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# 2019-12-17 - A Circle of Quiet by Madeleine L'Engle | |
I picked up this book at a whim in the biography section of the local | |
library. I felt pleasantly surprised to read language that is almost | |
identical to that of The Power of Now by Eckhart Tolle, only | |
Madeleine L'Engle's book was published in 1972 and it used a more | |
down-to-earth vocabulary. In her writing i sensed a kindred spirit, | |
both when i was a child, and now as an adult. She comes across as | |
very real, that quality i most admire and seek in other people. | |
All that follows below are excerpts that stood out to me, with any of | |
my comments enclosed in square brackets. | |
Every so often I need OUT; something will throw me into total | |
disproportion, and I have to get away from everybody--away from all | |
these people I love the most in the world--in order to regain a sense | |
of proportion. ... often I need to get away completely, if only for | |
a few minutes. My special place is a small brook in a green glade, a | |
circle of quiet from which there is no visible sign of human beings. | |
There's a natural stone bridge over the brook, and I set there, | |
dangling my legs and looking through the foliage at the sky reflected | |
in the water, and things slowly come back into perspective. ... I | |
move slowly into a kind of peace that is marvelous, "annihilating all | |
that's made to a green thought in a green shade." If I sit for a | |
while, then my impatience, crossness, frustration, are indeed | |
annihilated, and my sense of humor returns. | |
The burning bush: somehow I visualize it as much like one of these | |
blueberry bushes. The bush burned, was alive with flame and was not | |
consumed. Why? Isn't it because, as a bush, it was perfect? It was | |
exactly as a bush is meant to be. It IS. I go to the brook because | |
I get out of being, out of the essential. So I'm not like the bush, | |
then. I put all my prickliness, selfishness, in-turnedness, onto my | |
ISness; we all tend to, and when we burn, this part of us is | |
consumed. I think that part of us that has to be burned away is | |
something like the deadwood on the bush; it has to go, to be burned | |
in the terrible fire of reality, until there is nothing left but our | |
ontological selves; what we are meant to be. | |
... not because we are sufficient unto ourselves--I am not: my | |
husband, my family, my friends give me my meaning and, in a sense, my | |
being, so that I know that I am ontological: essential: real. | |
For the last two weeks of July this summer I abandoned the family, | |
the kitchen stove, the brook, and flew out to Ohio State University | |
to be a Writer in Residence for a special program of Reading Fellows. | |
... I had expected, during the question periods after both morning | |
and afternoon sessions, that I would get questions about writing, and | |
teaching children something about the arts. Mostly I got questions | |
about the nature of the universe. Perhaps the questions weren't as | |
direct as those I get from high-school or grade-school students, | |
because these men and women were experienced and sophisticated; but | |
their queries were aimed in the same direction. | |
[They were from diverse backgrounds.] I wanted to be very careful | |
that when we used a word everybody would understand it in the same | |
way, and this meant that we did a lot of stopping to define. Often I | |
would use a word which I hoped did not already have a preconditioned | |
meaning for them. | |
In real play, which is real concentration, the child is not only | |
outside of time, he is outside HIMSELF. He has thrown himself | |
completely into whatever he is doing. A child playing a game, | |
building a sand castle, painting a picture, is completely IN what he | |
is doing. His self-consciousness is gone; his consciousness is | |
wholly focused outside himself. | |
When we are self-conscious, we cannot be wholly aware; we must throw | |
ourselves out first. This throwing ourselves away is the act of | |
creativity. So, when we wholly concentrate, like a child in play, or | |
an artist at work, then we share in the act of creating. We not only | |
escape time, we also escape our self-conscious selves. | |
The Greeks had a word for ultimate self-consciousness which I find | |
illuminating: hubris: pride: pride in the sense of putting oneself in | |
the center of the universe. The strange and terrible thing is that | |
this kind of total self-consciousness invariably ends in | |
self-annihilation. | |
I was timid about putting forward most of these thoughts, but this | |
kind of timidity is itself a form of pride. The moment that humility | |
becomes self-conscious, it becomes hubris. Humility is throwing | |
oneself away in complete concentration on something or someone else. | |
Creativity is an act of discovery. The very small child, the baby, | |
is still unself-conscious enough to take joy in discovering himself: | |
he discovers his fingers; he gives them his complete unself-conscious | |
concentration. | |
When we can play with the unself-conscious concentration of a child, | |
this is: art: prayer: love. | |
One summer ago, I paid our grocery bill for the month. Our new | |
checkbook was with my husband in the city, but I had a rather elderly | |
checkbook which did not have the mandatory cybernetic salad in the | |
bottom left-hand corner. However, I had the money in the bank, and I | |
had my right and proper signature on the check. I was brought up to | |
believe that, if I need to, I can use a piece of birch bark, write | |
the name of the bank, the person to whom the money is to go, the sum, | |
the signature, and this constitutes a valid check. | |
But my check was bounced. When it was explained to me that it was | |
because it was missing some magnetic gibberish, I was furious. I saw | |
no reason why my old checks weren't still valid... My friend said, | |
"Oh, come off it, Madeleine, you know that check won't go through." | |
