Resuscitated by the Arts

Does music ever make you see? Does it break your heart, spilling it hot over your lashes? Does music become your voice when you cannot find the words to express your grief, sorrow, or hope? Music paints vistas on the mind—sunsets over mountains, starlight over tawny grasses bent by the breeze, snow on trees, russet leaves kicking up in the dirt lane. Certain songs carry a mood with them—autumn fog and rain, driving under sunny skies, poignant sadness, golden morning light. Music breathes life into weary souls, stands us on our feet, bows our heads—it even gives us earthbound creatures wings. Music heals. Music speaks what we cannot, when we cannot. Music opens the storeroom of our memories. Music flies us beyond ourselves into the great, wide world and the space beyond.

When I see a musician who is intent at his craft, playing for pure pleasure, joy wells up in me—and a bit of envy, too. I wish I could make a heart soar. . . or sing. . .or see. Though I cannot express myself in music, I know the intense concentration, the pleasure in my craft. It happens when I write sometimes. At other times, writing is an exercise and discipline, like musical scales.

Every craft has its learning season, disciplines, and the ability to sweep the craftsman or artist into its heart and flow so deeply that time passes without notice. But what I have noticed is that various crafts and arts influence one another. Music and stories often inspire me to paint, draw, or write. The visual arts encourage poetry or music to flow out of me. Poetry makes me want to be alive, to attend.

I have a deep respect for my friends who are writers, musicians, woodworkers, leather artisans, weavers, gardeners, and embroiderers. Their words and music and crafts all breathe life into my heart, into my veins. They remind me that Beauty comes in many forms and fills life with pleasure. The time poured into a craft is a form of tangible love given to others. 

I treasure my pincushion made from cloth designed and woven by one sweet friend, a wooden box carefully fitted and joined by another, words crafted into letters, stories, and poems by many dear folks, and pen-and-ink drawings of dragons and pictograms by yet another friend. I carry in my heart the deep strains of the cello, the lilting violin, the steady piano, the magical guitar picking I have been privy to over the years. And I delight in my friend’s whimsical illustrations and story of an island of creatures that must be saved again and again by one very patient saviour, who constantly goes unthanked.

My friends are a talented set, whether through the arts mentioned above, or the art of homemaking, hospitality, and keeping beauty in their homes and hearts. The creativity of God overflows in so many directions from people, it is rather amazing. And it breathes, breathes life into others in some way or another. Creativity is constantly begetting, expanding in life and Beauty. Creativity brings wholeness and healing into a world shattered by the Fall. Artisans and craftsmen are healers, then. Agents of God to breathe Beauty and life into others. Creativity gives room for expressing what we feel but cannot name, for expressing love and inclusion. Creativity builds what we all long for so deeply: home.

The Blur in the Brushstrokes

Particulars matter. Of course, so do Universals and Forms. I hold to a healthy mix of Aristotle and Plato, tempered by Jesus and His word. I find it interesting that the particulars make up the whole, even if the universal was set into place first. For example, God said, Let there be light, and there was; then He went on to make the sun, moon, and stars. The universal preceded the particulars.

However, we live inside the universe—that is, within the universals. We live inside one planet in our solar system, which is in our galaxy, inside the whole universe.  We live within time—second by second, the future becoming now, becoming the past—in such a rapid succession that it is a good thing we don't constantly focus on how fleeting the present is as it arrives. We would miss it if we did. We live inside the seconds, minutes, and hours that make up our days. We live inside the days and months that form the years. We live inside this framework of time, within our rolling universe.

All this I realised in a few moments when writing the date on the upper right corner of my journal, the place and time of day in the upper left. Upon studying abroad, I learned that most of the world writes the date in ascending order: day, month, year. This seemed logical and more practical to my understanding, and I quickly adopted the practise. In fact, North America (and parts of Canada) seems to be the only place(s) where dates are written in a mid-form of month, day, year.

When did this odd practise begin? Though I gave this question a bit more than a cursory search, I could not find a definitive answer. However, I was stunned as I realised that writing the date month-first deconstructs our very selves, as well as the universal framework in which we live. You see, if we begin, not with the overarching framework of the year of our Lord, nor the particular minutes or days that make up our part in that story, what do we have left? An arbitrary median that shows us neither the details nor the whole picture. It is like looking at an impressionist painting at a middling distance—it is merely blurry, causing one to miss the intricate strokes and colours of the up-close detail, as well as the clearer picture from a farther vantage point.

Our minutes and hours are how we spend our days, and as Annie Dillard says: "How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing."1 If we live only in the minutes, in the what we are doing, without the framework of the universal 'year of our Lord' or the metanarrative of all of history, then what we are doing becomes those unintelligible brushstrokes of a Monet, seen an inch from the canvas. Our moments in the story are unintelligible without a larger framework.

However, there is a big picture laid out from the beginning of time, from the conception of the universe. When we find ourselves placed inside of that framework, then our moments and days—how we spend our lives—flow in the picture. Our days are the light and shadow of a section of the painting. The stroke of our lives may seem incredibly small compared to the giant canvas, but our placement matters in the whole.

Is there room for something between the particulars and the universal? Like months slipped between days and years? Yes, of course. There is something between individual atoms and the galaxy: planets and stars; water and plants; animals, man, and more. So, too, there are individual humans as particulars, society as a whole. What comes between? I posit two middle-forms: the family and the Church.

