There are probably many ways to define a story and many fancy words to make the definition virtually unintelligible for the rest of us. I was thinking today that on a basic level most, if not all, stories contain a beginning, middle and end. Otherwise, it may simply be an observation. A story indicates motion or change that allows us to speak of a beginning, a middle and an end.

Why a middle? Why not a beginning and an end. Well, I was thinking the “middle” is the transition from beginning to end. No matter how long or short, it somehow connect the start from the finish. Now the telling of story can alter the order of beginning, middle and end in variations such as end, beginning and middle (and back to end again). The variations can be wide-ranging:

beginning, middle, beginning, middle, beginning, middle and end (this is the beginning constantly being redefined which alter the middle and leads to a different end).

middle, end, beginning (I can’t remember but I think memento worked like this).

The various ways we tell a story are not limited just to the structure. We also tell it from a perspective or a point of view. And I don’t just mean through different characters or an omniscient narrator. We might tell it from the point of view of a victim. The same story will look very different it told from the pov of a tireless hero.

Each story contains thousands of other stories. A good example is the Simarillion, where Tolkien tells some of the many stories before the Lord of the Rings. Our personal story works the same way. A story from my life can be as short and simply as the visit to a drive through window at a fast food restuarant. While I may not retell the story often, one day something happens that makes it memorable: bad service or maybe a surprise. That night I tell the “fast food restaurant” to my wife. If the reaction is strong and the story lodges in my memory it may be repeated. If it is really interested, it may be repeated by people beyond my circle of friends.

So stories can take on a life of their own.

The fast food story is one of a many possible stories within a given day. Additionally, there are epochal tracks or repeated scenes/event/stories that combine to former a larger story over time. These stories may be stories may have a defining center that connects them: husband and wife, family, identity, vocation, community, forgiveness, and so on. Different little stories within my life and connect and reconnect with different centers to tell the same story.

I may tell the story of vocation, explaining how I ended up as a bi-vocational minister. Some of the stories within that story when seen from a different angle might combine with other stories to tell the story of my identity. Then again the some of the stories might reform around another center and combine with other stories to tell the story of my 20-year love affair with my wife.

By thinking of my stories in this light, I might begin to see that the stories I tell are not actual events but events filtered through memory combined with imagination/creativity. So a story is creative work that I engage in. I don’t tell the meta story that overarches my life. God tells this story. Sometimes, I see glimpses of his story being told through me, but most often I am clueless as to the richness and fullness and connectedness of that story which connects all stories.

With in mind, I must realize that the story I am telling, I am creating. I am using characters, plots, settings, pace, mood, symbols and more to tell the stories. I have certain lines that I uses again and again, much like the move lines, “I’ll be baaaaaacck” or “Life is like a box of chocolates.” Rarely do we step back from our preoccupation with telling or thinking our own story to analyze. But sometimes it may be helpful.

I might try focusing on other characters. I might consider using a different pov, or a different tone. I might look for other symbols or lines or settings that are already inherent within my stories but I’ve overlooked. I might find a different center, a different connecting points for my little stories. By doing so, I might discover that I could tell my story as a story of sacrifice and suffering at the hands of other in a new way and recast it as a story of power, choice and heroic overcoming of struggles against all odds.

Enough for now. Hopefully, I’ll write more on how I connect my stories with other stories outside myself (literature, arts, history and even the Bible).

Last weekend Rick Doughty, Brad Getz and I did a retreat on story. This was the second retreat in my series of retreats on wisdom. We started with Meditation upon the 10 Commandments, followed by The Wisdom of Stories (last weekend), then we’ll do “Acting Wisely: the Translation of Wisdom into our Active Life,” and finally we’ll conclude with “Creating the Future with Words of Wisdom.” These four retreats follow Eugen Rosenstock Huessy’s “Cross of Reality,” moving from inward (meditation) to backward (storytelling) to outward (active life) to forward (wise words).

A few thoughts recapping The Wisdom of Stories may follow in future blog posts. I’ll focus what I write primarily on the notes that I used in preparation although I may reference Rick and Brad’s thoughts as they come to mind.

Each person’s life is filled with stories. When asked to tell my life story, the answer might actually be, “Which one?” For I am moving and have moved in multiple stories. Whatever I tell you will be an extraction from the wide web of stories. My wide-ranging stories are within a context of a storied world. And then there are many contexts for stories. For instance, if I consider setting as the basis for context, my stories are set within the context of family and friends’ stories that are set withing the context of a communities’ stories set within the context of a culture’s stories set within the context of the stories of the Western World set within the context of The Story (of stories) - The Word of God.