His job is to handle vast sums of money daily; he knows what he's | |
talking about. | |
I asked "Do you really and truly mean that my signature, my NAME, | |
means nothing, absolutely nothing at all?" | |
"That's what I mean." | |
It was a wet and windy day. I looked at the rain slashing against | |
the windows, pulled out a check with cybernetic salad in the bottom | |
left-hand corner, said, "All right, then, I feel like Emily Brontë | |
today," and signed it Emile Brontë. | |
My friend was not amused. "Madeleine, what are you doing?" | |
"You just told me that my name means nothing, absolutely nothing at | |
all. Okay, so I feel like Emily Brontë and I don't see why I | |
shouldn't sign it Emily Brontë Take it--just for fun--and let's see | |
what happens." | |
"I know perfectly well what's going to happen. I won't get my money." | |
But after lunch he came in, looking rather sheepish. He had his ten | |
dollars and fifty cents, and no questions asked at the bank about the | |
signature. "But it won't go through with your monthly statement. | |
It'll bounce." | |
"All right. If it bounces I'll write you another check." | |
It did not bounce. I now have canceled checks signed Emily Brontë, | |
Jane Austen, and Elizabeth Barrett Browning. | |
In the battle between Madeleine and the machine, at this point the | |
machine is winning. | |
A signature; a name; the very being of the person you talk to, the | |
child you teach, is at stake. What is a self-image? Who started | |
talking about one? I rather fancy it was Madison Avenue. Picture | |
Satan in a business suit, with well-groomed horns and a superbly | |
switching tail, sitting at his huge executive's desk, thinking, "Aha! | |
If I can substitute images for reality I can get a lot more people | |
under my dominion." | |
In the moment of failure I knew that the idea of Madeleine, who had | |
to write in order to be, was not an image. | |
The better word [better than happy] is joy, because it doesn't have | |
anything to do with pain, physical or spiritual. I have been wholly | |
in joy when I have been in pain--childbirth is the obvious example. | |
Joy is what has made the pain bearable and, in the end, creative | |
rather than destructive. | |
Half of the problem is that identity is something which must be | |
understood intuitively, rather than in terms of provable fact. An | |
infinite question is often destroyed by finite answers. To define | |
everything is to annihilate much that gives us laughter and joy. The | |
most real people, those who are able to forget their selfish selves, | |
who have true compassion, are usually the most distinct individuals. | |
But that [distinctiveness] comes second. Personhood comes first... | |
The people I know who are most concerned about their individuality, | |
who probe constantly into motives, who are always turned inwards | |
towards their own reactions, usually become less and less individual, | |
less and less spontaneous, more and more afraid of the consequences | |
of giving themselves away. They are perhaps more consistent than the | |
rest of us, but also less real. | |
The deeper and richer a personality is, the more full it is of | |
paradox and contradiction. | |
An acceptance of contradiction is no excuse for fuzzy thinking. We | |
do have to use our minds as far as they will take us, yet | |
acknowledging that they cannot take us all the way. | |
To settle for [giving a child a self-image] because we can't give a | |
child a self is manipulation, coercion, and ultimately the coward's | |
way out. | |
I haven't defined a self, nor do I want to. A self is not something | |
static, tied up in a pretty parcel and handed to the child, finished | |
and complete. A self is always becoming. BEING does mean becoming, | |
but we run so fast it is only when we seem to stop--as sitting on a | |
rock at the brook--that we are aware of our own ISness of being. But | |
certainly this is not static, for this awareness of being is always a | |
way of moving from the selfish self--the self-image--and towards the | |
real. | |
I was in that area of despair where one is incapable of being | |
ontological [real]. In my definition of the word, this is sin. | |
But there's still pride to fall over, not pride in the sense of | |
self-respect, but in that Greek sense of hubris: pride against the | |
gods; do-it-yourselfism, which the Greeks understood to mean "I can | |
do it myself just as well as, if not better than, the gods." When my | |
hubris gets pricked, I bleed; or at any rate my hubris bleeds. | |
We probably have more scientific knowledge at our fingertips today | |
than ever before, and yet we are incapable of handling this knowledge | |
creatively... More personally, my intellect is a stumbling block to | |
much that makes life worth living: laughter; love; a willing | |
acceptance of being created. The rational intellect doesn't have a | |
great deal to do with love, and it doesn't have a great deal to do | |
with art. | |
I must be willing to accept the explosions that take place deep down | |
in the heart of the volcano, sending up an occasional burst of flame | |
into the daylight of consciousness. | |
It's a strange thing that despite the anti-intellectualism in our | |
country, we also set so much store by IQ's and objective testing in | |
our schools and colleges and businesses. | |
How do we teach a child--our own, or those in a classroom--to have | |
compassion: to allow people to be different; to understand that like | |
is not equal; to experiment; to laugh; to love; to accept the fact | |
that the most important questions a human being can ask do not | |
have--or need--answers. | |
> Love is not an emotion. It is a policy. --Hugh Bishop. | |
Love can't be pinned down by a definition, and it certainly can't be | |
proved, and more than anything else important in life can be proved. | |
Love is a person. Love has a lot to do with compassion, and with | |
creation. | |
I'm quite willing to admit that all images in all forms of art have | |
multiple meanings, and one of the meanings is usually a sex meaning. | |
