Who’s Looking?

[Speed Art Museum, Louisville, Kentucky, June, 2017]

Easily overwhelmed, I’ve learned the best way for me to experience an art exhibit is to slowly and reverently—yet randomly—stroll through a gallery and let everything on display silently surround my senses until That One Work hits me between the eyes. And on Sunday, at the Speed Art Museum’s “Southern Accent: Seeking the American South in Contemporary Art,” that’s exactly what happened. When I saw this one. This Carrie Mae Weems photograph that so slyly references Wyeth’s “Christina’s World.” And yet, oh dear lord, declares so much more!

For here, literally in black and white, is witness! Showing up. Using one’s body to powerfully speak Truth. Here is a woman of color owning everything in that photograph. Everything. Those plantation columns; how those overhanging trees frame her body, every blade of grass, the soft, hot breeze, the curve made by her antebellum dress, how her hair is dressed, what aperture to use, the light; The Light. Hers. Carrie Mae Weems. All of it. Hers.

Yes.

 

 

Light Breaks Through

[Through a meetinghouse window, May, 2017]

Having spent the day before with a dear and loving friend, settling into meeting for worship on Sunday I found myself reviewing the kinds of love as if Philia or Storge were ice cream flavors: yum!

My personal New York Super Fudge Chunk? Agape. So, as I reviewed, true to (her intense and transcendent and grace-lit) style, Universal/Unconditional Love declared herself In The House so powerfully I was almost brought to my feet to shout Hallelujah!

But didn’t for the same reason I hesitate to write about this, today. For what came to me was a Bible passage getting a lot of play lately. Some might say THE Bible passage; John 3:18: “For God so loved the world that he gave his only Son. . . ”

As a pre-Easter Christian and a woman of faith who experiences God as a verb and not a male pronoun, I’ve carelessly (and callously?) dismissed this sentence. Until Sunday. When it hit me that I’ve carelessly skipped over that . . . so loved the world that. . . bit, too.

But that’s the thing about Agape. It won’t be ignored. She won’t be ignored. Her powerful Love, a warm blanket to keep you warm or to beat out fires* will not be denied. So she’s asking me to find Love in the second-half of John 3:18. She’s asking me to explore if there’s Something in the post-Easter Jesus I need to experience. She’s grateful I didn’t get to my feet on Sunday; she wants me to try to write this, today,  as carefully and tenderly as I can. Because we both know how much John 3:18 means to others. (Philia is also In The House.)

So I’m listening. Tasting. Testing.

*as a speaker noted on Sunday

 

Holding All of It

[Damp, Caped Kid; Honk! Parade, October, 2016]

I’m holding a place for transformation. I’m holding a space for Love.

And, apparently, when it comes to the vulnerable, the preyed upon, I’m holding my breath.

This morning, much to my surprise, I realized I’d been holding on to unacknowledged fears—and horror—around the grisly murder of a young woman. (Trigger warning.)

How I came to realize these unnamed, unrecognized feelings isn’t important. This is:

Most men I know, even the most peaceful, loving and compassionate, would find my stirred-up feelings puzzling. They’d point out how rarely something as horrible as Vanessa Marcotte’s murder ever happens—while acknowledging that, yes, other women, alone and vulnerable, are accosted, too. Murdered.(They’re nice guys, remember? Decent.) But then they’d remind me how the media feeds on fear; how I was manipulated by the mainstream press with yet another story of a young and pretty white victim— what about murdered young women of color, transgender women? They’d remind me that the opposite of Love is Fear. Why was I giving in to my fears?

All that is true. But, after acknowledging their right-thinking, here’s what I’d tell them: “Dear ones, here’s what I need for you to understand. I believe that I relate to this horrible story differently from you. I believe I understand vulnerability and being preyed upon differently from you. I am claiming my authority. As a woman.”

“Noli Me Tangere”: The backstory

[“Noli Me Tangere” by Patricia Miranda, 2005]

It was years ago, in the midst of the random opulence and higgledy-piggledy of Boston’s Gardner Museum, that I fell in love with Mary Magdalen. This one. “I may not yet know how to love Jesus,*” I thought, instantly attracted to Raphael’s redhead. “But, ohmygoodness, will you look at her! Such love!”  For what I somehow understood—oh sweet mystery!—was how Mary Magdalen’s tenderness, her love, her oil-painted kiss embodied agape: transcendent, universal, non-sexual love. A love so powerful it transcended my feminist queasiness to see a woman, any woman, on her knees kissing a man’s foot. Oh, my!

So, back in the earliest, stumbling-around days as I explored how I might share my novel, Welling Up, online, I examined Jesus and Mary Magdalen paintings—both to discover what various artists’ work might teach me and, of course, because, a website needs art!  I looked at lots and lots of paintings. Like this one.

Maybe, if I hadn’t already viewed Fra Angelico’s “Noli Me Tangere,” Patricia Miranda’s painting would not have caught me eye. Maybe. But I think Miranda’s stripped-down to-its essentials version of this biblical, “Touch me not,” moment would have intrigued me no matter what. Yes, knowing its backstory enlarges my appreciation of her work—but will you look at what she’s done?! Those ardent yet non-touching hands stretched towards each other, hands that speak of that same transcendent love I’d been moved by at the Gardner? Those somber, funeral colors coexisting with three robust, verdant trees and Latin written with luminous, gold leaf? That mysterious, white trapezoid off-center yet somehow dominate?

So you can imagine how excited I am that the very first thing you will see when you open up WellingUp.net—to be up and running in a couple of months if all goes well—is this painting. Which I have permission to use. (And, perhaps, you’ll also understand why I’ll need at least one more post to say all I want to say about it!)

Thank you, Patricia Miranda.

* “The post-Easter Jesus” I now know to label.

Numbered

[Shipyard, Gloucester, MA; 2016]

On the thirty-first anniversary of the Challenger tragedy and the same, infamous day Muslims were being refused entry into this country, I saw “Hidden Figures.” That such an unlikely competitor to “Rogue One” has been such a surprising, box office hit for much of January; well, I just had to see it. Especially after hearing what Leslie Jones had to say!

It’s not a great movie. And yet it’s a great movie. “Based on a true story,” there are moments when I thought, “Yeah! Right! Never happened like that. No way.” (The Kevin Costner and a crowbar scene, for example. C’mon!) But hyper-aware of the Trump-era world outside that movie theater, it was easy to forgive Hollywood silliness. Because, dear God, do we need good fables right now! We desperately need stories that applaud, that celebrate grit and brilliance and math and science and sisterhood and the idea that when one of us succeeds, we all do. (Both Kevin Costner and Octavia Spencer say this at different times in the movie.) Because, as many brilliant people like Joanna Macy believe, what’s happening right now, as terrifying as it is, is actually the death throes of an Old Order. A new era is coming; I truly believe this (if Orange Fingers doesn’t nuke us all, first!).  And we’ll need uplifting (pardon the pun) stories to guide us as we move into that Brave New World.

“The World Will Be Saved by the Western Woman.”*

[Venice Metal Worx, Venice Beach, CA]

In high school Latin we’d been taught that “E pluribus unum” had actually been a Roman salad recipe! So in this time of great transition (and fear) I’m wondering what our country’s salad bowl looks like. How out of Many is there One? What holds (or stitches) us/US together?

My Number One response to that question? American Women. Can I get an Amen, Sisters?

*The Dalai Lama