Stories pivot on multiple points some of which include setting, characters, plots, words and lines, action, symbols and images, tone/mood and pace. Each of these pivots reveals a particular dynamic to a story. Some writers capture the essence of certain pivots better than others. Charles Dickens certainly masters characters and settings. While his plots are often intricate and delightful, I think his real genius lay in creating characters within settings.

Edgar Allen Poe and Nathanial Hawthorne captured mood. For me, the feeling captured in Young Goodman Brown is one of the richest aspects of Hawthorne’s dark tale. I personally think this is particular genius of M. Night Shymalan. His stories create a mood that overarches the story. Some critique the story or the characters but the mood is his real gift.

Pace is the tempo of the story. Some recent films have played with pace both increasing pace or decreasing pace to almost a motionless state (Into the Great Silence). Andrei Tarkovsky films slow down pace, which make his films almost unbearable for some people. At the retreat someone mentioned “Napoleon Dynamite” as a great example of a movie tinkering with pace. Good observation! This may be why the movie seems for some to have no point or no action. It’s capturing an almost suspended state of time. “Run Lola Run” is a great example of a film that goes the oppositie direction and is breathless in it’s movement forward. The Bourne films (like many action films) speeds pace to a blinding fury.

Pace makes me think of Louie Armstrong. I once heard Wynton Marsalis say that Louie’s great genius was in capturing the changing pace of the American life. America was moving from an industrial nation to a communications nations where life is non stop 24/7. Louie’s phrasing both with his coronet and his voice plays with pace.

Sometimes setting is the driving force. Gormenghast tells the tale of a castle with endless halls and twists and turns. The story cannot be extracted from the setting. E.M. Forrestor’s Howard’s End plays with setting (both social and physical) in his fateful tale of a house in the country where two women are connected by being joined to the place.

Think of the power of words and line in stories. They can leave the story and take on a life of their own. “I’ll Be Baaack!” or “Go Ahead, Make My Day” became cultural catch phrases used in everyday life to create new meanings. These trendy phrase might be contrasted with the genius of Shakespeare who gave the world words and lines that continue to drive the way we think and talk. Just consider a few of the following (with thanks to Absolute Shakespeare):

“Neither a borrower nor a lender be.”
“This above all: to thine own self be true”.
“Though this be madness, yet there is method in ‘t.”.
“Brevity is the soul of wit”.
“To be, or not to be: that is the question.”
“All the world ’s a stage, and all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts”
“Can one desire too much of a good thing?”
“For ever and a day.”
“Now is the winter of our discontent”
“A horse! a horse! my kingdom for a horse!”
“Off with his head!”
“What’s in a name? That which we call a rose by any other name would smell as sweet.”

And the list of familar quotes goes on and on and on. We’ve used his quotes verbatim and we’ve altered them to create new meanings or new contexts, but the the quotes appear on the mouths of many people who’ve never read one line of Shakespeare. His words live on and shape the way we frame our world.

Sometimes an image becomes so striking within a story that the image like the lines above takes a life of it’s own. We speak of a “scarlett letter” as a public disgrace. Hitchcock took common everyday images and turned them into images of terror. Aladdin gives us the “magic carpet.” Pinochio gives us a nose that grows and grows. These images are extracted from stories and used on our everyday discourse to convey meaning and ideas. Sometimes is less than honest and we mention that their nose might be growing.

All the elements I’ve mentioend thus far (plots, settings, characters, words, lines, images, tone/mood, pace) are conveyed in stories and may be the pivotal element in a story that connects with us or speaks to us. We may not remember anything else from a story but the element that moved us. In fact, we can dislike a story while loving a single element that impacts us.

This impact may be called inspiration. Stories and their elements “in-spire” us. We breathe in their influence. We are in “spired” or in “spirited” by the power of the story. Just as we breathe in oxygen and it keeps us alive, we breathe in these elements and they shape the way we understand and communicate and act in our world. The “inspired” stories become a source of wisdom that shapes us and gives us insight in the midst of living.

In the past, I’ve written about Memory and Vision as the life span of a person. I think stories fundamentally capture the movement between memory and vision, extending from our own story to the stories around us to The Story (the Word of God). I contend like Chesterton that the Bible tells The Story and all other stories are subsets of this story. There is a movement of energy, of vitality, of spirit that moves between these stories. As I consider this movement, this conversation of stories, I might begin to think more deeply of the “Holy Spirit” breathing upon creation, but more on this later.

