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Spirituality The real miracle: to walk on earth
By RICH HEFFERN
One of the first civilians to enter the German death camp at
Belsen a few weeks after its liberation in April 1945 was a sensitive British
artist named Mervyn Peake. A successful book illustrator, painter and author,
Peake was sent by the English government to document and record the horror, in
portrait after portrait, of the starved, dying Jews. Belsen was the transit
camp to which Anne Frank along with tens of thousands of others were shipped
near the end of the war to die of typhoid and starvation. Peake was allowed to
wander at liberty within the barbed wire fences, in a landscape that
represented rock bottom in humankinds capability for evil. The experience
left a deep impression on him.
Widely regarded as the greatest book illustrator since Aubrey
Beardsley, during World War II Peakes painterly sensibility turned to
literature and the creation of a monumental work of fantasy known as the
Gormenghast trilogy. A brilliant, highly unusual romance set in an enormous,
sprawling castle called Gormenghast, his three books, with their sharply drawn
characters, present a modern meditation on the nature of evil, on the
unavoidable madness and perversity in the world that are woven so tenaciously
together with its goodness and beauty.
The first book of the trilogy, Titus Groan, was published
in 1946, followed by two sequels: Gormenghast (1950) and Titus
Alone (1959).
The trilogy tells of the birth, childhood and growth to maturity
of Titus Groan, heir to the rule of Gormenghast. The plot unfolds slowly. In
fact, by the end of the first book Titus is only 3 years old. But his story is
secondary to the extraordinary descriptions and to the atmospheric moods
summoned by Peakes remarkable prose. The books tackle no important themes
but instead represent an exuberantly rich celebration of life and all its
complexity, the achievement of a man who delighted in the intricacies of the
world, who believed profoundly in the value of human individuality and who
dedicated himself to recording it in all its strange and beautiful
manifestations.
Dozens of major characters inhabit the novels, all of them finely
drawn, with the solidity and heft of real people. Dr. Prunesquallor,
Lady Fuchsia, Lord Sepulchrave, Steerpike, Flay, Swelter, and many others live
out the drama of life in Gormenghast with its endless rituals and its
claustrophobic, maze-like architecture. Human frailty, death, ambition,
devotion, obsession, sexual love -- all are realistically portrayed, with wit
and a wonderful transparency of touch.
Peakes style is unusual, but superbly evocative and
powerful. His books are demanding, dark, sometimes ugly, yet brilliantly
written and, once you enter their world, absolutely captivating. Though filled
with images of skeletons lying pallid in a cloud-shrouded night, crows perching
in a bleak, twisted landscape and scheming skullduggery, Peakes work is
not pessimistic. His darkest mysteries are richly colored by the sun. There is
also a knockabout sense of humor, a strength and vitality going through
everything he creates. And a deep appreciation of lifes diversity and
especially of the blemishes, eccentricities and quirks that give us humans our
three-dimensional depth.
Hear how he describes two of his characters on first meeting, Flay
and Swelter. Flay is a manservant who appeared to clutter up the doorway
as he stood revealed, his arms folded, surveying the smaller man before him in
an expressionless way. It did not look like such a bony face as his could give
normal utterance, but rather that instead of sounds, something more brittle,
more ancient, something dryer would emerge, something perhaps more in the
nature of a splinter or fragment of stone.
Flays deadly rival, Swelter, is the chief cook of
Gormenghast: Of Swelters acreage, only a perch or two might, if
broken, prove valuable loam. That he bled profusely could prove little. There
was blood in him to revive an anemic army, with enough left over to cool the
guns. Placed end to end his blood vessels might have coiled to the Tower of
Flints and back again like a creeper -- a vampires home from
home.
Peakes characters are unforgettable, and the villain of the
books, Steerpike, one critic called the most consummate villain in all of
literature, who makes Richard III and Iago look like schoolboys.
As with many individualistic geniuses, Peakes achievement
was not recognized until after his death. Commenting on the poor financial
return from his writing, he told an inteviewer: I am too rich already,
for my eyes mint gold. And mint gold he did. This sensitive artist saw
the very worst that humans are capable of, yet crafted prose that lifts off the
page in celebration of the convoluted architecture of being human -- love,
quirks and obsessions, heroism and pathology all mixed together in the human
soul.
I have loved Peakes books since young adulthood. Like all
great literature, they affirm for me that the revelation of God is directly
found in human life and living. A holy mystery shines forth who seems to be in
love with our foible- and struggle-ridden universe, with all its ebbs and flows
that shape our human souls and make them as different as snowflakes.
This is a God who above all uses chaos to create beauty and order.
Because of this, life itself is the great teacher of spirituality.
