"Simon explained truth to me," Thomas said. "If there's a tree in the distance and you run to get there, run across the grass with all your heart, and you make it and touch the tree, press your face against the bark, then it is all true. But if you stumble and fall, lose your way, move to the city and buy a VCR and watch cowboy movies all the time, then nothing is true."
- from Sherman Alexie's "Special Delivery," in The Business of Fancy Dancing |
In lieu of a passage from my journal (wink!), I give you something from a book called Material Culture, by Henry Glassie. It is from a chapter titled - beautifully, I find - The Potter's Art:
"...Fevziye will not pursue the potter's trade when she marries and moves to Germany, but she will not lose the strength she gained in her apprenticeship. She will become a woman of the modern world, but she will remain free of the debilitating anxieties that bedevil people who have never known creation in their own hands.
That is one purpose of art. It brings confidence to its creators. Those who make things know who they are. They have been tested and found able..."
I stumbled on this passage as I lounged in a luxurious blue reading chair at Christmas. My brother-in-law (TMTA) was reading the book, and I picked it up because my eye kept reading its title as Maternal Culture, clearly a sign of where my heart was on those long, cozy vacationing days.
When I opened the book, however, I found some of its contents not far from what I might find in a book on maternal cultures. Trent and I launched into a discussion of what makes art valuable, i.e. what to pass on to students, what makes art good, etc etc. Lots of coffee may have been consumed by that point in the day, you see. On my part. All on my part. I was arguing that there is no way to define what makes a work of art good, except by the individual, and Trent, bless him, was listening.
When I first started grad school, and read Lorrie Moore's Birds of America, I latched onto one of the lines therein, something glib and brilliant, something like, "But she did too much yoga and nobody listened to her anymore." After that, at school, I always worried I was The Yoga Person in the room, which was otherwise full of True Intellectuals. Keep the fluff to a minimum! I warned myself, half-joking, half-serious, and 100% conflicted.
I don't know what to make of that conflict anymore. The Henry Glassie passage above moves me so greatly because I know now what it means to find my own rhythm, a secret knock that no one else knows, the tattoo by which I find myself again, and this is the gift of art, I believe. At least, that is how I found it - by leaning into the voices of creation inside, and bundling this sacred flame again and again as I visited my computer and colored pencils, which often reveal more to me than hours on my meditation cushion. In my experience, the act of creating something takes me inside, and it is there I find joy. Sharing what I find there is light-giving - to the communicator, and to the listener. And this is all I need to know when I see or read or touch a creative piece: Where is its light - for me? Where am I traveling to, in the hands of this work?
Over Christmas, Trent and I talked about what happens when he doesn't make it into his studio. In short, problems loom larger than normal. In my own life, it is the same. Those who are called to create (which we all are, in our own way) find themselves when they create. In yoga, there is a lot of talk about co-creation. This is in the Bible too, by the way, in the concept of free will. However you look at it, without participating in the act of creation - with creative forces that are bigger and wilder than our own possible invention - we lose our way. The path grows over itself. Shit gets stale.
The only way to clear the way is to bring to it the attention required by creation. This is what we practice in meditation - bringing the attention back. But with art - or writing, or cooking, or learning the guitar - it is a more extended meditation. And it is one, I believe, that can heal us all.
And so, onward beloveds! To whatever craft, scrapbook, and poem calls your name. Or calls Her name - wanting you to bring it into form.
Here is a video about the art and bliss of balanced containment, courtesy of my friend Amelia, whom I once shied away from because I find her gorgeous. What a reaction! I grew shy in the face of something I admired, which is maybe a little weird. But Tim said this week, when I couldn't believe that an old friend missed me and loved me as much as I love her, that it's only natural. When we love fully, we are vulnerable. And that vulnerability makes us act a little weird and squishy sometimes.
Perhaps fittingly, the video briefly describes the happiness that comes from finding and protecting your own inner sanctum, and it features a woman with curly hair. I approve of curly hair, and I also like the underlying follow your bliss message at which the video hints.