Let's just think about the mountains: one of the most beautiful | |
mountain ranges in our country is the Grand Tetons, which means the | |
Great Breasts. Why not? The idea of nature as mother is hardly new, | |
and I think I've made it clear that I'm all for the pleasures of the | |
body. When, as a very young girl, I read that Freud said that the | |
baby at its mother's breast experienced sexual pleasure, and so does | |
the mother, I was naïvely shocked. When I nursed my own babies I | |
knew what he meant; it was pure sensual delight. It was also an | |
unmitigated act of love, an affirmation of creation. | |
[By the way, etymology of the word "beauty" comes from the name of a | |
French shirt that revealed a woman's breasts. The Grand Tetons also | |
comes from the French language. Fitting to describe them as one of | |
the most beautiful mountain ranges in our country.] | |
Compassion means to suffer with, but it doesn't mean to get lost in | |
the suffering, so that it becomes exclusively one's own. It is not | |
that in compassion one cuts oneself off from feeling, only from one's | |
own selfishness, self-centeredness. | |
I've known for a long time that we know nothing about love, that we | |
do not have love, until we give it away. | |
When I was an extremely naughty child in an English boarding school, | |
the worst thing that we could call anybody was "pi." [Short for | |
pious.] | |
Dante says: "You cannot understand what I write unless you understand | |
it in a four-fold way: on the literal level, the moral level, the | |
allegorical level, and the anagogical level. [The anagogical level] | |
is that level of a book which breaks the bounds of time and space and | |
gives us a glimpse of the truth, that truth which casts the shadows | |
into Plato's cave, the shadows which are all we mortals are able to | |
see. | |
# Chapter 2 | |
I do mind, desperately, that the word "Christian" means for so many | |
people smugness, and piosity, and holier-than-thouness. Who, today, | |
can recognize a Christian because of "how those Christians love one | |
another"? | |
To be responsible means precisely what the word implies: to be | |
capable of giving a response. It isn't only the Flower Children or | |
Hell's Angels who are opting out of society. A writer who writes a | |
story which has no response to what is going on in the world is not | |
only copping out himself but helping others to be irresponsible, too. | |
To refuse to respond is itself a response. Those of us who write are | |
responsible for the effect of our books. Those who teach, who | |
suggest books to either children or adults, are responsible for their | |
choices. Like it or not, we either add to the darkness of | |
indifference and out-and-out evil which surround us or we light a | |
candle to see by. | |
We can surely no longer pretend that our children are growing up into | |
a peaceful, secure, and civilized world. We've come to a point where | |
it's irresponsible to try to protect them from the irrational world | |
they will have to live in when they grow up. ... Our responsibility | |
to them is not to pretend that if we don't look, evil will go away, | |
but to give them weapons against it. | |
One of the greatest weapons of all is laughter, a gift for fun, a | |
sense of play which is sadly missing from the grownup world. | |
Paradox again: to take ourselves seriously enough to take ourselves | |
lightly. If every hair of my head is counted, then in the very | |
scheme of the cosmos I matter... When I remember this it is as though | |
pounds were lifted from me. I can take myself lightly, and share in | |
the laughter... | |
So the challenge I face with children is the redemption of adulthood. | |
We must make it evident that maturity is the fulfillment of | |
childhood and adolescence, not a diminishing; that it is an | |
affirmation of life, not a denial; that it is entering fully into our | |
essential selves. [Pretty challenging.] | |
Then there's a need for adventure; we're not providing legitimate | |
adventure for many of them: how many ghetto high school kids can | |
qualify for the Peace Corps or Vista? So they seek adventure | |
illegitimately. | |
They really don't want me to answer their questions, nor should I. | |
If I have not already answered them ontologically, nothing I say is | |
going to make any sense. Where I can be of use is being willing to | |
listen while they spread their problem out between us; they can then | |
see it themselves in better perspective. | |
But over the years two questions of mine have evolved which make | |
sense to me. [These regard the viability of romantic relationships.] | |
* How is work going? Are you functioning at a better level than | |
usual? Do you find that you are getting more work done in less | |
time? If you are, then I think that you can trust this love. If | |
you find that you can't work well, that you're functioning under | |
par, then I think something may be wrong. | |
* What about your relations with the rest of the world? It's | |
alright in the beginning for you to be the only two people in the | |
world, but after that your ability to love should become greater | |
and greater. If you find that you love lots more people than you | |
ever did before, then I think that you can trust this love. IF you | |
find that you need to be exclusive, that you don't like being | |
around other people, then I think that something may be wrong. | |
Suddenly I said, "Hey, I think I know why astrology has such | |
tremendous appeal. The year and month and day you are born matters. | |
The very moment you are born matters. This gives people a sense of | |
their own value as persons that the church hasn't been giving them." | |
To matter in the scheme of the cosmos: this is better theology than | |
all our sociology. It is, in fact, all that God has promised us: | |
that we matter. That he cares. If God cares about us, we have to | |
care about each other. | |
Something very wrong that our generation, as a whole, has done is to | |
set one example for our children that may be even more telling than | |