Thats why, for example, when Fr. Thomas Berry exhorts us to
put the Bible on the shelf for about 20 years, Berry is not showing disrespect
to the scripture, but rather trying to get us to see, before its too
late, that Gods revelation is also in our midst. The world is not an
expendable backdrop to some remote salvation drama. God is here and now. Every
bush is burning. God has been at work for billions of years everywhere in the
processes of creation that are still going on.
Religious fundamentalism plagues the world, and its tenets across
the religious spectrum include a core belief that the planet and the human
world are secondary to a salvation drama with the human spirit at center stage.
Our world is nothing more than stage scenery to be struck when the drama is
played out.
Another pervasive religious view, contrary to fundamentalism,
denies the world in a different way. New Age spirituality often posits a kind
of idealism wherein, it is said, we create our own reality and can
alter outcomes in the real world by changing the way we habitually think.
Our field of energy, states Shirley MacLaine, organizes the
molecular structure that we perceive, both within and without, as physical
reality. Again, the world around us is secondary to our own inner
spiritual strivings and will.
One other religious view has emerged, counter to both New Age and
fundamentalist, and it holds that creation, just as it presents itself to us,
is the means by which God both creates and communicates to us. By means
of all created things, said Fr. Pierre Teilhard de Chardin, the
divine assails us, penetrates us, molds us. We imagined it as distant and
inaccessible, whereas in fact we live steeped in its burning layers.
The task of the saints of the 21st century, says Fr.
Ed Hays, will be to find God in the ten thousand things of
creation. As a corollary, the task of religious studies will be to update
religion in light of what science has been telling us about creation: how it
unfolds, how it produced us.
There is a place for the geologians right alongside the
theologians.
In 1974, a young woman wrote a book for which she won the Pulitzer
Prize. For many, particularly those interested in both the natural world and in
religious searching, Pilgrim at Tinker Creek was one of those reading
experiences that helped illumine and shape our lives.
In this book author Annie Dillard chronicles one year spent
exploring her own backyard and the nearby woods in rural Virginia. She followed
the seasons, investigating winter, spring, summer and fall, down on her hands
and knees, up and about late at night. Her descriptions of a praying mantis
eating her mate during sex, or a tree filled with natural lights, or a water
bug eating a frog by dissolving its insides and sucking them in, or
grasshoppers becoming locusts -- all are graphic and even horrific. She never
flinches from looking reality right in the face no matter how unpleasant, ugly
or upsetting.
Her observations knit together biology, metaphysics, wave/particle
theory, Talmudic scholarship, Zen, Sufi and Christian mysticism and American
common sense. She continues this same kind of reality investigation in all of
her books: in Holy the Firm, Teaching a Stone to Talk, An American
Childhood, and For the Time Being.
Stalking the divine in the real
She wants us to be totally immersed in the present, to look it
squarely in the eye and make theology and religious story out of what we see.
Her purpose is similar to those who search scripture for gleanings about the
nature of the divine. Annie Dillard is simply an exegete of reality, armed with
a mind that is overwhelmingly curious, aggressive, daring, vulnerable,
intellectually courageous and observant. She states her aim is to pay
attention, to observe, to know life in its deepest and most succulent meanings.
As with Mervyn Peakes books, the reader has to bear with Dillard, to stay
with her even through the ugly parts, because, in the end, the payoff is big.
We see the gothic, yet beautiful, world her anecdotes and facts create only
when our full concentration is on the present moment. She stalks God in the
present and in the world the way it presents itself to us.
Like Peake, she delves into the complex richness of being alive,
grappling squarely with the baffling problems of pain and of dying.
Unflinchingly she looks at the neutral-seeming cruelty in the natural world and
makes deductions. It is a real adventure of the human spirit, and its
recorded in her sparkling prose:
On the planet the winds are blowing: the polar
easterlies, the westerlies, the northeast and southeast trades.
Lick a
finger, feel the now.
I return from the same walk a day later
scarcely knowing my name. Litanies hum in my ears ... alleluia! I cannot cause
the light; the most I can do is try to put myself in the path of its beam. It
is possible, in deep space, to sail on a solar wind. Light, be it particle or
wave, has force: you rig a giant sail and go ...
Evolution loves death
more than it loves you or me. This is easy to write, easy to read and hard to
believe. The words are simple, the concept clear -- but you dont believe
it, do you? Nor do I. How could I when were both so lovable.
Pull the camera back and look at the fork in the road from a
distance, in the larger context of the speckled and twining world.
Observing this speckled and twining world in detail, she draws
some conclusions: Modern living robs us of the ability to know good and evil.
Nature is both rational and chaotic, ugly and beautiful; it loves order but
uses messes to get there. Because of this, life is awful and awe-filled. Death
and the grotesque are an intimate part of the gift of life. Rage against any
religion that requires only blind and innocent faith. Ask ultimate and
troubling questions.
