Kinds of Poetry - Tolkien vs. Jackson

Jackson apparently thinks the characters Tolkien gives us are too simply good to be fully believable to modern audiences, and so he feels obligated to "complicate" them, to give them internal conflicts other than the ones they actually have, in the hopes that we will better be able to relate to them.

I'm quoting from this article in the Nov/Dec 2013 Touchstone Magazine, in which Donald T. Williams explains how literature, while delighting us with its art, is more powerful than history or philosophy to nurture our moral vision, or to corrupt us with false images.

With the help of quotes from Sir Philip Sidney, who wrote Apology for Poetry in the sixteenth century, he shows how "Tolkien was very consciously and deliberately following the literary tradition that flows down to us from Sidney through Dr. Johnson and C. S. Lewis."

Peter Jackson the filmmaker seems to be flowing in a different stream. But he is an artist, and of course will impart his own soul to his work. I wouldn't expect him to give us The Rings, because that has already been done, and he is not J.R.R. Tolkien. But it is unfortunate that he has changed things to the degree and in the directions he has. Williams points out specific ways in which the characters who inspired us in the books disappoint us in the movies, and makes these general remarks:

By this process of negative moral transformation, in other words, we reach the place where beloved characters are unrecognizable to Tolkien's fans, and those fans feel betrayed. And they are right to feel so, though mostly they do not understand why. It is because the difference between the books and the movies is not just one of necessary adaptation to a different medium. It is that the author consciously followed the Sidneyan tradition while the adaptor is either ignorant of it or doesn't understand it or has rejected it.

Read the whole article here.

Every branch He prunes.

I traveled over the hill to the nearby monastery one morning last week and pruned roses for three hours. The sisters who came to this place inherited a big garden next to the river, with many plantings they are learning to manage. Sister Xenia is the chief gardener, and she spends a lot of time on the job, but it's not the only task she's assigned, and she appreciates any help outsiders can give.

Frost had to be scraped off my car before I left home. It was still below freezing at that time, and I wore my denim skirt, leggings, work boots and a thick flannel shirt over one of my old turtlenecks. But after I'd arrived and started in with my clippers, it wasn't long before a springtime breeze began to blow.

So many roses! And most of them are not in a location that is good for roses; they are in the shade too much. Each bush was a big challenge to my skill and art, presenting one or more problems including:

1) Too tall and leggy, with no buds down low that my pruning might channel the lifeblood to.

2) Too many large canes and branches crowding each other, so that I had to thin drastically, after deciding based on uncertain parameters which ones to remove.

3) Bushes growing too close to another type of shrub or tree, as in the case of the one pictured, where a Pittosporum has surrounded one tall rosebush.

4) Growing close to the path or over the sidewalk, catching on the sisters' habits or poking passersby.

5) Dead wood

It really was a joy to have quiet time to focus completely on a project like this, and I needed every bit of my mental resources and powers of concentration to do the work. Also my imagination, as I tried to envision what effect my cuts would have on each bush in the next months and even years.

Afterward when I was driving home, I began to ask myself why I hadn't prayed while working, and quickly realized that it had taken every bit of my attention and creativity to do the task set before me. Is it perhaps a little like restoring a painting that has been severely damaged... a little like designing a building that must be raised on top of living ruins?  I wonder that, having no real knowledge of those types of art.

One thing for certain, the glory of this art won't show until after many weeks the plants produce the actual rose flowers. I have just decided that a visit to the monastery is necessary when that brilliance begins, because I've never even seen these bushes in bloom. In the meantime I'm posting some old rose photos from my own parish church grounds, to keep me happily anticipating warmer weather.

At about noon the nuns gather for the 6th Hour prayers, and when the bell rang the announcement I laid down my tools and joined them. There was my chance to pray and soak up the Spirit, and the spirit of the place, and to stand up straight for a while and breathe the incense.

I hadn't pruned all the roses, but I ate lunch with the sisters and went home anyway, meditating on what made the experience so fatiguing. Does it cause God this much trouble to prune us, as the Bible says he does: "Every branch that bears fruit He prunes, that it may bear more fruit. John 15:2" Does He say to Himself, "I did the best I could, under the circumstances."? Maybe we grow all out of shape in odd ways, not getting enough of the Sun of Righteousness.

Speaking of sun, it had brought the temperature up to 79 degrees that afternoon. We are all aching for rain here in the West, as we suffer a terrible drought that makes it hard to enjoy those lovely warm rays. The drought is like a dark un-cloud looming behind the sun. Now that I am invested in a few dozen rosebushes, I am a little concerned that some of them might not make it through a water-rationed cycle of seasons to next January when I will try to get back and minister to them.

As we anticipate a possibly very long dry season, my motherly/sisterly feelings are reaching out to the plants and animals, and I'm praying more intently in Divine Liturgy along with the deacon, "For favorable weather, an abundance of the fruits of the earth, and temperate seasons, let us pray to the Lord."

Everyone lies naked on a bed of nettles.

(This is my second posting, as the first one seems to have been lost in cyberspace.)

I ran across this article, part of a series on education by Anthony Esolen. In the course of describing how the modern world wars against our children's souls in ways our ancestors didn't experience, he touches on the topics of play, and why we don't want to be stimulated, and silence.

I think of the Lord speaking to us, in His silence that communicates so much: "Be still, and know that I am God." And that is how I know that these issues are crucial. Some excerpts:

It is noise, rather, that is the absence, both of the significant word and of the fullness of being that silence allows us to hear.

...how petty and dreary a thing it is to be stimulated. The stimulus is the prick or spur you dig into the side of an animal. Imagine the horse, slow moving creature when he is content, with his large sad eyes. If we are to make use of him, we must apply the spur.

It is essentially a pornographic world, where everyone lies naked on a bed of nettles, and every new thing is dead before it is born.

Silence is so great a blessing to us because we cannot use it. All things truly creative, which partake of the spirit of play, send their roots deep down into silence.

Read the whole article, Life Under Compulsion: Noise.

Would she give away her green doll?

My sewing room is also my prayer room and ironing room, and where I keep a big tub of knitting supplies, and my secret packages before they are wrapped as presents. And my big gym bag for when I swim. Of course it has to accommodate all the piles of fabric I've saved, and old clothes that I'm saving to use for the fabric when I make doll clothes or quilts. Ha! I so seldom sew anymore, much of this is largely theoretical.