Speaking of bliss, tomorrow I travel to my beloved North Carolina to visit friends, kiss the ocean, and retrace some of the paths I've walked. For the rest of this week, and cherished, cherub-filled February, may you clear the way for bliss - however she makes her way to you. Or more importantly, however you make your way to her.
All love, all bliss,
"...Fevziye will not pursue the potter's trade when she marries and moves to Germany, but she will not lose the strength she gained in her apprenticeship. She will become a woman of the modern world, but she will remain free of the debilitating anxieties that bedevil people who have never known creation in their own hands.
That is one purpose of art. It brings confidence to its creators. Those who make things know who they are. They have been tested and found able..."
I stumbled on this passage as I lounged in a luxurious blue reading chair at Christmas. My brother-in-law (TMTA) was reading the book, and I picked it up because my eye kept reading its title as Maternal Culture, clearly a sign of where my heart was on those long, cozy vacationing days.
When I opened the book, however, I found some of its contents not far from what I might find in a book on maternal cultures. Trent and I launched into a discussion of what makes art valuable, i.e. what to pass on to students, what makes art good, etc etc. Lots of coffee may have been consumed by that point in the day, you see. On my part. All on my part. I was arguing that there is no way to define what makes a work of art good, except by the individual, and Trent, bless him, was listening.
When I first started grad school, and read Lorrie Moore's Birds of America, I latched onto one of the lines therein, something glib and brilliant, something like, "But she did too much yoga and nobody listened to her anymore." After that, at school, I always worried I was The Yoga Person in the room, which was otherwise full of True Intellectuals. Keep the fluff to a minimum! I warned myself, half-joking, half-serious, and 100% conflicted.
I don't know what to make of that conflict anymore. The Henry Glassie passage above moves me so greatly because I know now what it means to find my own rhythm, a secret knock that no one else knows, the tattoo by which I find myself again, and this is the gift of art, I believe. At least, that is how I found it - by leaning into the voices of creation inside, and bundling this sacred flame again and again as I visited my computer and colored pencils, which often reveal more to me than hours on my meditation cushion. In my experience, the act of creating something takes me inside, and it is there I find joy. Sharing what I find there is light-giving - to the communicator, and to the listener. And this is all I need to know when I see or read or touch a creative piece: Where is its light - for me? Where am I traveling to, in the hands of this work?
Over Christmas, Trent and I talked about what happens when he doesn't make it into his studio. In short, problems loom larger than normal. In my own life, it is the same. Those who are called to create (which we all are, in our own way) find themselves when they create. In yoga, there is a lot of talk about co-creation. This is in the Bible too, by the way, in the concept of free will. However you look at it, without participating in the act of creation - with creative forces that are bigger and wilder than our own possible invention - we lose our way. The path grows over itself. Shit gets stale.
The only way to clear the way is to bring to it the attention required by creation. This is what we practice in meditation - bringing the attention back. But with art - or writing, or cooking, or learning the guitar - it is a more extended meditation. And it is one, I believe, that can heal us all.
And so, onward beloveds! To whatever craft, scrapbook, and poem calls your name. Or calls Her name - wanting you to bring it into form.
Here is a video about the art and bliss of balanced containment, courtesy of my friend Amelia, whom I once shied away from because I find her gorgeous. What a reaction! I grew shy in the face of something I admired, which is maybe a little weird. But Tim said this week, when I couldn't believe that an old friend missed me and loved me as much as I love her, that it's only natural. When we love fully, we are vulnerable. And that vulnerability makes us act a little weird and squishy sometimes.
Perhaps fittingly, the video briefly describes the happiness that comes from finding and protecting your own inner sanctum, and it features a woman with curly hair. I approve of curly hair, and I also like the underlying follow your bliss message at which the video hints.
Speaking of bliss, tomorrow I travel to my beloved North Carolina to visit friends, kiss the ocean, and retrace some of the paths I've walked. For the rest of this week, and cherished, cherub-filled February, may you clear the way for bliss - however she makes her way to you. Or more importantly, however you make your way to her.
All love, all bliss,
Kara
