Yesterday, Martin Luther King Day +1, like many greater Bostonians, I made the pilgrimage to downtown’s Boston Common to view the just- installed “The Embrace” sculpture. I was prepared to love this celebration of the moment when Dr. King and his wife Coretta learn he’s received the Nobel Peace Prize. And I did. I was not prepared to choke up.
The backstory to my tears: Because Monday’s snow and ice kept me from attending the sculpture’s installation, I’d read up on its backstory. To discover that its location commemorates a significant moment in Boston’s checkered civil rights history: when Dr. King spoke on Boston Common on April 23, 1965.
A senior at Wheelock College, I was there. But not to hear Dr. King!
May the story I’m about to tell illustrate more than my tiny little piece of American history: As readers of Way Opens know, in April of 1965, like most White Americans, my understanding of racism and our nation’s history was woefully ignorant. But when, the month before, Reverend James Reeb, a White Unitarian-Universalist minister, had been murdered in Selma, Alabama? That got my attention.
Here’s the point I want to make: Up until that cold and overcast April day nearly sixty years ago, I paid little attention to the civil rights movement. Vaguely aware of sit-ins, the Freedom Riders, that Dr. King visited Lynchburg, Virginia in 1962 where I was a senior in a just-desegregated high school, it took the murder of a member of my own denomination to finally break through my indifference.
BTW: Reeb’s name is inscribed on the plaza surrounding “The Embrace” alongside other Boston civil rights heroes—including Dr. Virgil Wood, still alive, I believe, whose picture graces the cover of Way Opens. Another story.
So I cried for that young, very young twenty-year old. And for of us who cannot recognize injustice nor show up at a march or demonstration or rally unless its cause relates to our own experience.
I’ll end with this: Resident of a metropolitan region infamously famous for its racism, for me that massive sculpture roused—what? grateful tears too?
I think so.
[Here is an excerpt from a memoir I’m working on—Strands.]
Grief does not appear solely through tears; it is also expressed through our anger and outrage. *
Maybe twenty years ago, Kevin, a friend of color, said to me, “Patricia? You know what you’re like? You’re like a cook on a slave ship.”
And I had been furious! Wasn’t I an ardent anti-racist? Weren’t my woke credentials impeccable? Wasn’t I steadfastly showing up at Boston-area trials highlighting racial profiling? Didn’t I blog, again and again, about my privilege, my cluelessness, how hard I was working on issues about race and class? Hadn’t I, just a few years before Kevin had said these devastating words, sung “We Shall Overcome?” with Jerry Falwell in a Lynchburg church built by ex-slaves? (True story.) Hadn’t I written Way Opens about all of this?
But Kevin had been right. It has taken a global pandemic and George Floyd’s murder for me to take in the horrifying truth of what my friend wanted me to understand. Embedded in this black slave and white cook narrative, despite my yearning to move past Us/Them, despite my bone-deep belief that we are all equals at the table, lies a binary I must acknowledge.
Briefly, very briefly, when working on Way Opens, I’d sensed an opening on this essential and undeniable binary which I failed to truly look at, absorb, take in. So am only telling this story now.
While doing research for my book, I’d talked with Lynchburg resident Chauncey Spencer, former Tuskegee Airman and son of Anne Spencer, Harlem Renaissance poet. Back in Jim Crow days, Anne Spencer and her husband, Edward, hosted many notable people of color when they’d traveled to segregated Lynchburg; their house guests included Mary McLeod Bethune, Martin Luther King, Jr. and Thurgood Marshall. The Spencers’ lovely Piece Street home and garden is now a museum located across the street from Dr. Robert “Whirlwind” Johnson’s home—and tennis court. On that court, now gone, the Lynchburg doctor, who’d earned his nickname on collegiate football fields, instructed the young Althea Gibson and Arthur Ashe—and many others.