we realize: we respect old age even less than they do. Our parents, | |
as they grow old, are frequently shuffled off into homes or | |
institutions [AKA bedlam]. We persuade ourselves that they'll be | |
happier there, they'll be better off with their "own kind" | |
(chronological segregation seems to me one of the worst sins of all), | |
but actually the real problem is that we have neither the time nor | |
the space for them in this urban, technological world. ... I know of | |
no easy solution. | |
I heard a doctor say that the living tend to withdraw emotionally | |
from the dying, thereby driving them deeper into isolation. Not to | |
withdraw takes tremendous strength. To pull back is a temptation; it | |
doesn't hurt nearly as much as remaining open. | |
It takes tremendous maturity, a maturity I don't possess, to strike | |
the balance of involvement/detachment which makes us creatively | |
useful, able to be compassionate, to be involved in the other | |
person's suffering rather than in our own response to it. | |
As modern medicine keeps people alive far beyond the old threescore | |
years and ten, the problem increases. Evading a realistic acceptance | |
of death and old age hurts not only our parents but our children, and | |
even when it is accepted responsibly, it is criticized. Friends of | |
our in New York are being censured because the wife's father is dying | |
in their apartment: he should be put in a hospital, they are told; | |
how can you let your children see death? | |
But this old man does not require specialized nursing; he does | |
require love and acceptance, and he can have this in his own family | |
in a way in which it can never be given even in the best of | |
hospitals. Which children are being shown the true example of mature | |
love? Those who are asked to share life and death? Or those who are | |
"spared" of all unpleasantness? Which children are being helped to | |
become redeemed adults? | |
# Chapter 3 | |
One day this past spring a young man who works part-time for the | |
Cathedral came into the library to let off steam. He is not a | |
Christian, and he hates the church in any structured form--what is | |
sometimes called the Establishment. He began judgmentally denouncing | |
all the clergy for being hypocrites. | |
"Wait a minute," I said. "Just what do you mean by hypocrite?" | |
They did not, it seemed, live up to his standard for clergymen. I | |
was willing to concede that not only was this undoubtedly true but | |
they probably didn't live up to their own standards for clergymen, | |
either. I said, "You talk a lot about your integrity, but you go on | |
working here, taking every advantage the Cathedral gives you, and | |
disapproving vocally of everything it stands for. How do you manage | |
that? How close is the 'you' of your ideals to the 'you' of reality? | |
When I react the way you've just been doing about someone else's | |
behavior, it usually stops me short if I remember how far my actual | |
self is from the self I would like to be." | |
One of the reasons this young man and I are friends ... is that he | |
understands what I'm getting at. "You mean," he said slowly, "that | |
what I'm really doing, underneath, is talking about myself?" | |
"Yes, but not only you. All of us. We all do it." | |
The most "whole" people I know are those in whom the gap between the | |
"ontological" self and the daily self is the smallest. The Latin | |
integer means untouched; intact. In mathematics, an integer is a | |
whole number. The people I know who are intact don't have to worry | |
about their integrity; they are incapable of doing anything which | |
would break it. | |
Integrity, like humility, is a quality which vanishes the moment we | |
are conscious of it in ourselves. We see it only in others. | |
The gap between our "real" and "actual" selves is, to some degree, in | |
all of us; no one is completely whole. It's part of what makes us | |
human beings instead of gods. When we refuse to face this gap in | |
ourselves, we widen it. | |
It is only a sacramental view of life which helps me to understand | |
and bear this gap; it is only my "icons," which, lovingly and | |
laughingly, point it out to me: throughout the years others have come | |
to help me. | |
People like Una can be icons for me. Una feels, with justification, | |
that she has been betrayed by the Establishment. One of these | |
betrayals came when she went to church and was made to feel unwelcome | |
because she was black. Una is for revolution. And so, I discover, | |
am I. | |
Because we are human, these communities tend to become rigid. They | |
stop evolving, revolving, which is essential to their life, as is the | |
revolution of the earth about the sun is essential to the life of our | |
planet, our full family and basic establishment. Hence, we must | |
constantly be in a state of revolution, or we die. | |
My own forgetfulness, the gap between the real, revolutionary me and | |
the less alive creature who pulls me back, is usually only too | |
apparent. [My learning] is a humbling process, but also a joyful one. | |
So my hope, each day as I grow older, is that ... I will also grow | |
into maturity, where the experience which can be acquired only | |
through chronology will teach me how to be more aware, open, unafraid | |
to be vulnerable, involved, committed, to accept disagreement without | |
feeling threatened, to understand that I cannot take myself seriously | |
until I stop taking myself seriously--to be, in fact, a true adult. | |
To be. | |
With the people I love most I can sit in silence indefinitely. We | |
need both for our full development; the joy of the sense of sound; | |
and equally great joy of its absence. | |
After the unexpected success of A Wrinkle in Time I was invited to | |
quite a lot of literary bashes, and frequently was approached by | |
publishers who had rejected Wrinkle. "I wish you had sent the book | |
to us." I could usually respond, "But I did." | |
When Hal Vursell was asked why they had accepted it when other | |