Families are made up of individuals, helping one another both to survive and to thrive; society is made up of families composed of individuals. The Church (throughout time and space) is made up of individuals and families being knit together into the Body of Christ Jesus. It is these blurry middle-forms where we sometimes have a hard time seeing either the whole story or the individual words.

It's like a schoolhouse

of little words,

thousands of words.

First you figure out what each one means by itself,

the jingle, the periwinkle, the scallop

      full of moonlight.

Then you begin, slowly, to read the whole story.2

You know the individual words, you begin to see the whole story by the stringing and weaving of those words together into sentences, paragraphs, and chapters. The middle-form of a story is a chapter—often the length of the story that we read in one sitting—if we are savouring the book. A chapter is a good length of the story to read, to mull over, to build upon. But a chapter alone does a poor job of conveying the story as a whole with its plot and chronology; nor does a chapter catch the depth of the characters, their memories, histories, or significance to the whole. A chapter is a necessary middle-form or larger building block—much like a month—obviously somewhere between the details and the whole.

So, we return to families, the building blocks of society. There is really no such thing as an individual family—there are always extended relatives, family members marrying and branching out again and again. It is easy to see why we use the image of a tree to explain families, because there is that continual growth and branching, like a tree, that make up a whole. A family is a bit elastic, expanding in marriages and births, constricting in deaths. It is fluid, and thus a bit blurry; like a swift stream, like the Monet seen somewhere between brushstrokes and long-distance clarity. The present is the same, the blur between the future and history. The middle-form is always the blur, the brushstroke, the action point, the beam swinging from the crane in the building process. It is like present circumstances, rather hard to understand as you are going through them, but easier to see the edges, the whys and wherefores, after you have made it beyond, gaining perspective from the passage of time.

We live in the moments and the days—the particulars. Particulars build those middle-forms of family and Church, of months and years, of planets and stars; all within the frame of the whole picture, God’s universal story. The moments matter—become material—like paint on the canvas or inky words on a page. The middle-forms matter, too—setting lonely people into their right place; ordering words and paragraphs; building brick upon brick—so that we can see the family, or story, or home. We see the whole by the blurs in concert, the fragmented pieces coming together.

Little drops of water,

Little grains of sand,

Make the mighty ocean

And the pleasant land.

So the little moments,

Humble though they be,

Make the mighty ages

Of Eternity.3

_________

1. Dillard, Annie The Writing Life (New York, New York, Harper Collins, 2009), emphasis mine

2. Oliver, Mary, "Breakage" in Why I Wake Early (Boston, Massachusetts, Beacon Press, 2004), 32
3. Carney, Julia Abigail Fletcher, "Little Things" Public Domain

Have You Noticed Beauty?

A man should hear a little music, read a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has implanted in the human soul. 

—Johann Wolfgang von Goethe

I have notice that many folks claim that humans are animals. After all, we are mammals and are classified as Homo sapiens in the scientific realm. But that is a mere classification. God tells is from the very beginning that humans are different than animals. We are made in the image and likeness of God. While the animals may also have been formed from the dust of the earth, it was only into man that God Himself breathed the breath of life. 

I have noticed something else: all animals eat food, but only human beings arrange food on their plates and take photos of it. Only humans stop to watch the sunrise or the moonrise for the sheer beauty of it. Only human beings write poetry or draw and paint—even from the dawn of time. When Adam first speaks of Eve, it is recorded in a couplet. When Eve is tempted by the serpent, she sees that the tree is pleasant to the eye. Perhaps it is a few readings too many of Lewis and Tolkien for me to hope that God formed and filled the world by singing the words of creation. Even if He did not, two books of His word brim with poetry and songs. 

I have noticed that on my most exhausting days of travel or work what I long for is Beauty. To watch the sun set and the stars creep into the sky, one by one and then in clusters. To read a story or a poem. To listen to an album straight through while I eat my dinner. To dance in my kitchen. To make food, yes, but also to group it by colour on my plate. To sit down—feet free of shoes—listening to the evensong of birds give way to cricket choruses. To listen to an audio book because I'm too tired to read anything beyond five lines. 

I have noticed that when I'm not reading much or stopping to enter into the Beauty I see in creation, it is then that I have no words. I cannot write. I make a poor conversant. I feel too tired for friends. I run and run, but it is more like a crawling car on petrol fumes. In short, I get crabby and withdrawn when I am not able to be immersed in Beauty in some form. Goethe explains why: there is a sense of the Beautiful which God has twined into the human soul. We are different from the animals...and the angels, and from God Himself. Yet neither animals nor angels are made in God's image, only man is. We are distinct—imaging God in our very being, in our capacity to know and appreciate Beauty, in our cultivating and stewarding whatever things God gives to us, from children and gardens, to art and music. 

I have noticed that Beauty is a gift that we get to enjoy. That we are allowed to savour the words of a poem on our tongues. That our eyes burn with the glory of a sunset or a sky on fire with meteors. That our hearts nearly burst in the highest swell of a song, either poignant or joy-filled. It is a gift to know that Beauty itself is a gift. It is a gift to know God and to be known by Him. It is Beauty that leads us to praise. Beauty is our companion to draw us into worship. It is Beauty that beckons us to enter into itself and find that we are in the courts of God. Beauty it is that leads us further up and further in.

Have you noticed?