An Advent Threshold: Came Down

The Word became flesh.
Ultimate Mystery born with a skull you could crush one-handed.

Incarnation.
It is not tame.
It is not beautiful.
It is uninhabitable terror.
It is unthinkable darkness riven with unbearable light.

Agonized laboring led to it,
vast upheavals of intergalactic space,

time split apart,
a wrenching and tearing of the very sinews of reality itself.
You can only cover your eyes and shudder before it, before this:
“God of God, Light of Light, very God of very God… who for us and for our salvation,” as the Nicene Creed puts it, “came down from heaven.”

Came down.

Only then do we dare uncover our eyes and see what we can see.
It is the Resurrection and the Life she holds in her arms.
It is the bitterness of death he takes at her breast.
~Frederick Buechner from Whistling in the Dark

Down he came from up,
and in from out,
and here from there.
A long leap,
an incandescent fall
from magnificent
to naked, frail, small,
through space,
between stars,
into our chill night air,
shrunk, in infant grace,
to our damp, cramped
earthy place
among all
the shivering sheep.

And now, after all,
there he lies,
fast asleep.
~Luci Shaw “Descent” from Accompanied By Angels

[The Incarnation is like] a wave of the sea which, 
rushing up on the flat beach, 
runs out, even thinner and more transparent, 
and does not return to its source but sinks into the sand and disappears.
~Hans Urs von Balthasar from Origen: Spirit and Fire

Perhaps it is the mystery of the thing that brings us back,
again and again, to read the story of 
how God came down and disappeared into us.

How can this be?
God appearing on earth first to animals,
then the most humble of humans.

How can He be?
Through the will of the Father and the breath of the Spirit,
the Son was, and is and yet to be.

O great mystery beyond all understanding.

O magnum mysterium,
et admirabile sacramentum,
ut animalia viderent Dominum natum,
jacentem in praesepio!
Beata Virgo,
cujus viscera meruerunt portare Dominum Christum.
Alleluia!

O great mystery and wondrous sacrament,
that animals should see the new-born Lord lying in their Manger!
Blessed is the Virgin
whose womb was worthy to bear the Lord Jesus Christ.
Alleluia!

Still Life by Zurbaran in the Norton-Simon Museum in Pasadena, CA

The composer Morten Lauridsen, is a Washington state native who was born only a few miles from where my mother grew up in the wheat fields of the Palouse, and now lives in retirement in the San Juan Islands.  He wrote about his inspiration, wanting to compose something that honored the words as much as the Still Life painted by Zurbaran (above) honored the Virgin Mary.

In Lauridsen’s own words:

Zurbarán (1598-1664) is the painter of “Still Life with Lemons, Oranges and a Rose.” The objects in this work are symbolic offerings to the Virgin Mary. Her love, purity and chastity are signified by the rose and the cup of water. The lemons are an Easter fruit that, along with the oranges with blossoms, indicate renewed life. The table is a symbolic altar. The objects on it are set off in sharp contrast to the dark, blurred backdrop and radiate with clarity and luminosity against the shadows.

In composing music to these inspirational words about Christ’s birth and the veneration of the Virgin Mary, I sought to impart, as Zurbarán did before me, a transforming spiritual experience within what I call “a quiet song of profound inner joy.” I wanted this piece to resonate immediately and deeply into the core of the listener, to illumine through sound.

The most challenging part of this piece for me was the second line of text having to do with the Virgin Mary. She above all was chosen to bear the Christ child and then she endured the horror and sorrow of his death on the cross. How can her significance and suffering be portrayed musically?

After exploring several paths, I decided to depict this by a single note. On the word “Virgo,” the altos sing a dissonant appoggiatura G-sharp. It’s the only tone in the entire work that is foreign to the main key of D. That note stands out against a consonant backdrop as if a sonic light has suddenly been focused upon it, edifying its meaning. It is the most important note in the piece.

A scholarly essay about Lauridsen’s composition is here.

Another version by a different composer:

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Longing to Be a Passenger Again

I want to be a passenger
in your car again
and shut my eyes
while you sit at the wheel,


awake and assured
in your own private world,
seeing all the lines
on the road ahead,


down a long stretch
of empty highway
without any other
faces in sight.