publishers were afraid of it, he replied, both privately and publicly | |
in a published article from which I quote briefly: "We have all, from | |
time to time, chosen and published obviously superior books, a book | |
not written to prescription or formula, one which we passionately | |
believed to be far better than nine-tenths of what was currently | |
being offered, only to have that very book still-born. Now editors | |
have emotions, too, and when this happens, believe it or not, they | |
bleed. All of us have a longer or shorter list of such books we | |
still mourn. But if this happens to an editor too often, he loses | |
his ability to judge and dare creatively; he has a strong urge to | |
retreat permanently to the sluggish waters of 'safe' publishing. So | |
to have refused A Wrinkle in Time carries no stigma of editorial | |
cowardice; the bravest of us pause from time to time to bind up our | |
wounds. It was our own good fortune that the manuscript reached us | |
at a moment when we were ready to do battle again." | |
W. Somerset Maugham said, "The common idea that success spoils people | |
by making them vain, egotistic and self-complacent is erroneous; on | |
the contrary, it makes them, for the most part, humble, tolerant, and | |
kind. Failure makes people bitter and cruel." | |
Adults can, and do [lie], and perhaps the earlier we discover it, the | |
better for us. I was about eight, certainly old enough to have | |
forgotten what it is like to wet one's pants. One day in French | |
class I asked to be excused. The French teacher must have been | |
having problems with children wanting to leave the room for other | |
reasons, and using the bathroom as an excuse, because she forbade me | |
to go. I asked her three times, and three times was told, No. When | |
the bell for the end of class rang I bolted from my desk and ran, but | |
I couldn't quite make it, and spent the rest of the afternoon sodden | |
and shamed. | |
When my mother heard what happened, she demanded to see the | |
principal. I remember with awful clarity the scene in the | |
principal's office, after the French teacher had been summoned. She | |
said, "But Madeleine never asked to go to the bathroom. If she had | |
only raised her hand, of course I would have excused her." | |
She was believed. I suppose the principal had to believe the | |
teacher, rather than the child with wet clothes. I was reprimanded | |
gently, told to ask next time, and not to lie about it afterwards, it | |
really wasn't anything dreadful to make that kind of mistake. | |
To have an adult lie, and to have another adult not know that it was | |
a lie; to tell the truth myself and not be believed: the earth shook | |
on its foundations. | |
A poetry contest was announced for the entire lower school; the judge | |
was to be the head of the upper-school English Department. The | |
entries weren't screened by the home-room teachers, otherwise I | |
wouldn't have had a chance of getting anything in. | |
When I won, there was a great sound and fury. My teacher said that | |
Madeleine must have copied the poem; she couldn't possibly have | |
written it; she isn't very bright, you know. | |
It was an issue big enough for my parents to hear about it. My | |
mother produced the poems and stories I had been writing while I | |
should have been doing homework, and it was finally conceded that | |
Madeleine could have written that poem after all. | |
At O.S.U. this July we asked each other: how much pain and rejection | |
and failure and humiliation can a child take? Pain can be a creative | |
teacher, but there is a point where it is totally destructive. The | |
span of endurance varies from child to child; it is never infinite. | |
What would have happened if my parents had not been able to remove me | |
from that particular school where teacher and student alike had me | |
pegged as different and therefore a failure? | |
I remember quite clearly coming home in the afternoon, putting my | |
school bag down, and thinking, calmly and bitterly, "I am the | |
cripple, the unpopular girl," leaving my book bag where it lay, and | |
writing a story for myself where the heroine was the kind of girl I | |
would have liked to be. | |
Warning, parents, teachers, friends: once a child starts to think of | |
himself this way, it's almost impossible for the "image"--I think | |
that's the right word here--to be changed. | |
A great painting, or symphony, or play, doesn't diminish us, but | |
enlarges us, and we, too, want to make our own cry of affirmation to | |
the power of creation behind the universe. This surge of creativity | |
has nothing to do with competition, or degree of talent. [Beauty | |
cries out for more beauty. Oh when we come into our calling, we ring | |
like bells, calling to everyone else, oh come, come into your | |
calling, oh come, come into your calling.] | |
The more limited our language is, the more limited we are; the more | |
limited the literature we give to our children, the more limited | |
their capacity to respond, and therefore, in their turn, to create. | |
The more our vocabulary is controlled, the less we will be able to | |
think for ourselves. | |
Alas. What have we done to our good, bawdy, Anglo-Saxon four-letter | |
words? We have not done violence to them; we have done the opposite. | |
We have blunted them so with overuse that they no longer have any | |
real meaning for us. | |
When will we be able to redeem our shock words? They have been | |
turned to marshmallows. They need violence done to them again; they | |
need to be wrested from banality; saved for the crucial moment. We | |
no longer have anything to cry in time of crisis. | |
"Help!" we bleat. And no one hears us. "Help" is another of those | |
four-letter words that don't [sic] mean anything anymore. | |
Perhaps the fact that I do not remember the teacher who accused me of | |
copying that poem tells something about her: I do not remember her | |
name; I do not remember what she looked like, the color of her hair | |
or eyes, her age, or the kind of clothes she wore. I remember | |