Sometimes I have the thought that I should give away everything having to do with needle arts and fabric. But that doesn't feel right, and I keep saving patterns I find online, and pictures of the sort of quilt I would like to make, and tutorials for making Waldorf dolls.

My most recent investment in the sewingly creative side of me was some gorgeous fabric from Weir Crafts. They have all kinds of things one could want for dollmaking, and as soon as I picked out my favorite colors and received my order of cotton velour, I wanted to take its picture. At first I restrained myself, thinking I should actually sew something with the fabric and take a picture of that, but all it took was Frances posting a photo of pretty fabric to weaken my resolve.

In addition to these colors I have some green that I didn't wash yet. It's the most delicious stuff to handle, and will make a nice First Doll for Ivy. Ah, but which color shall I start with? I picked out a pattern for the doll, something appropriate for a first-birthday girl, and then in the chapter on "Soft Dolls" I read,

A young child just emerging from babyhood needs gentle colours: white, cream, pink, lilac or pale blue....

A doll made for an older toddler can be sewn from fabric with a colour which appeals to the child's temperament and general mood....

An outgoing or strong willed child will respond to a red doll because red energises, stimulates and gives confidence.

Blue is relaxing and peaceful; it will be appreciated by a thoughtful boy or girl.

Green is a harmonious colour and can encourage giving and sharing, while pink or lilac is restful and calming.

Yellow often excites and animates children, which is not too good for a quiet bedtime.

My most favoritest colors

Thank the Lord I didn't read this before ordering my fabric, or I'd still be deliberating over whether I should be choosing for a young or old toddler, or over which moods and behaviors I want to encourage in my grandchild. If I give her a green doll she might give it away, and then I would need to sew her another!

Mostly what I think about is that if Ivy likes the doll she ends up with -- and I'm quite content knowing that she may not -- it could get dragged around a lot, and I really can't see sewing it in white or cream, which would soon be just dirty.

Lilac sounds safe, and I plan to use it for this first doll, called Baggy Doll in the book. Baggy Doll has a hat, which I hope to make from some recycled wool sweater material in a different color.

It's a lot of creative effort I'm putting just making these plans. There was no place in my super-cluttered sewing room to lay out all the possibilities with enough space for me to think, so I have temporarily taken over two other currently unused bedrooms, one for the doll decisions and materials, and one for the ironing and laundry. Just getting that sewing room in order is a project in itself, which may have to wait. But at least I will be able to uncover the sewing machine.

Susan at Sun Pours Down Like Honey posted a good thought today,  oh-so applicable to me and my stuff:

It's not a group activity. It's what you do or don't do, what you do with your days, your time, 

to move towards your goals.
Choose hourly, daily. It's entirely your deal.
Discipline is remembering what you really want.

Wish me luck!

May the pots never grow cold.

About 30 years ago we owned a modular house whose many large windows were covered by the original fancy draperies, so that when the curtains were closed they covered most of the expanse of three walls with nubby gold curves. The walls were thin particle board painted to look like wood, as you can see in the photo - but I didn't mind those as much as the drapes. I would have preferred something more rustic and casual and of another color to go with the country setting, but even if we'd had the money we couldn't have justified spending it to replace Perfectly Good high-quality drapes.

It was a recurring temptation to me, though, to stew over how ugly and Not Me they were. This was tiresome, and eventually my better self convinced my offended self to stop, using this argument:

What is your purpose in life? To love God and be useful to Him.

What is the most important way for you to do that? To love people.

Do you need pretty and tasteful drapes in order to love people? No, I answered. If someone who comes to my house sees my drapes and not me, I can't help that. If they need my hospitality and friendship they need it from me personally, and God will just have to use me in spite of this ugliness in the room. (Which of course was not a universally recognized ugliness anyway.)

Those of us who have read any of Edith Schaeffer's other books know that she by her life and words demonstrated the importance of love and hospitality. Her book The Hidden Art of Homemaking, which is the subject of a book club hosted at Ordo Amoris, I do not take as contrary to the rest of her life and work, but complementary to it. Some of you may not have read the other books like What is a Family? Partly from reading it I am pretty sure that if she had to choose, she would herself rather have been a resident or guest in a plain and even ugly house run by a warmhearted woman than in an artistically decorated dwelling with an unkind or angry soul. We've all heard of and perhaps had the experience of going into a house where the decor was shabby or messy but you wanted to be there because it felt like home -- welcoming and nurturing. Mother Teresa's saying fits here: "Love begins at home, and it is not how much we do... but how much love we put in that action."

I think Edith's own houses were like this, because she was that kind of woman, and likely much more than I myself am. But I have it as a vision to be like that, and am inspired by quotes that speak of a woman being able to make a home wherever she finds herself, of a woman herself being the heart of her home....but I can't find any of those at the moment. The line that has intrigued me for years now is from the Santana song "You've Got to Change Your Evil Ways," from the perspective of a man who is dismayed by his woman who's gadding about all the time:

When I come home, Baby,
My house is dark and my pots are cold.

These are just signs to the poet that there is no woman at home to welcome him.  The verse reminds me of advice I read to housewives who haven't figured out what to make for dinner, but who want to do something to give their husbands a good feeling when they come in the door after work: While you are getting your act together put an onion in the oven to bake so that he will get a hopeful olfactory signal.

A message I get here: A woman conveys her love and hospitality by these simple modifications to the environment: opening the drapes or turning on the lights, cooking something in the kitchen, and in both ways warming up the sensory atmosphere. If she has a kiss and a smile for her family and guests all the better.

The last few years when my husband and I live here alone, I notice that I am the one who thinks about light control. In that photo above you can see all the light that came into the humble house with the gold drapes. It was the best feature of the house, as I was later to discover, when I wanted our new house to have as much light -- it was not to be. The photo was likely taken in the winter, when we would open the drapes wide and let in all the warming sun.

In our area we can get along pretty well in summertime without air conditioning, if we manage the windows and window coverings: At night open all the windows to let the cool air in; in the morning close everything up to shut out the sun's rays, and leave them that way (and the house kind of dark!) until the air inside gets as warm as outdoors -- then you may as well get any breeze that might stir, and be ready for the coolness to enter as soon as it arrives.

In Spring or Fall our present house doesn't get very hot, so in the mornings I like to open the blinds and let the sun in as soon as I come downstairs -- but my man never thinks of doing this. For my mind, sunlight is the very loveliest decoration. And at night, I like to close the curtains or blinds so as to feel sheltered against the world. This also seems to be, in my experience, a homemaker's impulse.