I want to be a passenger
in your car again
and put my life back
in your hands.
~Michael Miller “December”

I heard an old man speak once,
someone who had been sober for fifty years,
a very prominent doctor.
He said that he’d finally figured out a few years ago
that his profound sense of control,
in the world and over his life,
is another addiction and a total illusion.
He said that when he sees little kids sitting in the back seat of cars,
in those car seats that have steering wheels,
with grim expressions of concentration on their faces,
clearly convinced that their efforts are causing the car
to do whatever it is doing,
he thinks of himself
and his relationship with God:
God who drives along silently,
gently amused,
in the real driver’s seat.
~Anne Lamott from Operating Instructions

Up north, the dashboard lights of the family car
gleam in memory, the radio
plays to itself as I drive
my father plied the highways
while my mother talked, she tried to hide
that low lilt, that Finnish brogue,
in the back seat, my sisters and I
our eyes always tied to the Big Dipper
I watch it still
on summer evenings, as the fireflies stream
above the ditches and moths smack
into the windshield and the wildlife’s
red eyes bore out from the dark forests
we flew by, then scattered like the last bit of star
light years before.
It’s like a different country, the past
we made wishes on unnamed falling stars
that I’ve forgotten, that maybe were granted
because I wished for love.

~Sheila PackaDriving At Night” from The Mother Tongue

The moon was like a full cup tonight,
too heavy, and sank in the mist
soon after dark, leaving for light

faint stars and the silver leaves
of milkweed beside the road,
gleaming before my car.

Yet I like driving at night
the brown road through the mist

of mountain-dark, among farms
so quiet
and the roadside willows
opening out where I saw

the cows. Always a shock
to remember them there, those
great breathings close in the dark.

I stopped, and took my flashlight
to the pasture fence. They turned
to me where they lay, sad

and beautiful faces in the dark,
and I counted them-forty
near and far in the pasture

I switched off my light.

But I did not want to go,
not yet, nor knew what to do
if I should stay, for how

in that great darkness could I explain
anything, anything at all.
I stood by the fence. And then

very gently it began to rain.
~Hayden Carruth from “The Cows at Night”

Some of my most cherished childhood memories come from long rides home in the car at night from holiday gatherings. My father always drove, my mother hummed “I See the Moon” in the front passenger seat, and we three kids sat in the back seat, drowsy and full of feasting.

The night world hypnotically passed by outside the car window. I wondered whether the rest of the world was as safe and content as I felt at that moment.

On clear nights, the moon followed us down the highway, shining a light on the road.

Now as a driver at night, transporting grandchildren from a family gathering, I want them to feel the same peaceful contentment that I did as a child. As an older driver, I don’t enjoy driving at night, especially dark rural roads in pouring rain. I understand the enormous responsibility I bear, transporting those whom I dearly love and want to keep safe.

In truth, I long to be a passenger again, with no worries or pressures – just along for the ride, watching the moon and the world drift by, knowing I’m well-cared for.

But of course, I fret about the immense burden I feel to make things right in this dark and troubled world.

I am a passenger on a planet that has a Driver who feels great responsibility and care for all He transports through the black night of the universe. He loves me and I can rest content in the knowledge that I am safe in His vigilant hands.

I am not the driver – He knows how to safely bring me home, even in the rain.

I see the moon, it’s shining from far away, Beckoning with ev‘ry beam.
And though all the start above cast down their light, Still the moon is all that I see
And it’s calling out, “Come run a way!
And we’ll sail with the clouds for our sea,
And we’ll travel on through the black of the night, ‘til we float back home on a dream!”
The moon approaches my window pane, stretching itself to the ground.
The moon sings softly and laughs and smiles, and yet never makes a sound!
I see the moon! I see the moon!
Part A
And it’s calling out, “Come run a way!
And we’ll sail with the clouds for our sea,
And we’ll travel on through the black of the night, ‘til we float back home on a dream!”
Part B
I see the moon, it’s shining from far away, Beckoning with ev‘ry beam.
And though all the stars above cast down their light, Still the moon is all that I see
~Douglas Beam

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For a Moment, the World Wakes Up

                       1

Every October it becomes important, no, necessary
to see the leaves turning, to be surrounded
by leaves turning; it’s not just the symbolism,
to confront in the death of the year your death,
one blazing farewell appearance, though the irony
isn’t lost on you that nature is most seductive
when it’s about to die, flaunting the dazzle of its
incipient exit, an ending that at least so far
the effects of human progress (pollution, acid rain)
have not yet frightened you enough to make you believe
is real; that is, you know this ending is a deception
because of course nature is always renewing itself—

        the trees don’t die, they just pretend,
go out in style, and return in style: a new style.