exactly what Miss Clapp looked like, her hair style, makeup, little | |
idiosyncrasies of dress and manner which were wonderfully dear to me. | |
But that other teacher: nothing. When she decided that I was | |
neither bright nor attractive nor worth her attention, she excluded | |
me, and this is the most terrible thing one human being can do to | |
another. She ended up annihilating herself. | |
To annihilate. That is murder. | |
We kill each other in small ways all the time. | |
The Greeks, as usual, had a word for the forgiving kind of love which | |
never excludes. They called it agapé. There are many definitions | |
of agapé, but the best I know is in one of Edward Nason West's | |
books: agapé means "a profound concern for the welfare of another | |
without any desire to control that other, to be thanked by that | |
other, or to enjoy the process." | |
The mistresses [at the English boarding school] assumed that all | |
Americans chew gum. "All Americans"--absurd generality: I was ME. | |
And one of my particular oddities is that I was one of the one in ten | |
who is born without the tooth on either side of the two front teeth. | |
Usually when this happens the second teeth are simply allowed to grow | |
together. If the dentist had let this happen with me, it would have | |
given my face a narrow look, so he made a gold upper plate on which | |
were fastened two small teeth; while the mouth is growing, a | |
permanent bridge cannot be used. It was easy for me to take my | |
tongue and loosen the gold bridge, which covered the entire roof of | |
my mouth, and I often did so. One morning at assembly, when the roll | |
was being taken, I was happily sucking my gold bridge, and the | |
mistress taking the roll call saw me, assumed that I was chewing gum, | |
and snapped at me, "Come here." Obediently I walked up in front of | |
the entire expectant school. She held out her hand. "Spit." I | |
spat. She looked with horror at the gold bridge with two small teeth. | |
We have forgotten how to touch each other, and we try desperately to | |
do it in wrong, impossible ways which push us further and further | |
apart. | |
There is a group of young ex-drug addicts in California called the | |
Jesus Freaks. They have turned against drugs, and the transitory | |
values of the world around them. I have met a group of Jesus Freaks | |
in New York. They are, in an ancient, Pentecostal sense, trying to | |
find truth, and what love really means. I'm not sure that they're | |
looking in the right direction--though they may be. The important | |
thing is that groups of Jesus Freaks should exist in the | |
nineteen-seventies at all. There weren't any around in the sixties. | |
Something extraordinary and new is emerging, and it gives me hope. | |
Small children do not yet have a sense of chronology and therefore | |
live in eternity; they are far more willing to accept death than we | |
are. | |
The myths of man have always made it clear that it is impossible for | |
us to look at the flame of reality directly and survive. Semele | |
insisted on seeing her lover in his own form, as god, and was struck | |
dead. In the Old Testament it is explicitly stated, many times, that | |
man cannot look on the living God and live. | |
If we are not going to deny our children the darker side of life, we | |
owe it to them to show them that there is also this wild brilliance, | |
this light of the sun: although we cannot look at it directly, it is | |
nevertheless by the light of the sun that we see. If we are to turn | |
towards the sunlight, we must also turn away from the cult of the | |
common man and return to the uncommon man, to the hero. We all need | |
heroes, and here again we can learn from the child's acceptance of | |
the fact that he needs someone beyond himself to look up to. | |
Physiologically our backbones are not made for standing upright--one | |
reason we human beings have so much back trouble. We have the | |
backbones of four-footed animals, and had our ancestors limited | |
themselves to their capacity, we would still be down on all fours, | |
and therefore incapable of picking up a flower, a strange stone, a | |
book, and holding it in front of our eyes. [But gorillas can do | |
that, can't they?] | |
The uncommon man has done the impossible and there has been that much | |
more light in the world because of it. Children respond to heroes by | |
thinking creatively and sometimes in breaking beyond the bounds of | |
the impossible in their turn, and so becoming heroes themselves. | |
But this is the Age, among other things, of the Anti-hero. This is | |
the Age of Do-it-yourself: Do-it-yourself Oil Paintings: Just Follow | |
the Numbers; Do-it-yourself Home Organ Lessons; Do-it-yourself | |
Instant Culture. | |
But I can't do it myself. I need a hero. A hero shows me what | |
fallible man, despite and even with his faults, can do: I cannot do | |
it myself; and yet I can do anything: not as much of a paradox as it | |
might seem. | |
In looking towards a hero, we are less restricted and curtailed in | |
our own lives. A hero provides us with a point of reference. | |
Miss Clapp for me was a point of reference, not nearly as much | |
because of what she taught me directly as because of what she was. | |
All teachers must face the fact that they are potential points of | |
reference. The greatest challenge a teacher has to accept is the | |
courage to be; if we ARE, we make mistakes; we say too much where we | |
should have said nothing; we do not speak where a word might have | |
made all the difference. If we are, we will make terrible errors. | |
But we still have to have the courage to struggle on, trusting in our | |
own points of reference to show us the way. | |
# Chapter 4 | |
Whether we like this world or not, whether we consider it progress or | |
not, whether we think it one of the most exciting and challenging | |
times in the history of mankind or not, it is here. This is a fact | |
we cannot change by any form of escapism, nihilism, secularity, or | |