More about history from Way Opens:
On one trip, on a steamy summer day, I visited Harlem Renaissance poet Anne Spencer’s charming garden not far from the little house where she wrote. Although I had once lived a few miles from her home on Pierce Street, I had never heard of the Lynchburg poet, passionate gardener, and friend of Langston Hughes and James Weldon Johnson.
I understood, of course, that in the years I’d lived in segregated Lynchburg, our paths would have been prohibited from crossing. And I understood that even had Lynchburg not been a segregated community at that time, the elderly Anne Spencer might not have chosen to spend time with an adolescent Yankee transplant who liked to write. Still, sitting in her lovely garden, I cried as I contemplated how racism, this “hidden wound,” diminishes my life.
When doing my homework for this leading, what I was learning often made me angry. Like Audre Lorde, furious when she discovered how limited her supposedly excellent education had been, I’d become incensed “about the history I had learned” or hadn’t been taught. Other accounts, other history lessons were simply heartbreaking: narratives related by slaves who had lived in Lynchburg and told in Negro in Virginia, or a description of the dangerous working conditions for Lynchburg’s tobacco-processing hands, to name but two. But like that moment in Anne Spencer’s garden, there were times when the depth of my ignorance made me weep. Often, like that moment, I was discovering something about Lynchburg’s history, something I’d been denied learning, something that had happened just a few miles from where I had once lived or gone to school.
Dazed to be in his presence, where Chauncey Spencer and I met remains a blur. I do remember a cool, shades-drawn, old-fashioned parlor where we’d talked. And how, as the son of a famous mother and dashing, history-making airman, he’d obviously been interviewed many times. Almost by rote this former World War II pilot told me how he’s always wanted to fly; methodically he’d schooled me on the history of segregation and told how, in part because of his military service and subsequent, impromptu conversation he’d had with Harry Truman on Capitol Hill, in 1948 Truman enacted Executive Order No. 9981, stipulating equality of treatment and opportunity in all of the United States Armed Forces.
As out interview began to wind down, something prompted me to say something I had not expected to say. Maybe he’d used the word colorblind and I’d heard that word with fresh ears. Maybe this had been a graced, inbreaking moment. Whatever it was, I heard myself say something like, “I think it’s important, though, to acknowledge your experiences as a Black man growing up and living in racist America and how that has shaped you. Aren’t you, in many ways, who you are because of Jim Crow?”
He’d grinned: “I never heard anyone say that before.”
From The Wild Edge of Sorrow: Rituals of Renewal and the Sacred Work of Grief by Francis Weller
I’m not giving up anything this year; I’m taking on something. Something I’ve been afraid to take on for most of my life: I’m welcoming everything that happens to me. For, as Francis Weller points out, “This is the secret to being fully alive.” (He also notes how incredibly hard this is!)
Today, Day 3 into this spiritual exercise—which might become a practice—I’m pissed off. Someone I do prison ministry alongside with—well, why go into it? Because, as I remind myself, taking a few, deep breaths, this is capital L Life, right? I am fully alive and still following the leading I began over twenty years ago. I am actually doing what Spirit asked of me! And that is a blessing.
Day 1, at a weekly meeting I attend sometimes, I listened to my community’s immigration-rights activists lament the Supreme Court’s recent, heartbreaking decision on “Public Charge.” And felt myself do what I always do: wall myself off from the pain around the table. Protect myself. “This is the life you are living,” I silently coached myself. “This is that damned Chinese curse, ‘May you live in interesting times.’ For whatever reason, you were born to experience this, now. You are alive to experience this. All of it.”
I am hyperaware that were I daily experiencing non-stop pain and trauma it’s entirely possible I’d be telling a different story. I am hyperaware of my cushy, privileged life. I am hyperaware that my race and class and resultant medical care is why I get to do this soul-work/grief work; why I’m still alive at my age. I am hyperaware that were I a Woman of Color I might not be alive to tell this story.
