microscope lens, you know what i mean, the little flippers that make the droplets of pond water swim across the microscope slide.

so, i imagine, the words. so i pray for the words. now that they’re unloosed on the world, now, i pray, “please do your job.”

it’s what happens, i suppose, when you don’t set out to write literature, don’t sink your heart into plot twist or narrative arc. but when all you do is set out to unfurl your heart, to write a plainspoken book of common prayer. the prayer from one harried mama who is looking so hard for the holy. who, after practice and practice, is beginning to gather it, to fill her heart with it. to find the holy bliss she’s been looking for. looking for so very long.

and so, this morning, i hold my breath, i pray my prayers, i ask the heavens to take over where i can’t go. the words that i typed are dandelion seeds. they are wafting now. landing, burrowing down.

dear God, let the seedlings take root. let something begin deep in the hearts and the souls. a scratching the surface, and quietly quietly sinking deep down where wonder takes root. where eyes are widened, and ears are perked. let the holy begin to rustle. let it quiet the noise, and peel back the hard dull edge, make known the unnoticed. let the hours be mined for all that they hold — magnificence, mystery, luminescence and shadow. let us see the beauty, behold the beautiful. let the books that land on the doorsteps, let them be the field guide to what lies deep within. the wonder, the wisdom, the Sacred.

so now you’ve read along as i prayed out loud. saying your prayers aloud gives them a bit more heft, adds ballast. i’ve been blanketed in that prayer all week, as i knew that little book, the one called Slowing Time, was miraculously being boxed and shipped and delivered. it’s as if a hundred thousand prayers of my heart, the seeds of the mullipuff, are finally released, finally getting to work. and all i can do is pray that they land where they’re likely to burrow and bloom.

what constitutes the mullipuff you choose to blow into the world?

p.s. because i was enchanted by the noun, mullipuff, i turned it into a verb (up above), as in a weightless something blown upon the whisper of breath out across the landscape. mullipuffed. may what matters to your heart, be mullipuffed….

because i was wholly entranced, as i always am, by the prayers i find in the jewish prayer books, and because i was struck by how deeply i’ve been informed by the lens through which ancient jews marveled at the world, i carried home the prayer book, so i could share this prayer with you. it’s called, Your Endless Blessing, and it begins on page 82.

Great and holy Maker of all the living,

You create the world, Your child, anew at every moment.

An instant’s pause in Your creative love, and all things would turn to naught.

But Your blessing glows in every spark of time.

Again and again the morning stars unite to hymn Your love.

Again the sun comes forth to sing Your light.

Again the angels sing their sacred chant to You.

Again the souls intone their need for You.

Again the grasses sing their thirst for You.

Again the birds chirp their joy before You.

Again abandoned chicks voice their orphan-song to You.

Again springs softly bubble their prayer to You.

And still the afflicted pour out their complaint to You.

And still their souls’ prayer splits Your heavens.

And still they tremble in awe of Your glory.

And still in hope they lift up their eyes to You.

One ray of Your light, and we are bathed in light!

One word from You, and we are reborn!

One hint of Your eternal presence, and we are refreshed with the dew of youth!

Author of life, as You renew all things, take us, Your children, and make us new.

Breathe Your spirit into us, that we may start life afresh, with childhood’s unbounded promise.

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March 21, 2014

official enough: Slowing Time

the manuscript is off in copy editing. and just this week, i discovered a name that i’ve long known, long answered to, has been added to the “authors” roster.

so that must make it official enough.

and there it is, almost like getting a peek at the amniotic-slicked crown of a baby’s head as it wedges through the birth canal.

almost.

it’s slowing time, a book with my name on the cover. and pages and pages of my heart inside.

and it will be in bookstores come october. or maybe even september.

and for a girl who long ago sat tucked between her twin beds, splayed upon the braided oval rug, folding blank pages in halves and quarters, drawing pictures, pressing pencil to page to add sentences and paragraphs, it rather makes my heart thump to see that this time someone other than me is doing the work of rolling those pages off the presses, stamping that copyright on the page with the bit about the library of congress.

it’s a book that was born here, at the old banged-up maple table, where for so many mornings now we’ve pooled our wisdoms and our paying attentions. i think the page that made my heart thump the loudest as i was writing it, was perhaps the dedication page. that’s where you dig down deep and pull out the plumpest roots, the ones without which your heart might wither and die. you’ll find the chair sisters nestled there, in that abbreviated roster of literary midwives, the ones who propped me up on days when i might otherwise have wilted. or crumbled. or run away to hide.

what that means is that you and you and you are among the winds that blew me forward, that would not let me fade away and give up hope.

it’s not so easy putting words to the whispers of a heart. but what i found is that the more i typed, the more i believed.

what i love best about slowing time is that it’s a compilation of the quiet art of paying attention. and paying attention, i’ve found, is a silent — yet deeply animated — form of prayer. it’s tiptoeing through the holy hours of the day, of the seasons, and opening your heart wide enough to feel — and shlurp up — the brushstrokes of the Divine.

sometimes that comes in the words of a five-year-old boy who asks, “mama, what will happen when i die?” and follows rat-a-tat with: “will you die? will daddy die?”

sometimes it comes in keeping watch as mama bird builds her nest, as she scans the clumps of rustling grasses, plucks the fattest one and flies it back to the hatching branch. and, all the while, she’s teaching you a thing or two about resilience. and inexhaustibility. and faith, no matter the pounding of the springtime’s downpour.

often, for me, a lifelong churchgoer — one who pedaled her bike six weeks straight to early-morning mass the lent that i was eight and working hard to put shine to my halo — the Divine has skipped across my heart as i tiptoed into synagogue and wrapped myself in prayer at once ancient and timeless.

the undiluted premise of slowing time and the heart behind it is that the Divine is all around, if we slow down and pay close enough attention. it is a life of prayer lived in the thick and the messiness of the everyday.

it’s pure wonder that mary oliver, my poet priestess, graces the book’s first page, and it’s no accident that emily dickinson — “some keep the Sabbath going to church/ i keep it, staying at home” — is my patron saint.

my prayer is not bound by religion, but thrust heavenward by heart and because i’ve learned — stumbling all along the way — that most essential element of every prayer: the unspoken line where we are deeply listening.

here’s a peek at the publisher’s catalog for slowing time.

and bless you every one who pulled up a chair, and shared a wisdom — silent or otherwise — here where we call it holy communion. with a splash of cream.

how do you practice the art of slowing time?

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Tag: slowing time