I have learned to do many artful things in my houses over the decades; I have arranged and painted furniture, swept the floor, bought bedspreads and embroidered Bible verses to hang on walls that I painted, but those things aren't more important than the light-monitoring I do. I also tend the fire in the stove, and light candles, and keep the pots warm.

While you're working on the outward appearance of your home, attend also to your heart and keep it warm with prayer. If the family members are getting snappy or sulky, take a prayer break together and ask God's help - then sing something to warm up the atmosphere. I like this quote that Debbie posted, by Laura Ingalls Wilder:

Let's be cheerful! We have no more right to steal the brightness out of the day for our own family than we have to steal the purse of a stranger. Let us be as careful that our homes are furnished with pleasant & happy thoughts as we are that the rugs are the right color and texture and the furniture comfortable and beautiful.

Thank God for making Edith Schaeffer the kind of woman who could pass on to us a bright homemaking heritage.

I did it for love of manzanita.

I am reposting this story from two years ago for the Hidden Art of Homemaking discussion at Ordo Amoris. It's about one of my projects that illustrates some of the difficulties and satisfaction of interior decorating.
 
A botanical theme has emerged.

Decorating is a homemaking job that I wish I could get over and done with and on to other things. This post is about how the realization of that wish is a long time coming. On one level the story bores me to death, even though it's my own house I'm writing about, the house I've been investing in for 20 years. That should warn most of my readers to leave right now and go read something more entertaining.

What's makes me want to tell this too-long tale anyway is the way it illustrates how an incredible amount of mental and physical labor can go into what seems a simple project. I suppose I'm not used to this precisely because I'm not into home decorating and haven't applied my perfectionistic creative energies to it so much before. In a way it's a larger-scale version of my doll clothes effort: what I envision doesn't come in a kit.

If I could make a kit out of it no one would buy it. It's just the best that we could do given our priorities, and with a tract house that doesn't have enough walls to be cozy or enough windows to brighten the view. The story I tell is also amusing if one considers the output of my mental energies compared to the mediocrity of the results.

G.K. Chesterton said,

It is the main earthly business of a human being to make his home, and the immediate surroundings of his home, as symbolic and significant to his own imagination as he can. 

I'm not sure what all G.K. meant by that, but he does seem to give me liberty, and even to tell me it is my duty, to spend time on my house and property with the purely physical and aesthetic aspects in mind.

One year ago

So, I push on. Last year we changed the arrangement of the living room furniture so that the pictures on the wall didn't work anymore. It seemed that the painting that used to be above a couch was too "heavy" after we moved the piano under it. It was then the largest wall item above the largest piece of furniture. Also, the TV had come out of the closet and found a new and permanent place in a corner, and the emptiness above it bothered me for months while I tried to figure out what to put there.

The first thing that came to mind was a manzanita branch such as I remembered my grandmother having in her living room for a while, a natural curio of sorts. Hers had sat on the coffee table, I think, but mine would hang above the TV to fill some of that airspace and balance out the piano nearby. (We'd need to get a smaller something to put above the piano, too.)

I started looking online for manzanita, but I found only small and twiggy, pale specimens, for use in flower arrangements. So I gave up for a while and spent hours looking for a decorative mobile. Nothing pleased. By that time we were in the middle of the remodel, so it wasn't urgent.

Then in April we went north to Pippin's place, where the previous winter's record-breaking amounts of snow had piled up everywhere. As we walked through her forest we saw several manzanita bushes with large branches broken off. My mind started twirling around the idea that I could prepare my own decorative branch. The others helped me choose a couple that might work and we hauled them home.

Nine months ago

I still didn't know if I could accomplish what I envisioned; I've never been one to do woodworking of any sort. I knew enough to trim off the flowers and small twigs. Then it occurred to me that wood needs to dry out before one can work it. I read that manzanita tends to split, so people have trouble making furniture out of it. Maybe my branches would split too much as they dried?

I left them sitting around in the garage for a couple of months and they only split a little bit. On the Internet I read somewhere to paint them with Danish oil to preserve the wood, so I did that. And one of my children said I should stain the trimmed ends of the branch so the whiteness of the wood wouldn't distract from the lovely smooth and dark bark.

I think this is the one I didn't use.

It was B.'s upcoming birthday party that put the fire under me to get the chosen branch up in the corner. We bravely screwed two hooks into the smooth new ceiling, and I painted them white so they would fade into the background. Then three strands of fishing line were tied to those, and to the branch.

Soldier was here and helped me position it just so; he's tall and strong and could stand there calmly holding it in midair while I fumbled with the almost invisible threads. Then voilà! At last, that one part of my decor was in place (now we only had to ignore the empty space above the piano) and all our party guests could admire it. I began brainstorming on a solution to that remaining space nearby.

Three weeks later I dusted the manzanita with a feather duster and the next morning it crashed onto the TV and to the floor. Nothing was harmed. Guess we needed stronger filament. It took me about two months to get to the store to buy it. Then it took another month before B. and I could make ourselves re-hang the branch. See what kind of do-it-yourself-ers we aren't?

I was sure I knew how to orient the branch, the way Pippin had told me to, but after B. and I got it centered and hung and he'd gone bike-riding, I realized by looking at previous photos that I had it exactly backwards, and it truly didn't look the best. I tried just flipping it over, and that sort of worked; I only had to re-tie one filament, and we were o.k....except that now the branch was a little closer to the ceiling than ideal, and the top of it was vaguely lined up with the curtain rod, which didn't look right. I suffered with that all through Christmas, trying not to care. Of course most people said it was fine because no one wanted to go through the difficulty of doing it over.

I had to buy a piano lamp before I could decide what would go behind it; our old one was shot. Piano lamps are expensive! The cheapest one I could settle on was out of stock for a few weeks, so we waited on that. I had looked at so many paintings or other wall decorations, many hours of browsing over several months, and found nothing I wanted enough to spend money on.

So I thought I would saw and paint some wooden birds to hang up there...they needed to be warm and colorful, because the corner with a black TV and a stark naked branch turned out surprisingly modern and chilly. (Maybe what I need is a branch about five times that big, just sitting on the floor behind the TV and reaching toward the ceiling...and permanently trimmed with Christmas ornaments...? )

But then we must return to how I'm not a woodworker, or a painter for that matter. I think it was on New Year's Day that I felt desperate to make some progress; I decided to spend money and get something. B. and I knew we needed color there, and we knew the parameters of what the measurements needed to be. I bookmarked some paintings, and when B. came home from watching a football game we chose one and ordered it. Whoopee!