do-it-yourself-ism. | |
We can't absorb it all. We know too much, too quickly, and one of | |
the worst effects of this avalanche of technology is the loss of | |
compassion. | |
We are lost unless we can recover compassion, without which we will | |
never understand charity. We must find, once more, community, a | |
sense of family, of belonging to each other. | |
Marshall McLuhan speaks of the earth as being a global village, and | |
it is, but we have lost the sense of family which is an essential | |
part of a village. | |
Compassion is nothing one feels with the intellect alone. Compassion | |
is particular; it is never general. | |
It is no coincidence that just at this point in our insight into our | |
mysteriousness as human beings struggling towards compassion, we are | |
also moving into an awakened interest in the language of myth and | |
fairy tale. The language of logical argument, of proofs, is the | |
language of the limited self we know and can manipulate. But the | |
language of parable and poetry, of storytelling, moves from the | |
imprisoned language of the provable into the freed language of what I | |
must, for lack of another word, continue to call faith. | |
We are finite human beings, with finite minds; the intellect, no | |
matter how brilliant, is limited; we must go beyond it in our search | |
for truth. | |
Most of us feel this way. If you don't agree with me you don't | |
understand. But it takes a child to admit it. Today there is much | |
loose talk about communication and about truth, and little | |
understanding of what either one of them is. The language which is | |
ontological rather than intellectual, has little to do with the | |
"linguistic sciences," which tend to smother language... The | |
linguistic sciences' emphasis on simplifying communication produces | |
the odd result of so complicating it that we evade it entirely. | |
The primary needs can be filled without language. We can eat, sleep, | |
make love, build a house, bear children, without language. But we | |
cannot ask questions. We cannot ask, "Who am I? Who are you? Why?" | |
One of the most helpful tools a writer has is his journals. Whenever | |
someone asks how to become an author, I suggest keeping a journal. A | |
journal is not a diary, where you record the weather and the | |
engagements of the day. A journal is a notebook in which one can, | |
hopefully, be ontological. | |
A little more pragmatically, a journal, at least one that is not | |
written for publication, is a place where you can unload, dump, let | |
go. It is, among other practical things, a safety valve. If I am | |
out of proportion and perspective, then once I have dumped it all in | |
the journal, I am able to move from subjectivity to at least an | |
approach to objectivity, and my family has been spared one of | |
Madeleine's excessive moods. A journal is also a place in which joy | |
gets recorded, because joy is too bright a flame in me not to burn if | |
it doesn't get expressed in words. | |
Sometimes i answer that if I have something I want to say that is too | |
difficult for adults to swallow, then I will write it in a book for | |
children. Children still haven't closed themselves off with fear of | |
the unknown, fear of revolution, or the scramble for security. They | |
are still familiar with the inborn vocabulary of myth. | |
So with books. A childish book, like a childish person, is limited, | |
unspontaneous, closed in, certainly doesn't appeal to a true grownup. | |
But the childlike book, like the childlike person, breaks out of all | |
boundaries. Here again joy is the key. | |
But a great piece of literature does not try to coerce you to believe | |
it or to agree with it. A great piece of literature simply is. | |
It is a vehicle of truth, but it is not a blueprint, and we tend to | |
confuse the two. | |
One summer Hugh and I went, more or less by accident, to a burlesque | |
show. We'd gone down to the Village to see an off-Broadway play in | |
which a friend was appearing, found that he was out that night | |
because he'd strained his back. We thought we'd rather wait to see | |
the show when he returned to it, and directly across the street was a | |
marquee proclaiming Ann Corio in This Is Burlesque. | |
"How about it?" | |
"Fine." | |
It was great fun. A series of pretty young girls came out on stage | |
and danced while removing their clothing. I was filled with envy not | |
so much for their lovely bodies as for the way they could twirl the | |
tassels on their breasts: clockwise, counter-clockwise | |
(widdershins!): it was superb. | |
Towards the end of the performance one stripper came out who was a | |
little older than the others, possibly a little beyond her prime. | |
But she had a diaphanous scarf in her hands, and she twirled and | |
swirled this about her as she removed her clothes, and Hugh remarked, | |
"She's beautiful." It was only she, of all the strippers, who gave | |
the audience a feeling of mystery. | |
If we accept the mysterious as the "fairest thing in life," we must | |
also accept the fact that there are rules to it. A rule is not | |
necessarily rigid and unbending; it can even have a question mark at | |
the end of it. I wish we worried more about asking the right | |
questions instead of being so hung up on finding answers. | |
One of my favorite theologians is Albert Einstein. He writes, "The | |
fairest thing we can experience is the mysterious. It is the | |
fundamental emotion which stands at the cradle of true art and true | |
science. He who knows it not, who can no longer wonder, can no | |
longer feel amazement, is as good as dead, a snuffed-out candle." | |
... when the real thing is accepted, the desire for the cheap | |
substitute goes [away]. Something for something is far more | |
satisfying than something for nothing. "Take what you want, said | |
God," runs an old Spanish saying. "Take it, and pay for it." | |
I read lots of adult novels when I was a child; the parts about sex | |
were mostly outside my vocabulary and definitely outside my | |