                        3

You’ll be driving along depressed when suddenly
a cloud will move and the sun will muscle through
and ignite the hills. It may not last. Probably
won’t last. But for a moment the whole world
comes to. Wakes up. Proves it lives. It lives—
red, yellow, orange, brown, russet, ocher, vermilion,
gold. Flame and rust. Flame and rust, the permutations
of burning. You’re on fire. Your eyes are on fire.
It won’t last, you don’t want it to last. You
can’t stand any more. But you don’t want it to stop.
It’s what you’ve come for. It’s what you’ll
come back for. It won’t stay with you, but you’ll

        remember that it felt like nothing else you’ve felt
or something you’ve felt that also didn’t last.
~Lloyd Schwarz from “Leaves”

The world wakes up and comes to, with vivid, overwhelming color
for a moment before it dies.

The landscape is simply acting out its part, perhaps just pretending.
Nothing is really dying, just taking a nap under a brilliant blanket.

Rest well. See you next year.

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Softer Than Rain

Teach me to walk
with tender feet,
as the wild ones do.
Let me be the cinder-glow
of the fox in her burrow, wreathed
around the honey-spark fur
of her sleeping kits.

Let me be the shaded pools
of the doe’s eyes
in winter, when the snow falls,
when the stars lean down to listen,
when the world is darker
and softer
than rain.

Let me be the swallow
after flight, when she is
perched upon the branch
where the petals of the lilacs used to be,
and she is just still, and quiet,
her downy head inclined, as though
she is praying
for their return.

~Kimberly Beck “Tender Feet”

As the weather changes,
softening in the mists of autumn,
I walk each step with careful feet,
my tender heart singing songs in the rain.
I pray for peace in this troubled land,
for protection from harm until spring comes again.

May God grant a gentle night’s sleep for all His creatures.

video by Harry Rodenberger

Lyrics for Aragorn’s Sleepsong:
Lay down your head and I’ll sing you a lullaby
Back to the years of loo-li lai-lay
And I’ll sing you to sleep and I’ll sing you tomorrow

Bless you with love for the road that you go
May you sail far to the far fields of fortune
With diamonds and pearls at your head and your feet
And may you need never to banish misfortune

May you find kindness in all that you meet
May there always be angels to watch over you
To guide you each step of the way
To guard you and keep you safe from all harm
Loo-li, loo-li, lai-lay

May you bring love and may you bring happiness
Be loved in return to the end of your days
Now fall off to sleep, I’m not meaning to keep you
I’ll just sit for a while and sing loo-li, lai-lay

May there always be angels to watch over you
To guide you each step of the way
To guard you and keep you safe from all harm
Loo-li, loo-li, lai-lay

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The Healing Crack in the Coil

Needing them still, I come
when I can, this time to the sea
where we share a room: their double bed,
my single. Morning fog paints the pale
scene even paler. Lace curtains breathing,
the chenille spread folded back,
my father’s feet white sails furled
at the edge of blue pajamas.
Every child’s dream, a parent
in each hand, though this child is fifty.
Their bodies fit easily, with room
to spare. When did they grow
so small? Grow so small—
as if it were possible to swell
backwards into an earlier self.


One more year, I ask the silence.
Last night to launch myself
into sleep I counted their breaths, the tidal
rise and fall I now put my ear to,
the coiled shell of their lives.
~Rebecca McClanahan from “Watching my Parents Sleeping Beside an Open Window Near the Sea” from Deep Light: New and Selected Poems.

“Her Room” by Andrew Wyeth in the Farnsworth Art Museum

My parents have been gone now for some time, my father 30 years, my mother, nearly 17 years. Their dying was a long process of counted breaths and pauses. I witnessed their bodies curling into themselves, shrinking smaller, worn down by illness and age.

I still miss them as I’m reminded of them by the events of my own life, still wanting them to take me by the hand as I navigate my own daily path.

After mom’s death, those possessions not distributed to family members have remained packed up and stored in our barn buildings. I know it is well past time to deal with their stuff as I become keenly aware of my own graying and aging.

In the house, next to where I write, is a box of over 500 letters written by my mother and father between 1941 and 1945. The letters began as they were getting to know each other at college, going from “pinned” to “engaged” and continue for three and a half more years after a hurried wedding Christmas Eve 1942. By mid-January 1943, my newly minted Marine officer father shipped out to spend the next three years of his life fighting on the battlefields of Saipan, Tinian and Tarawa in the Pacific Ocean, not to return again to the states until late summer of 1945.

My mother wrote her letters from the small rural eastern Washington community of Colville, living in a “teachers’ cottage” with other war wives who taught school while waiting for their husbands to return home – or not.