The painting arrived and sat on the floor near its destination for over a week. I knew we needed to be in the right mood to even talk about putting it up. In the meantime, one day I got a burst of courage and all by myself re-did the lines supporting my manzanita. I think it might be as much as an inch lower. A most satisfying inch.

Last week we hung the picture. Those are giant poppies providing the splash of color. I hope Mr. Chesterton is happy and won't mind if I get back to my sewing and reading now.

The Theology of Beauty

I'm re-posting this part of book review from 2012 as a contribution to the discussion of The Hidden Art of Homemaking on the Ordo Amoris blog.

Possessing Beauty

No changing of place at a hundred miles an hour will make us the one whit stronger, happier, or wiser. There was always more in the world than men could see, walked they ever so slowly; they will see it no better for going fast. The really precious things  are thought and sight, not pace. It does a bullet no good to go fast, and a man, if he be truly a man, no harm to go slow; for his glory is not at all in going, but in being.

      --John Ruskin, quoted in The Art of Travel by Alain de Botton

John Ruskin

Ruskin is one of the "guides" the author takes as a teacher in his study of this art of travel; this particular guide yearns to give us his students the tools to understand and possess beauty. Ruskin believed that we can only understand beauty by paying close attention to it, and that attempting to describe nature through writing or drawing was the surest way to focus the mind sharply enough.

On the topic of drawing Ruskin published two books in the 1850's and gave lectures in London, but the point of his instruction was never to produce students who could draw well. He wanted to teach people to notice, and to "direct people's attention accurately to the beauty of God's work in the material universe."

Right here is a good place to propose that we who believe in God the Creator also take as our teacher John Ruskin, rather than Mr. de Botton, because I doubt that we can learn much directly on the subject of beauty, especially on how to possess it, from a man who doesn't understand that beauty, and in fact all that he possesses, are gifts from his Father God.

De Botton's most recent book is Religion for Atheists, which he wrote from the conviction that a disbelief in God should not prevent atheists such as himself from making use of various aspects of the major world religions to better their lives. No doubt many professing Christians have a similar pragmatic outlook, and are missing out on the essence of the faith, Who is Christ Himself, the Bread of Life, the Glory of God the Father.

In musing about the beauty of God, I came upon a website with that title, featuring quotes from Jonathan Edwards. Many people have caught a bad impression of Edwards from those who speak of what they know not, but long ago I learned that the most frequent word in the preacher's sermons was "sweet," in reference to God and fellowship with Him. It's not surprising that he had something to say about beauty as well. (The following paragraphs from Edwards were taken from his writings "The Mind" and "True Virtue" and bundled on the webpage with the added headings.)

God is Beautiful: "For as God is infinitely the greatest Being, so he is allowed to be infinitely the most beautiful and excellent; and all the beauty to be found throughout the whole creation, is but the reflection of the diffused beams of that Being who hath an infinite fulness of brightness and glory."

Jonathan Edwards

Beauty is a kind of consent or harmony: "[Beauty is] a mutual consent and agreement of different things, in form, manner, quantity and visible end or design; called by the various names of regularity, order, uniformity, symmetry, proportion, harmony, &c. . ."

“One alone, without any reference to any more, cannot be excellent; for in such case there can be no manner of relation no way, and therefore no such thing as Consent. Indeed what we call One, may be excellent because of a consent of parts, or some consent of those in that being, that are distinguished into a plurality in some way or other. But in a being that is absolutely without any plurality, there cannot be Excellency, for there can be no such thing as consent or agreement.”

Love is the highest kind of beauty: “The reason, or at least one reason, why God has made this kind of mutual agreement of things beautiful and grateful to those intelligent beings that perceive it, probably is, that there is in it some image of the true, spiritual, original beauty, which has been spoken of; consisting in being’s consent to being, or the union of spiritual beings in a mutual propensity and affection of heart. . . . And so [God] has constituted the external world in analogy to the spiritual world in numberless instances. . . . [He] makes an agreement of different things, in their form, manner, measure, &c. to appear beautiful, because here is some image of an higher kind of agreement and consent of spiritual beings.”

“When we spake of Excellence in Bodies, we were obliged to borrow the word Consent, from Spiritual things; but Excellence in and among Spirits is, in its prime and proper sense, Being’s consent to Being. There is no other proper consent but that of Minds, even of their Will; which, when it is of Minds towards Minds, it is Love, and when of Minds towards other things, it is Choice. Wherefore all the Primary and Original beauty or excellence, that is among Minds, is Love.”

God is beautiful because He is a Trinity: “As to God’s Excellence, it is evident it consists in the Love of himself; for he was as excellent before he created the Universe, as he is now. But if the Excellence of Spirits consists in their disposition and action, God could be excellent no other way at that time; for all the exertions of himself were towards himself. But he exerts himself towards himself, no other way, than in infinitely loving and delighting in himself; in the mutual love of the Father and the Son. This makes the Third, the Personal Holy Spirit, or the Holiness of God, which is his infinite Beauty; and this is God’s Infinite Consent to Being in general. And his love to the creature is his excellence, or the communication of himself, his complacency in them, according as they partake of more or less of Excellence and beauty, that is, of holiness (which consists in love); that is, according as he communicates more or less of his Holy Spirit.”

Jonathan Edwards did not have a perfect understanding of Trinitarian doctrine, but I am still very blessed by his giving glory to the Holy Trinity for Beauty, which of course can have its source and perfect demonstration no where else. For readings on the Holy Trinity I commend to you these pages.

Above a storefront in Carmel, California

 
Now, back to the subject of travel...I suppose no one wonders what all this beauty-talk has to do with our goings, because don't we all like to look at beautiful things when we travel? And when we have to move on, we also like to keep something to take home with us. How to not lose everything of the experience of a new place?

De Botton suggests three ways that we often try: 1) Taking pictures with a camera, 2) imprinting ourselves physically, as in carving our names in a tree trunk and thereby leaving a bit of ourselves behind, 3) buying something, "to be reminded of what we have lost." And none of these actions can have as much effect on the whole person as drawing.