With Jeremy’s recent post on teetotalers, I figured I should follow suit with a post on beer. George Will recently set the country straight by explaining why beer is fundamental to a civilized world. As he says, “No Beer, No Civilization.” Even if you don’t imbibe, you might find Will’s insights provocative.

Notes on “To a Scrap of Pasture Pushing Itself Between the Slates of Pavement”

Bobi Jones sings a song a praise “To a Scrap of Pasture Pushing Itself Between the Slates of Pavement.” As he looks out upon the square in the middle of town, he sees a blade of grass growing up through the pavement. He hears God singing through this pasture, and revealing in image His wisdom in parables, His holy presence, His birth and death and resurrection.

Though we pave over the earth, His song cannot be stopped, and “His lightning will tongue-lash freely from the earth.” In this small blade, Jones sees a “deluge” and an “eloquent greenery” that “narrates His life and speaks in parables on all sides.”

Jones calls us to look with him,
“When we look, there are angels near the stage
And the mist at the back, its head in feathers.”
These words call to my mind the image of Isaiah’s encounter with the holiness of God in the temple. Isaiah sees the Lord “high and lifted up” and the “train of His robe filling the temple.” Around the throne he sees angels, covered in winged and hiding their face and feet before the holiness of God.

In the middle of a town square filled with people moving to and fro, God reveals His holy power and glory in a single blade of grass. This blade of grass becomes a “thin place” where the glory of God is revealed, shouting aloud the wisdom of God. But the simple pass by and miss the awesome display of God’s wonder.

The song that is sung is the song of the Word made Flesh. For in the blade of grass, Jones sees a mystery. He “watch(es) Him being born there.” This blade of grass speaks to Jones of the nativity and the irrepressible life of Christ, but the image of pasture also speaks of grain that is formed into bread.

As Jesus proclaimed, “Unless a grain of wheat fall into the ground and die, it remains a single grain.” Jones sees this grain springing up in bread that feeds the people of God with the bread of heaven, the Lord’s Supper. Jones writes,
An herb whose flesh’s heap of crops we taste
In the tasting it turns to wormwood like each scrap that grows
But I know beneath my ribs the coming of the hour’s astonishment.
The supper is bitter for in partaking of His body broken for us, we are entering into the communion of death. Jones writes that the bread is literally beneath his ribs being digested. In the meal of death, we partake of life anew.

The bread of heaven nourishes. Even as our body draws nourishment from the physical bread, our whole person draws life from the bread of Christ. In His death, we know life. For in His death, we can participate in the great mystery of life after death.

Each day we rise, we taste the sweetness of death in Christ and the hope of life after death. His irrepressible life is at work in us. So no matter what happens in our world. The fools of the world can try to extinguish God’s word and life and power from the earth, but they cannot, for it springs afresh in us, in a little blade of grass bursting through the pavement, and in all creation.

He’s performing. The foolish civilization of today can
Kill Him and bury Him deep. The inherent will frolic through the soil.
In the hand of the grassblade the creation trembles,
And it sows eternity itself: tender is the land.

Here’s an oldie but a goodie:

Also do not take to heart everything people say, lest you hear your servant cursing you. Fr many times, also, your own heart has known that even you have cursed others. - Ecclesiastes 7:21-22

Reminds me of something Maximas the Confessor says in his Four Centuries on Love. He cautions us not to remember the evil words or actions of our friends for in doing so, we will make it harder to love them purely. It’s so easy to be offended. But so much more fruitful to love forgetfully.

I can’t even read Welsh, so I end up reading poetry written in Welsh and translated into English. (Hopefully, I will eventually read it in Welsh.) So why does it strike me and move me so deeply? As I meander back through Bobi Jones Selected Poems (translated by Joseph P. Clancy), I ask myself, “Why?”

My family has Welsh roots and a second cousin has actually met with distant relatives who still live in Wales. But in al truth, I am an American. I don’t know any other reality. Despite my Celtic dreams, I am an American through and through. This is the only world I’ve ever known.

As an American, I read poems originally written in Welsh about Welsh places and Welsh people and Welsh struggles. I these poems through the eyes of a translator (a great Welsh translator and poet in his own right). In spite of the disconnect, these poems move me. They vibrate through the inner recesses of my soul.

As I think about their struggle to preserve a language, a memory, a particular history and a particular people, I connect with their rugged persistence in the face of (seemingly) unstoppable winds of change. They won’t let go. When the fight to keep speaking and writing in Welsh borders on futility, they keep holding on.