It took me a decade to find the courage and time to devote to reading these letters they treasured and never threw away. I sorted them unopened by postmark date into some semblance of order and sat down to start at the very beginning, which, of course, is my beginning as well. I opened each one with some trepidation and a lump in my throat about what I might find written there. I worried I may find things I didn’t want to know. I hoped I would find things that I desperately needed to know.

Most of all I wanted to understand the two people who became my parents within the coiled shell of their forty years together, though broken by a painful divorce which lasted a decade. Having lived through that awful time with them, I want to understand the origin of a love which eventually mended their cracked shell of companionship, gluing them back together for five more years before my father died.

As I ponder their words, I too cross a bridge back to them both, my ear pressed to the coiled shell of those fading voices, as if I might still hear the sea, at times bringing them closer, then pulling them farther away.

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Resolving to Grow Again

Through sere trees and beheaded
grasses the slow rain falls.
Hay fills the barn; only the rake
and one empty wagon are left
in the field. In the ditches
goldenrod bends to the ground.
Even at noon the house is dark.
In my room under the eaves
I hear the steady benevolence
of water washing dust
raised by the haying
from porch and car and garden
chair. We are shorn
and purified, as if tonsured.
The grass resolves to grow again,
receiving the rain to that end,
but my disordered soul thirsts
after something it cannot name.
~Jane Kenyon “August Rain, After Haying” from Collected Poems

August arrives in the dark

we are not even asleep and it is here
with a gust of rain rustling before it…

but in the stillness after the rain ends
nothing is to be heard but the drops falling
one at a time from the tips of the leaves
into the night and I lie in the dark
listening to what I remember
while the night flies on with us into itself

~W.S. Merwin from “Nocturne II” from The Shadow of Sirius

A long-awaited August rain arrives in the night
and like the ground and plants,
I look skyward
letting the clouds weep on me,
cleansing me of dust.

Will I restore like the
brown and dying blade of grass,
turning green and lush in a matter of days?

Is there enough benevolence from the sky
to cleanse and settle my grime,
yielding yet more harvest? 

I thirst for what I cannot name. 
The mystery is, when I’m drenched,
thirst and dust settled,
I’m aching for more.

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Get Up, All of You

Little girl. Old girl. Old boy.
Old boys and girls with high blood pressure and arthritis,
and young boys and girls with tattoos and body piercing.
You who believe, and you who sometimes believe
and sometimes don’t believe much of anything,
and you who would give almost anything to believe

if only you could.
You happy ones and you who can hardly remember
what it was like once to be happy.
You who know where you’re going and how to get there
and you who much of the time aren’t sure you’re getting anywhere. “Get up,” he says, all of you – all of you! –
and the power that is in him is the power to give life
not just to the dead like the child,
but to those who are only partly alive,
which is to say to people like you and me
who much of the time live with our lives closed
to the wild beauty and miracle of things,
including the wild beauty and miracle of every day we live
and even of ourselves.
~Frederick Buechner -from Secrets in the Dark

He took her by the hand and said to her, “Talitha koum!” (which means “Little girl, I say to you, get up!”).
Mark 5:41

I usually awake each morning before 5:30 without an alarm, just as I did in high school, through college and medical school, during my work years and having-babies years.

Now, in my retirement years, for no reason at all, I still wake up early.

I just can’t help it. I trained myself to be able to get up early, to do chores, make kids’ breakfasts and lunches for school, commute to work, be ready for what I needed to do and be that day.

Even now that I don’t have to, my body still gets up.

But my brain and my soul are slow to wake, and some days they prefer to stay under the covers, closed off to all that wild beauty within and beyond me.

I have no time to waste being only partly alive.
I need to listen to the summons: “Get up!”
And right now, I need to get up,
– all of me –
especially that full of miracle and wild beauty.

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The Velvet of Sleep

The children have gone to bed.
We are so tired we could fold ourselves neatly
behind our eyes and sleep mid-word, sleep standing
warm among the creatures in the barn, lean together
and sleep, forgetting each other completely in the velvet,
the forgiveness of that sleep.

Then the one small cry:
one strike of the match-head of sound:
one child’s voice:
and the hundred names of love are lit
as we rise and walk down the hall.

One hundred nights we wake like this,
wake out of our nowhere
to kneel by small beds in darkness.
One hundred flowers open in our hands,
a name for love written in each one.
~Annie Lighthart “The Hundred Names of Love”

In the lull of evening, your son nested in your arms
becomes heavier and with a sigh his body
sloughs off its weight like an anchor into deep sleep,
until his small breath is the only thing that exists.