In explaining his love of drawing (it was rare for him to travel anywhere without sketching something), Ruskin once remarked that it arose from a desire, "not for reputation, nor for the good of others, nor for my own advantage, but from a sort of instinct like that of eating or drinking." What unites the three activities is that they all involve assimilations by the self of desirable elements from the world, a transfer of goodness from without to within. As a child, Ruskin had so loved the look of grass that he had frequently wanted to eat it, he said, but he had gradually discovered that it would be better to try to draw it: "I used to lie down on it and draw the blades as they grew -- until every square foot of meadow, or mossy bank, became a possession to me."

De Botton chronicles his own efforts to follow Ruskin's advice, and when he attempts to draw a window frame in his hotel he finds that he had never actually looked at one before, in all its complexity of construction.

Many passages in the book also paint exemplary word-pictures, such as a paragraph on olive trees, of which the author at first "dismissed one example as a squat bush-like thing." On closer consideration, with the help of Van Gogh's art as well as Ruskin's tools, he sees the trees in all their magnificence, telling us that "the taut silvery leaves give an impression of alertness and contained energy."

There is another way that this description by de Botton follows Ruskin: in his anthropomorphizing of natural objects, attributing to them qualities that only humans or at least animals would actually have, and feeling that "they embody a value or mood of importance to us."

In the Alps, he described pine trees and rocks in similarly psychological terms: "I can never stay long without awe under an Alpine cliff, looking up to its pines, as they stand on the inaccessible juts and perilous ledges of an enormous wall, in quiet multitudes, each like the shadow of the one beside it -- upright, fixed, not knowing each other. You cannot reach them, cannot cry to them; -- those trees never heard human voice; they are far above all sound but of the winds."

My two-year-old grandson Scout is already a traveler following in Ruskin's (and his mother's) footsteps. He loves to hike and to stop and look at everything. On a recent outing he said, as he wandered off, "I'm going to climb up here, Mama, and the rocks will take care of me..."

That's what I call the spirit of good old-fashioned traveling. Not the sort that Ruskin himself decried, in the 19th century: "Modern travelling is not travelling at all; it is merely being sent to a place, and very little different from becoming a parcel." 

When I am loaded on to a jet plane, I confess to feeling a bit like a parcel squeezed into a big crate of parcels. But Ruskin, and yes, even de Botton are helping me to be a more joyful and observant traveler, even if it's only on a trip down the neighborhood footpath.

Before I had read just the small number of Ruskin's words that are in The Art of Travel, I didn't have the nerve to try my patience with drawing anything. But the man who wanted to teach me to notice has given me a vision of myself drawing a flower or a rock or a building. On my last car trip, I was even so bold as to pack into my bag a box of colored pencils.

(This post is part of a series on the book The Art of Travel.)

The Music of My Life

The third chapter of The Hidden Art of Homemaking is the impetus for this post. It is titled simply "Music," and continues the theme of how Christians might express their creativity in their varied and unique circumstances. I am participating in the discussion of the book on Cindy's blog, Ordo Amoris. This is a long post and I apologize -- you would be smart to skip it and go do something creative!

It might have been 30 years ago that I first read Hidden Art, and I wrote on the day of the author's death how important it was in developing a vision for my life. At the time of its publication in 1971 I don't think there was anything else like it, but feminists were writing plenty about the stifling life of the typical housewife. It was lovely to have laid out before me many concrete examples of interesting people and their home-enriching activities.

Just a couple of years later, Karen Mains wrote Open Heart, Open Home, which also contributed to my Christian vision, on the theme of hospitality. And I was married in the early 70's, and enjoying keeping house and garden even before the children started arriving. When the house started filling with kids, I never lacked for creative projects and plans.

But I hadn't even read Schaeffer's book yet. My young-married-childbearing years were overflowing with culture and creativity, and I could not relate to the reader Edith seemed to be writing for, someone who is frustrated, locked up, or unfulfilled (her words).

Only recently have I been able to look back over my life and see with more understanding (I hope) why the story reads the way it does. I needed time to think, and I needed to see more of the plot toward the end, before I could notice how the first chapters fit with middle parts of my saga.

Part I contained an excess of family drama, as we call it these days, emotional and psychological stress that I didn't get any help dealing with. If you have a splitting headache it is hard to tap into your creativity. It's the same with emotional pain, maybe more so when it isn't diagnosed or even acknowledged, but stays like an always-freshening wound that makes you want to move as little as possible.

Me in Part II

What brought me into Part II was getting married to a good man and empowered to create my own story, free of distracting pain. The setting was calm and clear and full of the hope of the gospel. It was somewhat the opposite of what Schaeffer talks about, because being home was my obvious opportunity to do just about anything. I had had no lack of examples and ideas; actually, the hippie era for me segued into a homesteading spirit a la The Mother Earth News. And there were all the creative people I'd known growing up (just about everyone), while I was storing up tinder for my creative fires.

I see that I have mixed a few metaphors here trying to tell my story -- or am I writing the score for the symphony that has been playing out? Though this chapter is about music, it seems as good a place as any to bring up what seem to me to be realities on which our artistic life is built. They apply to music, too.
 
I received little musical training as a child, and I had no career that I had to put on the back burner. But growing up in church was good ear-training, and even in the Girl Scouts and in public school we sang a lot. I was lucky to marry a musician, and by means of his guitar and my singing we filled the house and our children's ears with music.

We sang in the car, using songbooks I wrote out by hand. We sang around the campfire. We parents sat on the bedroom floor and crooned lullabies to our children every night. And in church I helped the young readers to develop fluency while hymn-singing, running my finger along the page under the words while they looked on. But I don't know how to read music.

At first there wasn't money for music lessons, and I wept over the injustice of a world in which my firstborn had no opportunity for a more structured musical education. Then grandparents and great-grandparents stepped in and God provided a generous piano teacher two blocks from our house. From that time forth the provisions continued in various ways, so that eventually all of our five children learned to play at least one instrument. The photos are of them and a grandson enjoying their music. Two of our daughters became piano teachers in their teens.

But for many families, music is not something they can really accomplish. My parents could not provide it for me, but it all worked out o.k. Some women find that their distracting drama only starts when they marry, or when a child falls ill. There are women for whom getting through the day is like climbing a steep mountain, and while they might be relieved to stop and smell the flowers, it's asking a lot to tell them they ought to get out the seed catalog and develop a plan for further landscaping. But I suppose they aren't the ones reading Hidden Art.

