The whole concept of the Imago Dei (or)…the ‘Image of God’ is the idea that all men have something within them that God injected…
This gives him a uniqueness, it gives him worth, it gives him dignity. And we must never forget this…there are no gradations in the Image of God.
Every man from a treble white to a bass black is significant on God’s keyboard, precisely because every man is made in the Image of God.
One day we will learn that.
We will know one day that God made us to live together as brothers and to respect the dignity and worth of every man. – Martin Luther King, Jr. from his “The American Dream” sermon, July 4, 1965
Next to the Blessed Sacrament itself, your neighbor is the holiest object presented to your senses. ~C. S. Lewis from The Weight of Glory
We are united by our joint creation as the Image of God. Not one of us reflects God more than another but together form His body and His kingdom on earth.
Dr. King’s words and wisdom continue to inform us of our shortcomings more than 50 years later as we flounder in our flaws and brokenness; so many question not only the validity of equality of all people of all shades, but even doubt the existence of a God who would create a world that includes the crippled body, the troubled mind, the questioned gender, the genetically challenged, the human beings never allowed to draw a breath.
Yet we are all one, a composition made up of white and black keys too often discordant, sometimes dancing to different tempos, on rare occasions a symphony. The potential is there for harmony, and Dr. King would see and hear that in his time on earth.
Perhaps today we unite only in our shared tears, shed for the continued strife and disagreements, shed for the injustice that results in senseless killings, shed for our inability to hold up one another as holy in God’s eyes as His intended creation, no matter our color, our origin, our defects, our differences and similarities.
We can weep together on this day, knowing, as Dr. King knew, a day will come when the Lord God will wipe tears away from all faces — all colors just as they are.
There are no longer gradations in who God is nor who He made us to be.
The old church leans awry and looks quite odd, But it is beautiful to us, and God. ~Stephen Paulus “The Old Church”
The church knelt heavy above us as we attended Sunday School, circled by age group and hunkered on little wood folding chairs where we gave our nickels, said our verses, heard the stories, sang the solid, swinging songs.
It could have been God above in the pews, His restless love sifting with dust from the joists. We little seeds swelled in the stone cellar, bursting to grow toward the light.
Maybe it was that I liked how, upstairs, outside, an avid sun stormed down, burning the sharp- edged shadows back to their buildings, or how the winter air knifed after the dreamy basement.
Maybe the day we learned whatever would have kept me believing I was just watching light poke from the high, small window and tilt to the floor where I could make it a gold strap on my shoe, wrap my ankle, embrace any part of me. ~Maureen Ash “Church Basement”
There could be so much wrong with the church overall, comprised as it is with fallen people with broken wings, looking odd and leaning awry, determined to find flaws in each other’s doctrine, rituals, tradition, beliefs.
What is right with the church: who we pray to, why we sing, whose body we comprise so bloodied, fractured, yet healed despite our thoroughly motley messiness~ Our Lord of Heaven and Earth rains down His restless love upon our heads.
He calls the honeybees his girls although he tells me they’re ungendered workers who never produce offspring. Some hour drops, the bees shut off. In the long, cool slant of sun, spent flowers fold into cups. He asks me if I’ve ever seen a Solitary Bee where it sleeps. I say I’ve not. The nearest bud’s a long-throated peach hollyhock. He cradles it in his palm, holds it up so I spy the intimacy of the sleeping bee. Little life safe in a petal, little girl, your few furious buzzings as you stir stay with me all winter, remind me of my work undone. ~Heid E. Erdrich, from “Intimate Detail” from The Mother’s Tongue
The barn’s brown gable, the vine by the door,— Nothing changed but the hives of bees. Before them, under the garden wall, Forward and back, Went drearily singing the chore-girl small, Draping each hive with a shred of black. Trembling, I listened: the summer sun Had the chill of snow; For I knew she was telling the bees of one Gone on the journey we all must go! ~John Greenleaf Whittier from “Telling the Bees”
An old Celtic tradition necessitates sharing any news from the household with the farm’s bee hives, whether cheery like a new birth or a wedding celebration or sad like a family death. This ensures the hives’ well-being and continued connection to home and community – the bees are kept in the loop, so to speak, so they stay at home, not swarm and move on to a more hospitable place.