But, Friends, I am and I can and here’s what happened: I briefly experienced that exhilaration Ray Bradbury’s short story, “Dandelion Wine” so wonderfully captured: “I am alive!” And so, openhearted, was also gifted to hear how my community plans to address this latest assault on our neighbors and friends, an ironically and unexpectedly touching outcome of living in this interesting time: I now know so much more fully how many other people are also working on social-justice issues. Oh.
Does the harsh fact that over the past year my Quaker meeting/my “village”/ my tribe has lost eight people, two of whom I counted as dear friends, focus attention on that word alive?
Saturday I attended the memorial for Paul Hood, a much revered peace activist and former member of Friends Meeting at Cambridge. Paul, who’d moved to Burlington, Vermont in the early eighties, had been an FMC superstar back in the late seventies—just when I first started to attend Quaker meetings. One Sunday, perhaps after he’d spoken during worship, someone whispered to me that he’d poured blood on Draper Labs, an apocryphal story, probably; nevertheless, as a newbie, I was impressed. (And, certainly, like many other Quakers I have come to know and admire, Paul was arrested many, many times while doing civil disobedience in support of some deeply-felt cause.)
The pamphlet distributed at his memorial provided the genesis for his life-long peace activism: During WWII in the winter of 1944, he consulted with his minister who counseled him that he must serve his country and that it was in accordance with Christian faith; so, at the age of 17, having also obtained his mother’s permission, he enlisted in the US Marine Corps. Shortly after his deployment to Japan, in the battle for Okinawa, a fellow soldier died in his arms and Paul’s shock precipitated an enraged killing spree that, albeit sanctioned by his status as a soldier on the front line, left him horrified and ashamed.
I have heard versions of this story many times over the years; indeed, I have experienced—and written about—a far less dramatic yet still life-changing version myself. So on Sunday, in the quiet of silent worship, I spent time thinking about, you know, Redemption. Transformation. Do-Overs. And that perennial challenge, Self-Forgiveness.
And maybe because on Friday I’d released the four Painted Lady butterflies I’d watched grow from wriggly caterpillars, hourly poking my nose against their netted habitat to observe their latest miraculous development, I realized on Sunday that I was thinking different.
Non-binary, for sure. It’s not “Ocean of Darkness vs. Ocean of Light,” is it. The darkness becomes the light. Transformation—which, surely, is another God word—is always in movement, always in flux, sometimes forward, sometimes back, sometimes imperceptible. (The four chrysalises emanated such quiet strength I could sense their life-force yet nothing visibly moved.)
When I imagine self-forgiveness (Yikes), I’m stuck.
Circling, circling Nick Cave’s soundsuits, I marveled how this African-American artist had transformed his rage, his fears, his searing pain into fabric and sequins, into cast-asides made sculpture, into crocheted body suits; into beauty. Horrified by Rodney King’s brutal assault by Los Angeles police in 1991, Cave created armor, costumes, disguises, performance pieces, each wearable sculpture inviting us to try on what it means for a man of color to walk down an American sidewalk. Back home, still awed by what I’d seen in Nashville, I considered Cave’s pain-to-transcendence process. How does such breathtaking transformation happen? On meditative walks on the icy, snowy sidewalks of Somerville and Cambridge (MA), at meeting for worship, and noodling in my journal, I’ve wondered what I, a Quaker writer, might learn about my own process by reflecting on Cave’s astonishing work?
His rage as impetus? This genesis I understand. Often my writing projects have originated from the white-hot anger felt during meeting for worship! Held, sustained in deep, collective silence, I have dared to truly examine what lies heavy on my heart. When, for example, my homeless students, women I’d taught in greater Boston family shelters, shared with me their stories of childhood sexual abuse, I brought my horror and fury into worship. What am I asked to do? I prayed. Over many months, my novel, Swimming In It, was born. Yes, I know how negative emotions can inspire!