I don’t know what it’s like to fear losing a language. I don’t know what it’s like to fight to preserve a nation. But I do know the dark seas of hopeless chaos that sometimes tower when God seems to hide the grace of His presence. In smothering black nights of hopelessness, something deeper than my intellect continued to hold out for hope.

Something deeper than sheer willpower seemed to persistently grip the glimmers of fading rays when all effort seemed futile. Something deeper than me kept holding on. The very one who seems to elude me, who seems to hide from me, who seems to have abandoned me, continues to hold me, to draw me, to sustain me.

Even though dark waters have pounded my soul and the undercurrent of chaos has pulled me down to an airless pit, the Spirit never stopped hovering, blowing, creating and recreating me.

And I think this is why I love the Welsh poets.

Somehow in their relentless struggle to hold onto hope, I’ve come to find a home among fellow travelers who’ve tasted the sweet light of grace in the midst of the night.

Bobi Jones lifts up an anthem of praises to school teachers. Drawing from a rich reserve of past Welsh icons, he compares them to the ploughman, the soldier, a preacher, and Orpheus.

As warrior people, the ancient Celts wrote warrior poems in praise of battles, great fighters, kings and triumphs. In the middle ages, a Welsh poet used to the warrior epic to write a poem of praise the ploughman. The ploughman is worthy of praise for his faithful tilling of the land that produces food for a nation and provides the very stuff of the Eucharist. So the ploughman ultimately unites the people together under God by his faithful labor.

Bobi draws from both images to write a warrior poem in praise of the exploits of teachers:

Ploughman of the daily children! Solider of a nation!
I will praise the chalk of your hair while I have breath.

The image of ploughman, soldier and preacher combine in the teacher as one who tills the soil of the young hearts, wars with ignorance and the threat of losing the Welsh language and identity, and the preacher who connects the student of the present with the great communion of saints in the Welsh past. By telling the stories, by remembering, the teacher keeps alive a people who survive as distinctly Welsh against the onslaught of the surrounding culture.

…The clichés of education
Are charmed into adventure by your modest cherishing,
Our country’s past turned into the following day.

In this beautiful poem of praise, I encounter the exalted role of the teacher who fights daily in the rich battle of the Welsh people to preserve their story, their language, their life-blood from generation to generation. The teacher’s words create the future through the children. Creating the future may mean change but it also means connecting the generations.

The teacher is connecting the students to the soil of their being that will inspire them to move forward with the vision of their people in new challenges and contexts:

A land’s in a man; and through it he opens out lands
Like dawn reaching a pageant of fingers toward them.
You’re the river across their ears as well; the waterfall that carries them,
Sparks for a sun, earth and water of their searchings.

In a world where the pressure of homogeneity constantly threaten the identity of the faithful, the poem resounds as a clarion call to keep the vital life of memory alive in our stories, in our classrooms, in our children. It reminds me of Eugen Rosenstock Huessy’s exclamation that our present action is created by looking back to the past and forward to the future.

We are a forgetful people. We forget our names, our landmarks, our stories, our heritage. Without the stories of our past, we face a storyless future or a future filled with stories that submit to the demands of the trends that drive our culture from moment to moment. We need the bards to come forth and sing us awake into the memory of our heritage and our call forward:

A wraith’s in a river; you are Orpheus, rippling
Before each little life, bubbling up
Towards a free world of men, leading them from the dark
Without once looking back to their empty well-spring.

I guess my swearing off chocolate after the the Rocky Mountain Chocolate Factory incident was a bit premature. Turns out Mars is teaming up with IBM to develop a better, stronger chocolate: sort of like the Six Million Dollar Chocolate Man. Go Steve Austin!

I guess if Kenneth Collins can figure out the human genome and Tim Westergren can come up with the music genome, then Mars and IBM should be able to figure out the cocoa genome.

If you’re passing through the Bellaterra/Huntington Beach area in California, you might want to watch out for the Rocky Mountain Chocolate Factory. The Consumerist hits them with a downright horror show story in customer service denial.

Not sure if I can bear to even eat chocolate after that story.

Update: The COO of Rocky Mtn Chocolate Factory called and apologized to the lady. Rock on! And hand me another chocolate bar.

She’ll be comin round the mountain when she comes,
She’ll be comin round the mountain when she comes,
She’ll be comin round the mountain,
She’ll be comin round the mountain,
She’ll be comin round the mountain when she comes.