Each little life safe at home, each little life with work undone.
Good news seems always easy to share; we tend to keep bad news to ourselves so this tradition helps remind us that what affects one of us, affects us all.
These days, with instant news at our fingertips at any moment, bad news is constantly bombarding us. Like the bees in the hives of the field, we want to flee from it and find a more hospitable home.
I hope the Beekeeper, our Creator, comes personally to each of us to say: “Here is what has happened. All will be well, dear one. We will navigate your little life together.”
The time is ripe for looking back over the day, the week, the year, and trying to figure out where we have come from and where we are going to, for sifting through the things we have done and the things we have left undone for a clue to who we are and who, for better or worse, we are becoming. We cling to the present out of wariness of the past. But there is a deeper need yet, I think, and that is the need—not all the time, surely, but from time to time—to enter that still room within us all where the past lives on as a part of the present, where the dead are alive again, where we are most alive ourselves to turnings and to where our journeys have brought us. The name of the room is Remember—the room where with patience, with charity, with quietness of heart, we remember consciously to remember the lives we have lived.” ~Frederick Buechner from A Room Called Remember
He was a big man, says the size of his shoes on a pile of broken dishes by the house; a tall man too, says the length of the bed in an upstairs room; and a good, God-fearing man, says the Bible with a broken back on the floor below the window, dusty with sun; but not a man for farming, say the fields cluttered with boulders and the leaky barn.
A woman lived with him, says the bedroom wall papered with lilacs and the kitchen shelves covered with oilcloth, and they had a child, says the sandbox made from a tractor tire. Money was scarce, say the jars of plum preserves and canned tomatoes sealed in the cellar hole. And the winters cold, say the rags in the window frames. It was lonely here, says the narrow country road.
Something went wrong, says the empty house in the weed-choked yard. Stones in the fields say he was not a farmer; the still-sealed jars in the cellar say she left in a nervous haste. And the child? Its toys are strewn in the yard like branches after a storm—a rubber cow, a rusty tractor with a broken plow, a doll in overalls. Something went wrong, they say. ~Ted Kooser, “Abandoned Farmhouse” from Sure Signs: New and Selected Poems.
In 1959, when I was five years old, my father left his high school agriculture teaching position for a new supervisor position with the state. I didn’t understand at the time the reasons for his leaving his job after 13 years.
Our family moved from a large 3 story farm house in a rural community to a 1950’s newer rambler style home just outside the city limits of the state capitol. It was a big adjustment to move to a much smaller house without a basement or upper story, no garage, and no large haybarn nor chicken coop. It meant most things we owned didn’t make the move with us.
The rambler had two side by side mirror image rooms as the primary central living space between the kitchen on one side and the hallway to the bedrooms on the other. The living room could only be entered through the front door and the family room was accessed through the back door with a shared sandstone hearth in the center, containing a fireplace in each room. The only opening between the rooms had a folding door shut most of the year. In December, the door was opened to accommodate a Christmas tree, so it sat partially in the living room and depending on its generous width, spilled over into the family room. That way it was visible from both rooms, and didn’t take up too much floor space.
The living room, because it contained the only carpeting in the house, and our “best” furniture, was strictly off-limits. In order to keep our two matching sectional knobby gray fabric sofas, a green upholstered chair and gold crushed velvet covered love seat in pristine condition, the room was to be avoided unless we had company. The carpet was never to develop a traffic pattern, there would be no food, beverage, or pet ever allowed in that room, and the front door was not to be used unless a visitor arrived. The hearth never saw a fire lit on that side because of the potential of messy ashes or smoke smell. This was not a room for laughter, arguments or games and certainly not for toys. The chiming clock next to the hearth, wound with weighted cones on the end of chains, called out the hours without an audience.