When Schaeffer says things like, "Christian homes should...be places where there is the greatest variety of good music," I balk at the word should. I don't know how she might otherwise have presented a picture of what she considers the ideal home, but every time she says we should do this or that to develop our creative side -- and in the short Chapter 2 she used the word nine times -- I get annoyed that she is telling me what my Christian duty is.

It just seems backward to me, because I can't recall ever doing one creative homemaking thing out of a sense of duty, though I firmly believe we are all obligated to do our duty. To fear God and keep His commandments is the whole duty of man, according to Ecclesiastes (Not that we can even accomplish those basics on our own). It seems to me that the rest, the art and music and beauty, flow naturally from a human soul that is nurtured by God's love -- just as sap running up a tree trunk results in bright leaves and colorful fruit. The main thing is not to tell the tree to make fruit, but to keep the connection to the life-giving Fountain -- Who is also the One who heals all those diseases of the heart that might hinder us.

What do you know -- beauty in our life is one of the healing potions God provides. So if we start with small things that brighten our homes, say, singing a few lines from a hymn over the kitchen sink, or teaching a nursery rhyme to a toddler, just in response to the impulse, we are creating culture and feeding our own souls. It keeps the sap running, and the more the tree grows, the more sap and delicious fruit there will be.

Since Edith Schaeffer wrote this book and What is a Family, the only two of hers that I have read, thousands of families have discovered that homeschooling provides the opportunities to build the kind of family life and culture that the author presents a vision for. Just give us enough time with our children and all these good things are more likely to happen. The vision she sets forth was an ingredient in the soil that nourished my own heart and gave me the courage I needed. All the rest is in Part II, Part III, and still writing... Oh, and still singing new songs!

See and be His art.

The second chapter of The Hidden Art of Homemaking is short, and titled "What is Hidden Art?" I love reading all the many women's thoughts on this topic, which can be found in the links on Ordo Armoris where the discussion is taking place.

It's a huge topic! Each human is a living and complex demonstration of creative powers, as is revealed by the uniqueness of each woman's life as expressed in her contributions to these discussions. The stories, the photos on the Hidden Art Pinterest page, the glimpses into the families whose wives and mothers are taking time to share their creativity online in addition to the never-ending work they do in their homes....it's all a glory to the Creator.

Obviously, art is hidden as long as you don't see it. That seems a basic point of this discussion. For me, having children opened my eyes to the world in a new way, because I often thought of my babies as tiny foreigners who were themselves seeing things in this new "country" for the first time. It was fun being the tour guide, and it challenged me to look afresh at my environment.

Sometimes just pointing a camera at some everyday scene helps to reveal a pattern of beauty - or to preserve the art when there isn't time for a quick sketch. My picture that I titled "Butter Art" so many years ago still makes me happy with its hominess, and it calls to mind the intangible kinds of creativity that I also brought to bear on the task of mothering my children, small "art" projects that took place in the kitchen, or the garden, or -- the heart.

I'm still pondering the thoughts of my previous post on this inward kind of creativity, which the author I quoted says "begins with the ability to change -- to change intentionally. Creativeness begins with the ability a being has...to become what he is not yet, to start at the point at which he was created and then grow into a fullness that he did not possess before..."

Might this not include the developing in us of the fruits of the Spirit, the love, joy, peace, kindness, longsuffering, etc. that are so essential to making a home? I know that Edith Schaeffer in the book under discussion is primarily dealing with outward, visual or sensory beauty. But what if we could "create" peace by our very presence, or transfer some of our own joy into our children's hearts?

Mothers naturally do those kinds of things, and often it's by the attitude they have while they are accomplishing practical works such as laundering the socks, changing them from stiff and smelly to soft and fresh. It all starts with something we are. The artistry of our God is not just something to imitate, but is His active work in us, with which we participate, and by which we become ourselves lights in the world.

The beginning of a true newness

I am somewhat apologetically writing already another post on The Hidden Art of Homemaking, because it is the philosophy and theology, the heavenly underpinnings perhaps, that inspire me and give me the energy to carry out the practical details. From looking at the chapter titles it seems that this introductory chapter might be the one about which I have the most musings.

As to the oddness of me taking my inspiration from yet another man, when it is we women who traditionally do the homemaking and who are discussing a woman's book, I will just say that, Christ who enables us also was a man, and the Life of The Holy Trinity is something greater than our gender roles. The reality of the Holy Spirit operating in the world through us is our means of living out our humanity. Homemaking is one of the many facets of our calling and our life in God, and this particular pastor always encourages me in the fact of "Christ in you, the hope of glory."

The passages from Metropolitan Anthony are from a talk on Genesis given in June, 1986, from the book Metropolitan Anthony of Sourozh: Essential Writings by Gillian Crow.

Creativeness, however, is something more complex than the ability to call out new forms, to shape one's surroundings or even to determine to a certain extent...our destiny. It begins with the ability to change -- to change intentionally. Creativeness begins with the ability a being has...to become what he is not yet, to start at the point at which he was created and then grow into a fullness that he did not possess before: from image to likeness, if you will -- having begun to be, as it were, a reflection, to become the reality itself; having begun to be in the image of the invisible Creator, to become the image of God incarnate.

...And this process is a creative process. It is not an organic one; it is not something that must develop inevitably; it is something that we must choose and that we must achieve with the grace of God.

Amy mentioned the possibility that we might, contrary to our calling, create ugly or bad things, and even sometimes express not craftsmanship but craftiness. Other and various sinful impulses can also rob us of our creative strength. On the other hand, many times just creating something can give us a boost in the right direction. For example, I am learning not to be discouraged by the disorder of my messy house. Instead I can take joy from the chance to create order and space to replace -- or at least reduce! -- the chaos that so easily develops. But creating order out of chaos is huge. That seems like a good description of one aspect of the creative work God is always doing in our lives.

Met. Anthony says that the creative work he is primarily talking about is not the art and music and literature that we tend to think of right away,

...both of heart and intelligence, of skill and of hand, but is much more essential and also much more important because all the rest can flow from this basic source of creativeness but cannot derive from anything else.