But those soundsuits’ not-to-be-ignored sequins, their thousands of hand-sewn buttons, those bolts of gaudy fabric and tin instruments! Surely such voluminous, undeniable stuff could teach me something about transformation? Cave, himself, answered my question during an April, 2013, interview with Artspace.com’s editor-in-chief, Andrew Goldstein:
“So the first soundsuit was constructed entirely out of twigs. I was making a sculpture first—I didn’t even think I could physically put this on—but once it was developed I physically put it on and moved around in it, and it made sound. And when I made that sound, it moved me into a role of protest. In order to be heard you have to speak louder. So that was something that was of interest to me, and it kept unfolding and really becoming much more versatile in that sense, and it made me think more, again, about my role and civic responsibility as an artist.”
In my ears, Cave’s ownership of his artistic agency is a variation of What am I asked to do? But that serendipitous moment when those twigs asserted their twigginess and Cave’s process shifted? This unfolding intrigues me— and invites me to look at my own “twigs.”
What are my twigs? Not words or my thumb-worn thesaurus, certainly, not pen to paper nor a blank computer screen; these are implements, tools like Cave’s needle and thread. What asserts its essence, its Truth, its possibility to me? Against what do my inchoate thoughts interact with, bump up against? What shapes my ideas? What is mutable—yet instructive?
It’s November 23, 1960; Opening Night of my first high school play: For three months the (all-white) cast of that musty favorite, “Seventeen,” has rehearsed in our Lynchburg, Virginia high school’s chilly, cavernous auditorium, its fifteen-hundred seats empty save Miss Virginia Wiley, doyenne of E.C. Glass’s English Department and our fierce director, seated in the middle seat of the third row. Now, nervously waiting backstage, I hear muffled—and welcomed—laughter from many rows, I hear rustling, coughing; crossing stage right, the auditorium’s warmth so startles me I almost trip. So balmy, so charged, so pulsing, so expectant has the auditorium air become, I long to stare past the footlights to catch a glimpse of that multi-headed, breathing organism out there. Instead I say my first line.
It’s September, 1966: After we graduated in June, my college roommate joined the Peace Corps; I’m teaching fourth grade in Brooklyn. I send her a letter complaining about the city’s pollution, a major topic among my new, Big Apple friends, Park Slope neighbors, P. S. 120 colleagues. “Air?” she writes back from El Salvador. “You’re writing about air?”
It’s 2005: I’m writing a book about the two African-American students who desegregated E.C. Glass High School in 1962 and, today, every word is a struggle. You’re getting cobwebs!” I inwardly hear my mother shout from the kitchen, just like she did when I was eight and made the same stupid mistake over and over while practicing the piano. “Go outside and get some fresh air!” I’ve spent so long inhabiting Lynchburg’s civil rights history today that, walking along Somerville Avenue, when a gritty March wind stings my face, I need to remind myself of where I am. What year this is. And why I was led to write this book. Exposed to traffic-fetid air, my inchoate ideas shift. And way opens.
It’s January 21, 2017 and everyone I know is at a Women’s March somewhere. Not me. I’m in a recording studio in Union Square’s Somerville Media Center, headphones on, podcasts’ script in hand. My script. I wrote these words. I honed them for years, since 1999, draft after draft. And now, sometimes tentatively, with a southern accent, as if a thirty-five-year old Lynchburg-born woman only just now figuring it out, sometimes rasping and growling and dropping my Rs as if a working-class old man from Somerville, sometimes myself, the author, I speak my words into a microphone, Stuart, my sound engineer, at my side. And although I can imagine Miss Virginia Wiley’s multiple charm bracelets jangling as she furiously scribbles a note lambasting my performance, nevertheless, I persist. I love emergent Jewell, I love crippled Rocco, I love their love story, an agape love story. I love this self-made opportunity to praise Unconditional Love—on a website! I’m loving these in-the-moment openings as I revise, improve my script as I say my lines. My love comes through in my voice; I hear it in my headphones. When, three years before, I’d first conceived of creating WellingUp.net to share my Quaker-based novel, Welling Up online, podcasts had seemed another techie bell or whistle at my disposal. Now, surrounded by recording equipment, hearing what’s coming through my voice, I acknowledge and celebrate my airtime. For I remember, pre-television, the four, five-year-old me, alone, transported, legs-crossed seated on the rug in front of my family’s radio console as I listened—and trusted—Don McNeill’s gentle, flat, Midwestern voice. Which, at the speed of light, beamed from downtown Chicago to our fusty, upstate New York living room every morning from nine to ten. “Each in his own words, each in his own way, for a world united in peace, bow your heads and pray,” he’d suggest every morning. And I did.