In her most recent book, For the Time Being, she tells the
story of a British district officer who contacted a mountain village in Papua
New Guinea whose tribe had never seen a trace of the outside world. It was the
1930s. The officer described the courage of one mountain villager, who, on the
airstrip that had just been hacked out of the jungle foliage, cut vines and
lashed himself to the fuselage of a cargo plane that had landed there. The
Papuan explained calmly to his loved ones that, no matter what happened to him,
he had to see where it came from.
Often the spiritual life is not so much a journey, but more like
this lashing to mystery. This is certainly the spirituality that Annie Dillard
and other exegetes of reality pursue, writers, scientists and mystics like
Loren Eiseley, Barry Lopez, Ursula Goodenough, Gary Nabhan, Terry Tempest
Williams, Brian Swimme or Gretel Erhlich. They stalk the divine and wrestle
like Jacob with the angels of reality.
They probe reality with rigorous honesty and then tell us what
they have found, following the advice of one of the great theologians of the
20th century, Karl Rahner, who urged us to learn about God in that profoundly
mysterious arena of Gods self-communication -- our world.
The real miracle
Many Catholics raised in the 1950s can remember being bused from
school to see a Hollywood movie, The Miracle of Fatima, about the
Fatima apparitions. The film told the story of the Portuguese children to whom
a beautiful lady appeared in 1917. Actor Gilbert Roland portrayed
their friend, who is skeptical but defends the children against a hostile
church and local government. During the last apparition on a rainy day, the
lady performs the miracle she has promised, spinning the sun in the
sky like the ultimate Texas baton twirl. It loosens itself from the firmament,
plummets toward the earth, dazzling the crowd, drying clothes and sending the
two-bit communists and other skeptics scurrying for cover.
Never mind that the sun is actually a million times the
earths size, that our planet rotates around this colossal nuclear furnace
and life giver and has done so for 5 billion years, this miracle
was presented as religious fact. Our alienation from our place in the universe
could not have been portrayed more graphically.
What does it mean to be a Christian in a world where the earth
revolves around a star spinning not in our sky but on the outskirts of a galaxy
that itself is one of a hundred billion? Fr. Diarmuid OMurchu, Fr.
Michael Morwood, Sr. Miriam MacGillis, Brian Swimme, Episcopal bishop John
Shelby Spong, the Asian bishops and many others are asking this timely
question, challenging us to reshape the Christian imagination, ideas and
language in keeping with current knowledge about the whole.
Their intent is not to weaken faith but to make it squarely
relevant.
Religion has too often become a kind of science fiction or Gnostic
enterprise that purports to put us in touch with a world somehow outside our
universe, far away. Some form of right belief gets our ticket there punched; we
even assert that the Catholic church is the only vendor. Making the right
choices on pelvic matters is seen as the basis of morality, never mind the
nuclear weapons, children dying of malnutrition or the manic destruction of the
rainforests.
Morwood and others challenge us, for example, to rescue the story
of Jesus from the clutches of outdated views of the universe and our origins.
If the earth was created exactly 6,000 years ago in exactly seven days, and if
our first ancestors sin denied us access to God, then Jesus, the
incarnate son, must die horribly in order to restore that access. With a new
understanding of cosmology and biological evolution, when it is seen that God
has been active in the processes of unfolding life for some billions of years,
it is high time to revisit that redemption drama and other aspects of our
thinking about Jesus.
Jesus life was more important than his death, Morwood
suggests. He lived among the poor. He was human. He laughed loudly, cried
bitterly and loved deeply. He spoke truth to power so that it brought capital
punishment down on his head.
Whats more, he did not relate to the poor and sinners on the
understanding that God was distant from them. He urged people to reflect on
their own experience and to grow in understanding Gods presence with
them. In the end he surrendered his life confidently back to its source.
Morwood writes: God is not present in some places and
peoples, absent in others. Our death will not mean travel somewhere else,
rather it will be a transformation into a completely different way of living in
God, the God who is always present in creation. We live in God, and nothing can
change that. Jesus knew Gods presence is never ever far off (Luke
17:21), that we are face to face with it every time we witness selfless love or
the laughter of children.
What is being asked of us here is nothing more or less than a more
mature spirituality. It is time to leave our spiritual adolescence and enter
adulthood, one characterized by courage, honest observation and engagement with
the world as it is, spurning both fundamentalism and self-absorbed
bliss-seeking. The earth and its suffering millions groan in agony for it. The
awesome challenges of the new century demand this maturity from us.
Or, in the words of spiritual leader Thich Nhat Hanh: The real
miracle is not to walk on water or set the sun spinning overhead. The real
miracle is to walk on this earth and notice Gods enormous presence in the
material world -- and in each other.
Rich Heffern is NCRs opinion editor.
National Catholic Reporter, December 7,
2001
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