So that here we are confronted with man, whom God has called and loved into existence, endowed with His image, launched into life, and when on the seventh day the Lord rested from his works, the seventh day will be seen as all the span of time that extends from the last act of creation on the part of God to the last day, the eighth day, the coming of the Lord, when all things will be fulfilled, all things will come to an end, reach their goal, and blossom out in glory. It is within this seventh day, which is the whole span of history, that the creativeness of man is to find its scope and its place.

And this is a wonderful call to us because each of us can be a creator within his own realm, within his mind and his soul, by making them pure and transparent to God, within his actions and life, and become what Christ said we are called to be: a light to the world, a light that dispels darkness, a light that, as in the beginning of creation is the beginning of a new day -- that is, the beginning of a true newness and a new unfolding of the potentialities that are within us and around us.

Cindy is hosting a discussion of Edith Schaeffer's The Hidden Art of Homemaking, which anyone is welcome to join, and this post was written as a contribution.

I can be a jovial sweeper.

For the sake of discussion of the late Edith Schaeffer's The Hidden Art of Homemaking, which Cindy is hosting at Ordo Amoris, I am re-posting a book review I wrote last year. Paul Johnson mentions the foundation for our creativity as Schaeffer does in her first chapter on The Artist: it is God Himself from whom our creativity derives.

This topic is dear to my heart and one I've mulled over year after year, so I'd like to contribute to the discussion even though I am at a very busy time of the year, as you can see on my sidebar. It's a time of being creative in other ways than writing.

So I'll start by using this old material, and note that Johnson, though not a homemaker or writing about homemaking, still manages to convey the wide range of activities by which we can express and demonstrate the fact of our being made in God's image. The last paragraph I quote can easily be applied to our housekeeping duties!

More recently I have been reading transcribed lectures of Metropolitan Anthony Bloom in England, in which he touches on the subject of the creative process in and through us, and I hope to pass on some of his thought-provoking words soon.

Creating Jokes and Clean Streets

I picked up Paul's Johnson's book Creators the other day and am enjoying it three years after my first encounter. This is from the opening page:

Creativity, I believe, is inherent in all of us. We are the progeny of almighty God.... He created the universe, and those who inhabit it; and, in creating us, he made us in his own image, so that his personality and capacities, however feebly, are reflected in our minds, bodies, and immortal spirits. So we are, by our nature, creators as well. All of us can, and most of us do, create in one way or another. We are undoubtedly at our happiest when creating, however humbly and inconspicuously. 

Johnson mentions some of the many creations humans produce, such as written works, farms, and businesses. Some of these wonderful works are not lasting, though they are valuable for as short as a season or as long as centuries.

Some forms of creativity, no less important, are immaterial as well as transient. One of the most important is to make people laugh. We live in a vale of tears, which begins with the crying of a babe and does not become any less doleful as we age. Humor, which lifts our spirits for a spell, is one of the most valuable of human solaces, and the gift of inciting it rare and inestimable. Whoever makes a new joke, which circulates, translates, globalizes itself, and lives on through generations, perhaps millennia, is a creative genius, and a benefactor of humankind almost without compare.

I transcribed the above about jokes because that form of creativity is worlds removed from anything I can imagine drumming up. I am fascinated by the art of making or even telling jokes; the chapter in Annie Dillard's An American Childhood in which she relates how her parents worked their art of joke-telling describes an exotic land to which I could never go.

I'm more familiar -- quite familiar -- with the type of art Johnson also appreciates in this account:

I sometimes talk to a jovial sweeper, who does my street, and who comes from Isfahan, in Persia, wherein lies the grandest and most beautiful square in the world, the work of many architects and craftsmen over centuries, but chiefly of the sixteenth. I asked him if he felt himself creative, and he said, "Oh, yes. Each day they give me a dirty street, and I make it into a clean one, thanks be to God."

Edith Schaeffer

Edith Schaeffer died today!

I only heard by just now reading this blog post, from a friend of mine whose mother and I are friends and fellow home-lovers. Edith Schaeffer through two of her books, What is a Family and The Hidden Art of Homemaking, helped me in many ways to develop my own style and philosophy of homemaking.

Several particular principles and practices, from the importance of caring for the sick to table decorating, became part of my being and contributed to the joy of being the woman of my home. She was the first decidedly Christian person I read who understood the importance of beauty in the home, and she gave many (I remember I thought almost too many!) examples of how one might create a home environment that was rich in all the important things, even if worldly riches were lacking.

I am very thankful for this sister in Christ. May she rest in peace, and may her memory be eternal.

creating jokes and clean streets

I picked up Paul's Johnson's book Creators the other day and am enjoying it three years after my first encounter. This is from the opening page:

Creativity, I believe, is inherent in all of us. We are the progeny of almighty God.... He created the universe, and those who inhabit it; and, in creating us, he made us in his own image, so that his personality and capacities, however feebly, are reflected in our minds, bodies, and immortal spirits. So we are, by our nature, creators as well. All of us can, and most of us do, create in one way or another. We are undoubtedly at our happiest when creating, however humbly and inconspicuously. 

Johnson mentions some of the many creations humans produce, such as written works, farms, and businesses. Some of these wonderful works are not lasting, though they are valuable for as short as a season or as long as centuries.

Some forms of creativity, no less important, are immaterial as well as transient. One of the most important is to make people laugh. We live in a vale of tears, which begins with the crying of a babe and does not become any less doleful as we age. Humor, which lifts our spirits for a spell, is one of the most valuable of human solaces, and the gift of inciting it rare and inestimable. Whoever makes a new joke, which circulates, translates, globalizes itself, and lives on through generations, perhaps millennia, is a creative genius, and a benefactor of humankind almost without compare.

I transcribed the above about jokes because that form of creativity is worlds removed from anything I can imagine drumming up. I am fascinated by the art of making or even telling jokes; the chapter in Annie Dillard's An American Childhood in which she relates how her parents worked their art of joke-telling describes an exotic land to which I could never go.

I'm more familiar -- quite familiar -- with the type of art Johnson also appreciates in this account:

I sometimes talk to a jovial sweeper, who does my street, and who comes from Isfahan, in Persia, wherein lies the grandest and most beautiful square in the world, the work of many architects and craftsmen over centuries, but chiefly of the sixteenth. I asked him if he felt himself creative, and he said, "Oh, yes. Each day they give me a dirty street, and I make it into a clean one, thanks be to God."

Like Tidied Toy Shelves

When Pearl was a toddler, all her toys fit on two shelves held up by cinder blocks. Most every day, with sun streaming in through big windows of the old Victorian where we lived at the time, she would absorb herself in exploring all her belongings and scatter them around in the process.