It’s First Day. Perhaps there’s a fireplace fire; a heavy log shifts, thuds. Perhaps a restless branch pops. Perhaps there’s been another school massacre; another horror each of us carried with us into Friends Meeting at Cambridge’s spacious meetinghouse this morning. Whatever has happened, it is here. It is present. We hundred or so worshippers swim in it. Our shoulders droop under its collective weight. I listen to my breathing. My heart races. What am I asked to do? Should I stand to name our shared outrage? For I have experienced—and written about—how such naming can sometimes be a balm. What am I asked to do? Should I break the silence? As if wetting my index finger and lifting it into the wind, I test the air. It is agitated, hornets-nest stirred up. You can’t fix this, always-responsible-oldest-sister, I counsel myself. And remain seated.
It’s First Day. Slowly, an older woman rises to speak: “It seems to me,” she begins, “that meeting for worship is like a radio? When we come into worship, when we sit quietly and wait, it’s like we’re turning the radio on. We’re saying we’re ready to listen. To what is all around us.” In us, too, I silently amend.
Inspired, literally, by this exploration of Cave’s pain-to-transformation process, an important question still remains: what of Beauty? Nick Cave’s glorious process began in sorrow and ends in glorious, wondrous, transcendent beauty. What is my writerly final destination? And am reminded of a poem quoted at meeting for worship years ago and, apparently, still guiding me: The Poet Speaks of Praising by Rainer Maria Rilke
Oh speak, poet, what do you do? I praise.
But the monstrosities and the murderous days, how do you endure them, how do you take them? I praise.
But the anonymous, the nameless grays, how, poet, do you still invoke them? I praise.
What right have you, in all displays, in very mask, to be genuine? I praise.
And that the stillness and the turbulent sprays know you like star and storm? because I praise.
(from Rilke on Love and Other Difficulties, ed. and trans. by John J. L. Mood, Norton, 1975)
Dr. Lynda Woodruff, my mentor and friend, died last week. Hearing this awful news, I registered both gut-punched grief and that my first question—Did she die because she’d received inadequate healthcare?—came to me only because I’d been schooled by Lynda.
A woman of “grit and salt” (her words), Lynda schooled so many! My first tutorial with this fierce, brilliant woman happened after I’d mailed her a draft of a book manuscript which, eventually, with her guidance, became Way Opens. “Context!” she’d written in bold letters on that first, pathetic draft. Meaning: You neither know the backstory nor understand its implications. Meaning: You’re a clueless white woman. Meaning: Do your homework.
So I began. And, with Spirit’s guidance, keep on keeping’ on. (Although I already know I’ll earn a C+ at best. )
Something else I note with deep sorrow. “The burden of the race” resting on her shoulders since she was thirteen, over the years Lynda “just got tired.” (Her words.) Can you imagine how exhausting, how debilitating our current political nightmare must have been for her?
[Woolworth’s Sit In, Jackson, Mississippi, May, 1963]
Some years ago I began to wonder: Whatever happened to those two African-Americans who desegregated E.C. Glass High School in Lynchburg, Virginia in 1962? So I found Dr. Lynda Woodruff and Reverend Owen Cardwell, Jr.—and wrote a book about what unfolded because I’d wondered.