experience; I didn't understand them and slid over them. Unless a | |
grownup, looking horrified, tells us that we shouldn't read a book | |
because it is "dirty," we, as children, won't even see the dirt | |
because it is outside our field of vision; we have not yet been | |
corrupted by repressive taboos. And children are a great deal less | |
naïve and fragile than many adults give them credit for being. | |
Whatever the contemporary taboos may be, all great books are imbued | |
with Einstein's quality of the mysterious, and keep its rules. | |
A truly great work of art breaks beyond the bounds of the period and | |
culture in which it is created, so final judgment on a current book | |
has to be deferred until it can be seen outside this present moment. | |
Toby isn't afraid to stick his neck out; he doesn't try to play it | |
safe. He doesn't depend on Trendex rather than his own opinion. | |
Because he is, thank God, human, he sometimes makes mistakes; but he | |
wouldn't be where he is now if his opinion hadn't far more often been | |
right than wrong. Or if he hadn't been willing to take risks for | |
what he believes in. | |
In a moment of crisis we don't act out of reasoned judgment but on | |
our conditioned reflexes. A driver prevents an accident because of | |
his conditioned reflexes; hands and feet respond more quickly than | |
thought. | |
I'm convinced the same thing is true in all other kinds of crisis, | |
too. We react to our conditioning built up of every single decision | |
we've made all our lives; who we have used as our mirrors; as our | |
points of reference. If slow and reasoned decisions are generally | |
wise, those which have to be made quickly are apt to be wise, too. | |
If our reasoned decisions are foolish, so will those of the sudden | |
situation. | |
If we accept the responsibility of a situation, there is a response, | |
whether we know it or not, and whether it's the response we | |
expect--or want. Perhaps we may be required to die with our friend? | |
Suppose the strange little iceberg that is the human mind (the | |
largest part submerged, ignored, feared) is also likened to a living | |
radio or television set. With our conscious, surface selves we are | |
able to tune in only at a very few wave lengths. But there are | |
others, and sometimes in our dreams will will pick up a scene from a | |
distant, unknown, seemingly non-rational channel--but is it | |
non-rational? Or is it in another language, using metaphors and | |
similes with which we are not yet familiar. | |
"Consciousness expanding" is part of the current jargon. | |
We don't hurt ourselves--except aesthetically, which is not to be | |
taken lightly--by drinking instant coffee or eating powdered eggs, | |
but we do hurt ourselves when we try to take shortcuts to find out | |
who we are, and what [where] our place in the universe [is]. | |
Not that I am against consciousness expanding: I want as much of my | |
little iceberg as possible out in the full light of the sun, and I | |
want to be clearly aware of the beautiful country beneath the waters. | |
All forms of art are consciousness expanders, and I am convinced | |
that they will take us further, and more consciously, than | |
[psychedelic] drugs. For me, writing is one. But so is reading the | |
great writers. ... And so are our dreams. I want to remember them, | |
not so that I can recount them at boring length, but so that I will | |
be less insular, less afraid to travel in foreign lands. We are very | |
foolish if we shrug and patronizingly consider that these voyages are | |
not real. | |
Only a human being can say "I'm sorry. Forgive me." This is part of | |
our particularity. It is part of what makes us capable of tears, | |
capable of laughter. [Give yourself to love if love is what you're | |
after. Open up your heart to tears and laughter. --Kate Wolf] | |
Possibly nothing he could have done for me, myself, would have | |
illuminated the world for me as did this act of love towards those I | |
love. Because of this love, this particular (never general) | |
Christian love, my intellectual reservations no longer made the least | |
difference. I had seen love in action, and that was all the proof I | |
needed. | |
I do not understand the mysteries of the flesh, but I know that we | |
must not be afraid to reach out to each other, to hold hands, to | |
touch. | |
... again the Greeks were wiser than we are. They had two words for | |
time: chronos and kairos. | |
Kairos is not measurable. Kairos is ontological. In kairos we are, | |
we are full in ISness, not negatively, as Sartre saw the ISness of | |
the oak tree, but fully, wholly, positively. Kairos can sometimes | |
enter, penetrate, break through chronos: the child at play, the | |
painter at his easel, Serken playing the Appassionata, are in kairos. | |
The saint at prayer, friends around the dinner table, the mother | |
reaching out her arms for her newborn baby, are in kairos. The bush, | |
the burning bush, is in kairos, not any burning bush, but the very | |
particular burning bush before which Moses removed his shoes; the | |
bush I pass on my way to the brook. In kairos that part of us which | |
is not consumed in the burning is wholly awake. We too often let it | |
fall asleep, not as the baby in my arms droops into sleepiness, but | |
dully, bluntingly. | |
I sit in the rocking chair with a baby in my arms, and I am in both | |
kairos and chronos. In chronos I may be nothing more than some | |
cybernetic salad on the bottom left-hand corner of a check; or my | |
social-security number; or my passport number. In kairos I am known | |
by name: Madeleine. | |
The baby doesn't know about chronos yet. | |
The shadows are deepening all around us. Now is the time when we | |
must begin to see our world and ourselves in a different way. | |
author: L'Engle, Madeleine, 1918-2007 | |
LOC: PS3523.E55 Z5 | |
detail: gopher://gopherpedia.com/0/Madeleine_L'Engle | |
tags: book,biography,memoires,non-fiction | |
title: A Circle of Quiet | |
# Tags | |
book | |
biography | |
memoires | |
non-fiction |