Later in the day, or the next morning, she'd show no interest in the toys that had been removed from the organized rows. She would wander aimlessly, unhappy and bored. But as soon as I tidied up the collection of blocks and dolls and plastic pull-toys, they were fascinating again and good for another long spell of play.

My own toy shelves hadn't been tidied in at least 20 years until last summer when I tackled the chaos. I'm speaking of the boxes and baskets that held bolts and scraps of fabric, scissors and embroidery thread and patterns. Binder paper on which I'd written the body measurements of my granddaughters' dolls, and the design for a copy of Bird's tattered apron. Inherited notions, thimbles & thimble keeper.

Because I was known to like to sew, people thought of me when a grandmother or aunt died and left a button box or collections of needles and zippers, and I welcomed the gifts with open arms. You would think it was I and not my parents who grew up in The Depression; I even followed the example of my foremothers and snipped the buttons off before tossing out any raggedy shirt.

My grandmother Grace's button box at least did keep all the buttons in one place. I still can't bring myself to throw out the cards of odd old buttons in the bottom of it, and every year or two I pore over the loose ones in the top tray and imagine what I could stitch them on to.

You can see the closed button box on the floor.

All my wealth of possibilities grew without much notice because for a long time I couldn't decide which spot or room would be my sewing area, and sometimes I'd let a year or more go by without even opening my sewing machine. But once everything had been deposited in one room, I saw that it was a burdensome barnful.

The chosen spot is a bedroom where I can have my sewing machine near the door and while I sit at it I can face outward toward the rest of the house; I didn't want to lose touch with what might be going on downstairs. I had tried out the great room that is far removed from everything and often too cold, and I had also tried another bedroom that was too cramped, even though it was prettier.

Once I had invested in some storage racks and containers, and put things into their places, I could jump at the chance to sew doll clothes last year, knowing that my tools and materials were where I could find them. In the process of organizing, I found some interesting antique notions. And one of the doll clothes hangers that I had made and completely forgotten about.

Now that all my pins are in one box, all the spare buttons from purchased garments are in another, and there are no boxes of Hodgepodge anymore, my needlecrafting spirits have been lifted and I feel like playing again.

Book Notes

This stack represents the top of the current pile I've been working on. Any guesses as to which one I've already abandoned? I'll start from the top. At Large and Small by Anne Fadiman was a gift from H. We had both enjoyed her earlier book for readers, Ex Libris. She specializes in the personal essay and does a fine job of it, but I like the first book better; this one ranges over topics not so interesting to me. At least it is a small and lightweight book, which makes it possible to read while lying down just before the eyelids get heavy.

Creators is the first book by Paul Johnson that I have actually completed, though I've started in on two others by him. It is a collection of essays on famous creative individuals "from Chaucer and Dürer to Picasso and Disney." Um...to be exact, I didn't complete the book; there were a few in whose stories I couldn't drum up enough interest at bedtime. The chapter comparing Picasso and Disney was certainly thought-provoking. Johnson thinks that the ideas of Picasso will fade and be outmoded, while those of Disney will endure--not because Picasso was so selfish and violent and Disney a maker of "family movies," but for an entirely different and more fundamental artistic reason, which I don't want to give away here.

I learned a lot more about many people in this book: T.S. Eliot, Jane Austen, Mark Twain, J.S. Bach, fashion designers and landscape painters. How does Johnson know so much, and how can he be so opinionated? He is easy to read, and refreshing in his willingness to tell you just what he thinks, and to not be politically correct, either. This book is one of a series with two others: Intellectuals, published many years ago, and Heroes, which has come out since. Some critics thought Intellectuals somewhat of a downer, but these last books should make up for that.

My friend K. lent me The Folding Cliffs. It's not a book I'd have ever picked up otherwise, written as it is without any punctuation and me a member of the Apostrophe Protection Society. Is this even English? I guess it is, as I am able to read it, though it is definitely a variant form. In this case it is worth the trouble, though I'm not ready to tackle Merwin's other poems. Here's a sample from Cliffs:

The story is as captivating as the imagery, and I certainly won't abandon this one, even if it takes me a year of little snatches. I like the way the words flow as soothingly over my consciousness as the stream over the narrator's body.

Steinbeck's novel East of Eden was recommended to me by two friends, so I was happy to find it in the used book store. I've read almost half of it, and enjoyed several of those hundred pages. But this is the one I'm quitting. B. says I could write a dissertation on "What Can Be Learned of Steinbeck by Reading Half a Book"; I gave him my whole dissertation while cooking dinner after my decision to quit, but I will spare you readers. It boils down to the reality that life is short, and there didn't seem to be anything to be gained by continuing with Steinbeck. There has always been something missing between him and me. Perhaps this time would be different, and I'd be surprised and gratified if I'd finished it, but one can't have everything in life.

The Hacienda by de Teran is a re-run for me, but now B. and I are reading it aloud together. It's a fascinating story of Venezuela in the 1970's and the author's experience--how she got herself into a mess and lived in a primitive society for quite a while before escaping for her life. I've read a couple more books by this author and she tells a good tale--the ones I've read were the autobiographical accounts.

I love to read on a airplane. There is not much else to do, usually, so hours can go by without the attention being distracted. The Everlasting Man by G.K. Chesterton I took on my last flight as a treat I'd been long waiting to enjoy again. It was the kind of book that, the first time I read it, I knew to be the kind you have to read at least two or three times if you hope to get near the bottom of it.

Before our plane taxied down the runway I was well into the first chapter. My seatmate, who had initially seemed reserved, interrupted my reading to tell me that he much admired Chesterton and that particular book. Over the next ten or fifteen minutes we chatted on the subject of good writers, Christianity, how books had changed us, etc. And we still hadn't taxied anywhere, because as it turned out, the plane had a mechanical problem which ended up delaying our flight for three hours, by which time we'd all disembarked and my new friend had got a different flight. I was quite pleased that the Lord had given me a short and sweet discussion time and a long and sweet reading time, all on the same leg of the journey.

Richard Wilbur may be my favorite poet. K.'s having introduced me to hers jogged me into digging out Wilbur's poems again, which are so varied and beloved, I will have to write one or more posts just on him.

Now that there aren't any travels in my near future, there might not be many new books begun, either. But as you can see, I've still plenty to keep me busy.