These days? Now I am moved to wonder: What would happen if I found one of those despicable young men abusing the Jackson, MS sit-inners? (Surely some are still alive?) Could I possibly sit down with one of them; could I ever listen with an open heart? Face to face with a white supremacist, could I remember to seek “that of God” in the old man seated across from me? Not try to “fix” what I’d hear; offer neither advice nor comments but merely ask questions? (Why do you suppose X happened? How do you make meaning of that? Why do you think Y said that? How did you feel when Z happened? Tell me about how you learned about X? etc. ) And then write a book about what I heard? And learned? Could I?
Not lacking in (compelling, passionately engaged-in) writing projects, I am nevertheless tugged at, nudged to wonder: Where does hate come from? What, in all my studies, all my close attention to race and class and gender and education and all the other variables that make each of us who we are; what have I missed, what have I never understood? What do I need to know?
[Russian submarine from the Cold War era, Maritime Museum, San Diego, CA]
Saturday I spent some time at FirstBuild, a state-of-the-art machine shop cum high-tech appliance incubator in Louisville, KY run by GE. Talk about a layered experience!
A little background: My beloved father, who died in 2010, worked for GE for many years in war time and peace time, inventing both the butter conditioner (the little box in your refrigerator that keeps butter at its optimum temperature) and the computer used as a machine-gun defense system for the B-29; “the plane that won World War II.” He also sold GE television equipment in the earliest days of TV and as a “Cold War warrior” (and self-labeled “merchant of death”) negotiated contacts between GE and the military. So wandering through GE factories or TV studios some random Saturday to stare, stupefied, at work benches and machinery and dials and gauges and fancy, mysterious equipment, carefully stepping over jumbles of wires as my father excitedly explained The Latest Thing/GE’s newest project was something I did as a kid.
More context: A couple of weeks before, I’d given a talk re Way Opens and my own experiences during the Civil Rights Era to a group of bright, tender middle-school students at Cambridge Friends School. Who were “heavy,” as their teacher put it, Freddie Gray’s death much on their minds. Their collective heaviness stays with me.
So there I was, gobstruck by the cool, nifty appliances in FirstBuild’s showroom and my first look at a 3-D printer and, knowing how much my dad would have loved every single moment, desperately missing him. And aware that despite all this progress, just blocks away people of color were living under pretty much the same conditions as they had during the Jim Crow era.
See what I mean by layered?
* GE’s slogan during the 50s and 60s, i.e. the Civil Rights and Cold War era.
Reader, I was upset. And jealous. Especially when Irving flatly stated that after taking a course at Wheelock College—where I went, for heaven’s sake!—and awakening to race matters, she couldn’t find any memoirs by white people on the subject! So decided to write one, herself.
Still stewing, I came home to find an e-mail from my dear friend, Delia, with this link. “Apparently I’m not the only one who’s been thinking about this poem first thing in the morning lately!” she wrote. As Delia knows, Robert Hayden’s incredible “Those Winter Sundays” introduces Chapter 2 of my memoir re awakening to race in this country. How grateful I was to be gifted with such loving—though inadvertent—support of a dear friend when I needed it! How lovely to again contemplate, “What did I know, what did I know of love’s austere and lonely offices?” !
My memoir’s entitled Way Opens: A Spiritual Journey. That journey continues. So when, ahem, I woke up this morning, I realized I’d heard something else last night: How there’s another, little-known narrative in this country about people of color and white allies. (And, yes, although although our record has been definitely checkered, Quakers have historically been counted among those allies.)
Post Way Opens, here’s where Spirit had led me: To be, as best as I am able, a criminal justice ally. And here’s what I believe I am led to explore: how best I can support Jobs Not Jail. (Not completely clear; need more discernment for sure.)
Reader: care to join me?
PS: Upon reflection, I realized that the above was clumsily written. Let me be clear: I commend Debby Irving and the wonderful and important work she’s done. There can’t be too many books on this incredibly important and difficult subject!
And, after tonight, I’m giving that more consideration.