One week before Christmas, a tree was chosen to fit in the space where it could overflow into the family room. I particularly enjoyed decorating the “family room” side of the tree, using all my favorite ornaments that were less likely to break if they fell on the linoleum floor on that side of the door.
It was as if the Christmas tree became divided, with a “formal” side in the living room and a “real life” face on the other side where the living (and hurting) was actually taking place.
The tree straddled more than just two rooms. Every year that tree’s branches reached out to shelter a family that was slowly, almost imperceptibly, falling apart, like the fir needles dropping to the floor to be swept away. Something was going wrong.
Each year since, the Christmas tree bearing those old ornaments from my childhood reminds me of a still room of mixed memories within me. I am no longer wary of the past, and when I sweep up the fir needles that inevitably drop, I no longer weep.
The night’s drifts Pile up below me and behind my back, Slide down the hill, rise again, and build Eerie little dunes on the roof of the house.
The moon and the stars Suddenly flicker out, and the whole mountain Appears, pale as a shell.
Look, the sea has not fallen and broken Our heads. How can I feel so warm Here in the dead center of January? I can Scarcely believe it, and yet I have to, this is The only life I have. I get up from the stone. My body mumbles something unseemly And follows me. Now we are all sitting here strangely On top of the sunlight. ~James Wright, “A Winter Daybreak Above Vence” from Above the River: The Complete Poems and Selected Prose.
This is our fourth day of house arrest with roads icy and drifted and temperatures sub-freezing – a windchill below zero. What sun has appeared is ineffective, as if it were fake news on a winter day.
The prediction is for a dramatic turn-around in the next couple hours with temperatures rising 16 degrees with the advent of southerly “pineapple express” breezes.
I’ll believe it when I feel it. In the past, the drama of a south wind breaking the curse of the icy cold happens so rapidly, we could hear it before we felt it. The sound of ice and snow falling, taking branches with them in the woods was like the rat-a-tat of target shooting. None of us were ready for it and the trees were literally breaking in response to the warming winds.
We can grumble and mumble (and do) but this is the only life we have in the dead center of a January snow and wind storm. We’ll just sit tight braced against the cold, like the hungry birds that flock by the dozens at our feeders, waiting for the warming winds to carry us right into February, preferably unbroken.
Announced by all the trumpets of the sky, Arrives the snow, and, driving o’er the fields, Seems nowhere to alight: the whited air Hides hills and woods, the river, and the heaven, And veils the farm-house at the garden’s end. The sled and traveller stopped, the courier’s feet Delayed, all friends shut out, the housemates sit Around the radiant fireplace, enclosed In a tumultuous privacy of storm.
Come see the north wind’s masonry. Out of an unseen quarry evermore Furnished with tile, the fierce artificer Curves his white bastions with projected roof Round every windward stake, or tree, or door.
Built in an age, the mad wind’s night-work, The frolic architecture of the snow. ~Ralph Waldo Emerson from “The Snow-Storm”
The barn bears the weight of the first heavy snow without complaint.
White breath of cows rises in the tie-up, a man wearing a frayed winter jacket reaches for his milking stool in the dark.
The cows have gone into the ground, and the man, his wife beside him now.
A nuthatch drops to the ground, feeding on sunflower seed and bits of bread I scattered on the snow.
The cats doze near the stove. They lift their heads as the plow goes down the road, making the house tremble as it passes. ~Jane Kenyon “This Morning”
We’ve seen harsher northeast winds, we’ve seen heavier snow. Yet there is something refreshingly disruptive about the once or twice a year overnight snow storm: it transforms, transcends and transfigures.
So we stay home when the weather and farms demand we do, to feed and water ourselves and our animals and the wild ones around us. It is a quiet and private and tumultuous time, a time to be attuned to one another.