And as you move the slow dance through the dim hall
to his bedroom and bow down to deliver his sleeping form,
arms parting, each muscle defining its arc and release—
you remember the feeling of childhood,

traveling beneath a full moon,
your mother’s unmistakable laugh, a field of wild grass,
windows open and the night rushing in
as headlights trace wands of light across your face—

there was a narrative you were braiding,
meanings you wanted to pluck from the air,
but the touch of a hand eased it from your brow
and with each stroke you waded further

into the certainty of knowing your sleeping form
would be ushered by good and true arms
into the calm ocean that is your bed.
 — Alexandra Lytton Regalado, “The T’ai Chi of Putting a Sleeping Child to Bed” author of Matria

Each of those countless nights of a child wakening,
each of the hundreds of hours of lulling them in the moonlit dark,
leading them back to the soft forgiveness of sleep.

I remember the moves of that hypnotic dance,
a head nestled snug into my neck,
their chest pressed into mine,
our hearts beating in synchrony
as if they were still inside.

Even when our sleep was spare and true rest was sparse,
those night times rocking in unison
were worth every waking moment, trusting
we’re in this together, no matter what,
no matter how long it takes.

We’re in this together.

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It’s Like a Sanctuary

A gang of crows was chasing off
a hawk. The little stream was laughing
and shushing itself. The hawk’s reflection
briefly blurred a pool of water
and then the pool went back to waiting
for nothing or the next reflection.
The maple trees were yellow and red,
but redder farther up the stream.
I wanted especially to share
the cloud of redder leaves upstream
with the little girl I had with me,
but she was sleeping. Walking home,
I thought the willow trees around
the pond were standing up like brooms
to sweep the sky. That was the voice
in my head describing the willow trees
as brooms, a thought to stop the world
for a moment’s moment. She might have thought
the willows looked like lashes winking
around a deep-green eye,
but as I say, she was asleep
for this excursion in the world.
And she hasn’t told me yet about
the voice inside her head. For the moment
that voice is learning how to listen
to its own mysterious silence. I expect
it’s like a sanctuary in there
with a candle glowing at the back of the room
and violets dotting the grass outside.
~Maurice Manning “Violets in the Fall” from Snakedoctor

My internal voice remains a mystery.

Although I know the silent words I perceive are my own thoughts, there are times when I wonder it that voice is coming from a place deeper than my own brain’s meanderings. Mostly it feels like running commentary about what is happening around me.

I can be surprised though.

A word I seldom use will pop up in my thoughts, with wonder or puzzlement – where did that come from and why now? Perhaps my voice is not just mine alone…

I do aim for an expectant inner stillness. without being asleep to the world. Quieting a busy brain isn’t easy. We need to retreat often to an internal sanctuary of calm, with gentleness and self-kindness, and just enough illumination to light the way to a bit of insight and a wisp of wisdom.

I’ll keep the candle glowing in the back.

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Rending the Heavens

Oh, that you would rend the heavens and come down,
that the mountains would tremble before you!
As when fire sets twigs ablaze
and causes water to boil…
~Isaiah 64:1-2

I was your rebellious son,
do you remember? Sometimes
I wonder if you do remember,
so complete has your forgiveness been.

So complete has your forgiveness been
I wonder sometimes if it did not
precede my wrong, and I erred,
safe found, within your love,

prepared ahead of me, the way home,
or my bed at night, so that almost
I should forgive you, who perhaps
foresaw the worst that I might do,

and forgave before I could act,
causing me to smile now, looking back,
to see how paltry was my worst,
compared to your forgiveness of it

already given. And this, then,
is the vision of that Heaven of which 
we have heard, where those who love
each other have forgiven each other,

where, for that, the leaves are green,
the light a music in the air,
and all is unentangled,
and all is undismayed.
-Wendell Berry “To My Mother” from Entries

It was a summer morning six years ago, beginning much like this one: something woke me early at 4:45 AM.  

Perhaps it was the orange glow bathing my face through the curtains. Never one to miss a light show, I heeded the call and got up and dressed.

Once outside, I was amazed to see storm clouds boiling –  shifting and swirling in unrest as if something or someone may emerge momentarily.

No trumpets though.
The music in the air was the usual early morning bird song,
and sherbet-orange leaves normalized to green.

Within a minute, the heavens settled. Unentangled from my dismay, so did I.

Yet for a moment that morning, I did wonder what might become of us all. That thought still occurs to me each morning, as I realize how much merciful grace embodies the heavens above.

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