Here’s what happened:
I was in Central Square, I was pooped after a vigorous yoga class and lots of walking, I was early to meet a friend for dinner. So I gratefully sat down on a park bench near the restaurant where we’d agreed to meet on a glorious spring afternoon. An obviously drunk guy—heh, it’s St. Patrick’s Day; greater-Boston is full of drunks today—sat on a bench facing me, then abruptly jumped up and drunkenly lurched across the street, narrowly missing being hit by an approaching bus on Massachusetts Avenue. I continued sitting there and, lo, he returned, and again sat across from me.
My city survival meter now on HIGH ALERT, I decided to go into the restaurant early rather than to deal with him. As I got up, he said to me (by now the sun had gone down behind the Square’s buildings), as clearly and as lucidly and as kindly as he could be, “Don’t get pneumonia, now.” Then he pulled out a cheap, plastic flute and began to play. Badly.
My, God, I realized, approaching the restaurant. He’s the same guy I had that whole, challenging interaction with at Park Street Station a couple of weeks ago! [see my February 27th blog: “Let Go, Let Surveillance.”]
At the restaurant, I immediately got caught up with spending time with my friend, eating, etc., so hadn’t really had time to process that coincidence. But after she and I had parted, I was walking down Mass. Ave. and wondering what there had been about that man—and me—that made him not obviously the same guy and me not able to recognize him.
Well, I thought, he was drunk. So I didn’t want to make eye contact; look at him too carefully. He’s black. He’s a street person. Does this mean I simply don’t see black, homeless people?
OK, now it gets weird: JUST as I’m mulling this over, I spot another black homeless person sitting on the sidewalk. She’s hunched over and holding out a cup for spare change. She’s wearing huge sunglasses and a big-brimmed hat and even though I can’t see her face I know who she is! It’s “Crystal” (that’s the name I gave her in Way Opens. Pages 178, 179 for all you folks dying to read about her.)
I go right up to her: “Crystal?” I say.
It’s Patricia,” I tell her opening my change purse.
“Right.” I notice a huge bag of books beside her. “I see you’re still reading,” I observe as I drop all my change except the pennies into her cup.
Then she starts spewing forth a huge, writhing mess of words, most of them having to do with sexual organs, male and female, and a white cop who. . .but why bother to report what she said. Crystal’s not doing well. And not making a whole lot o’ sense.
But neither does my absolute confidence that I knew who she was.
Here’s what I learned after visiting the JP Green House yesterday:
I don’t know enough. Not about the basic scientific principles of heating, nor about the current political support re alternative energy. I don’t know how I really know what’s best for the environment. So I guess, like the woman I met last night studying bees, I have some deeper research to do.
Here’s what I was reminded of last night:
Like the leading that resulted in Way Opens, like working on the daunting issues of our criminal justice system and climate change (I must be nuts!), like the writing of a novel or screenplay, devoting X amount of time to completing a project—like learning everything there is to know about heating my house this month—ain’t gonna happen. For one thing, I need more time. And for another, “continuing revelation” happens. Everything’s unfolding.
[“The wind of change is blowing all over the world today. it is sweeping away the old order and bringing into being a new order.” Martin Luther King, Jr., 1963]
Tomorrow I leave for Baltimore Yearly Meeting to give a workshop, “Winds of Change.” To spend time with Quakers from Maryland, Virginia and DC and to listen to what winds of change blow through their meetings will be exciting and enlarging.
Daunting/exhausting, too. Kind of like those earliest visits with Reverend Owen Cardwell and Dr. Lynda Woodruff when, moment by moment, I’d ask myself: “Is this significant? Is this? What about that?”
I’m remembering, for example, that very first trip to Virginia when I was to first meet Lynda and Owen. Deacon Sharon Boswell from Owen’s church picked me up from the airport. When I got in her car, I noticed her radio was set on the gospel music station. “Is this significant?” I wondered. Yes, it was.