I’ve heard that song over and over and over through my life. Seems like a silly song but there’s something in the repetition and rhythm that makes is stick out in my mind. At different times in my life, the song has brought to mind different images.

This morning it makes me think of the person who caught in a particular trial. In the midst of their frustration they exclaim, “I’ve gone around this mountain several times. I wish I could learn my lesson and move on.” I know that person because I’ve been that person more than once.

Whether in the areas of finances or job or friendships, I’ve often felt like I was circling, re-circling and circling the mountain yet again. Driving up the side of a mountain on a swtichback road has a similar feel. I see the same sights again and again, but each time I see them from a higher altitude.

It might just be that when we feel like we circling round the mountain again and again that we could be repeating a pattern but at a higher altitude each time. So we’re not really in the same place, we’re actually moving higher and higher.

Sometimes I’ve drawn two diagrams on a board to demonstrate the way many Christians perceive the spiritual life. Some might think of it as a gradual incline leading higher and higher and higher to a peak, which is the place of glorification. Depending on their tradition, this promise of glorification may happen before or after death.

Other Christians might think of their life more like a line pointing up breaking through a barrier to reach a plateau where the life of faith is lived in fullness. A key event marks this breakthrough—usually either their initial salvation experience or a secondary experience of the Spirit’s infilling. Their “testimony” normally will consist of discussing the events prior to the moment of breakthrough and the dramatic impact the breakthrough had on their life.

I think both of these pictures are helpful in thinking about different aspects of a spiritual journey but I might also suggest that, “She’ll be comin round the mountain” offers a third and valuable image as well.

The image of a circling a mountain with a gradual incline captures the image of repeated patterns in our life. I would suggest that one aspect of growth in our lives can be characterized by a series of repeated patterns.

One way to explain this understanding is to consider the seasons of the year. Each year we pass through spring, summer, fall and winter. Then the seasons are repeated. And again. And again. And again throughout our lives.

If we don’t move every year, this repeated pattern of seasons in our region will be layered into our memories. Certain smells, sights and experiences of the different seasons will bring back memories of past seasons. Driving with my window down in late spring often takes me instantly back to 1982 and my senior year in high school.

We may associate certain activities with certain seasons. For example, we may connect vacations with summer; football with fall; hot chocolate with winter; and flower gardens with spring. But we don’t have to do the same thing every season.

Some years, I may chose to follow the birds and fly south in the winter. Other years, I may head north to a snowy mountain and ski slopes for the winter. In other words, I experience the repeated pattern of the season, but I am free to improvise my response much like a jazz musician might do with a standard.

In addition to the repeated patterns, we impose a calendar upon our year with repeated celebration or patterns. Many Americans might celebrate Thanksgiving, Christmas, Easter, and the Fourth of July regardless of their religion.

Add to the big four a series of lesser holidays and we have a repeated holiday in most months of the year. Add to those celebrations the personal celebrations in the lives of our friends and families like birthdays and anniversaries. Then add the weekly worship services, yearly VBS, graduations, weddings and more.

Soon we discover that our life is filled with repeated patterns.

I would suggest that we learn through repeated patterns. Just as our calendar reflects this rhythm, our personal lives reflect seasons of learning. There are times when we may actively learn and other times when we may actively create and other times when we may focus on serving or relationships or prayer or mission’s work.

These seasons of intensity and focus may repeat again and again. But each time, we may remember our previous experiences and lessons from the past to play upon our experience now.

We may also pass through repeated seasons of joy and sorrow, struggle and victory, grief and comfort, conflict and forgiveness and so on. But just like the jazz standard or the repeating seasons, we don’t have to respond to the same rhythms in the same way.

One year during lent, I meditated upon the joy of the Lord. This taught me the pattern of joy in suffering. When I find myself in the midst of a repeated trial, I am free to choose a different way to respond. Jack Taylor once told the story of his son growing through grave financial difficult. In response, the family had a celebration.

This decision to alter their response to something depressing and discouraging could then give them fresh eyes and perspective to the struggle and possibly see new opportunities ahead.

So today, I think I’ll rejoice that, “She’ll be comin round the mountain when she comes.” I may think I’m coming back round the mountain, but I know I’m moving upward to a place of glory. So I can improvise respond in new ways, bring new expectations to this similar season.

And even in the midst of my current circumstances, whether good or bad, I can rejoice and know that my faithful Savior is leading on the path. And in the end, he present me as blameless before the Father.