Mar 9, 2020
as preached at the First Unitarian Universalist Church of Houston, Museum District campus, March 8, 2020
This month in worship we are focusing on compassion. Rev. Scott got us started last week with a sermon in which he affirmed the psychotherapist David Richo’s claim, “Compassion is love’s response to pain.”
“Sympathy is the ability to recognize that a person is in pain,” Rev. Scott told us. “And empathy is the ability to... experience some [of] their feelings,” he continued. But compassion is putting “those thoughts and feelings into action.” We demonstrate compassion when we move beyond simply worrying about other people, or the state of the world, and try to do something about it.
Compassion is a core Unitarian Universalist value. Our tradition claims that love is the most powerful force in human life. Love beats hate. In theist terms, we argue, God is love. Love is God. God loves everyone, no exceptions. In humanist terms, we recognize that love, more than anything else, is what knits human life together. And as Unitarian Universalists we strive we be a loving community, instantiating among ourselves what Josiah Royce, and then Martin Luther King, Jr. after him, called the beloved community. We struggle to be a space where everyone, without exception, can find their place and be encouraged, and supported, in living into their full human potential. And then we work to take that vision of the beloved community into the wider world.
Compassion, having sympathetic thoughts and feelings for others and then seeking to put those thoughts and feelings into action. Compassion, love’s response to pain. Compassion, it is something I suspect we are all going to be called to exercise in significant amounts in the coming weeks. The coronavirus is spreading throughout all of humanity. It is here in the United States. It has reached Houston. And our religious tradition calls us to be compassionate as we, collectively, respond to the viral outbreak.
This compassion should take several forms. We should demand that our public officials allocate adequate resources and take shift appropriate action to slow the spread of the coronavirus. We should not stigmatize or shun particular groups of people--people of Asian descent, for instance--because we irrationally blame them for the virus. The virus has the potential to impact everyone and people of all ages and ethnicities have been infected with it.
And we should each do our part to limit the rate at which the virus propagates. Wash your hands frequently, with hot water and ample soap--hum Happy Birthday twice the way through. Do not shake hands, I have been encouraging people to bump forearms instead. Cover your cough with a kleenex and then throw that kleenex away. If you feel ill stay at home--we offer paid sick leave to our employees here at First Church, if your workplace does not and you are sick and worried about missing a paycheck contact me or Rev. Scott and we will see how we can help you. Clean surfaces like doorknobs that people frequently touch. And hardest of all, avoid touching your face.
They might seem banal, but these are compassionate actions. They are ways we put our concerns for others--concerns that they might be stricken by the virus--into action. If the viral outbreak reaches epidemic portions here in Houston the staff and I are prepared to continue to offer Sunday services and pastoral counseling online as part of our compassionate efforts to help the community weather the viral storm.
Compassion, looking around our sanctuary am I sure you have noticed that it looks a bit different this morning. We have close to sixty photographs on our walls here and in the Fireside room because of my belief that art can stir sympathy, empathy, and, ultimately, compassion within us.
This year our congregation is part of FotoFest. FotoFest is the longest-running international Biennial of photography and lens-based art in the United States. It is one of the largest photography festivals in the world. It has an audience of around 275,000. We are serving as a Participating Space. That means that we are one of about eighty venues from around the city who have chosen to be part of FotoFest and exhibit art throughout the festival. Some of the other venues include the Museum of Fine Arts Houston, the Menil Collection, the Moody Center for the Arts at Rice University, the Houston Museum of African American Culture, and the Houston Center for Photography. So, we are in pretty good company.
FotoFest opened yesterday. That is why, I should note, that we are focusing on it today and not Women’s History. We will observing Women’s History throughout the month by drawing our readings exclusively from women. With the exception of today, when Zsófia invited us to support the International Convocation of Unitarian Universalist Women, we will be supporting Planned Parenthood through our shared offering for most of the month. And at the end of the month, I will give the sermon drawing explicitly from feminist and womanist theology that I would normally have given on the Sunday nearest March 8th.
Our exhibition is called “Now is the Time: Leonard Freed’s Photographs of South Africa’s 1994 Election.” My father, Dr. Howard Bossen, and I curated it together. My Dad is with us this morning. And I would like to thank him and my Mom, Kathy, for their tireless efforts to make this exhibit happen. I would also like to thank First Church’s fine staff. Alex, Alma, Carol, Gustavo, Jon, and Scott all put in--and continue to put in--an extraordinary amount of work for “Now is the Time.” Tawanna, our wonderful Business Administrator, deserves special mention since, on top of all of her other duties, she served as project manager. We also had help from the staff at the Libraries of Michigan State University, CrateWorks Fine Art Services, and Artists Framing Resource. We owe Bill Harrison thanks. Bill printed the images and then he did a rush job to print a second set after UPS lost the first one. And we owe Justin Griswold from CrateWorks particular gratitude. He was here until 11:30 p.m. on Wednesday evening hanging the show. And, of course, none of this would have been possible without our funders: Michigan State University, Thorpe Butler and Rita Saylors, and Lindley Doran and Charles Holman. And showing the exhibit would not continue to be possible without the assistance of all our volunteer docents. We have a lot of shifts to cover and if you have not volunteered to be a docent there is certainly still the opportunity to do so.
Before we move into the rest of the sermon I want to tell you how the show came about. A key part of FotoFest is its portfolio review program. This is where artists and curators, editors, gallery owners, publishers and other industry professional meet with photographers to look at the artists’ work. My father is a Professor of Photography and Visual Communication at Michigan State University. He has been one of FotoFest’s reviewers for close to twenty years. When I moved to Houston, FotoFest’s Executive Director, Steven Evans, asked my Dad if he would ask me if we would be willing to serve as Participating Space. Apparently, the folks at FotoFest have been interested in partnering with our congregation for many years. My Dad put us in touch and Steven paired First Church with a curator.
This was back in June of last year. We spent about five months working with this curator. And then in late November, I got a call from that curator. They had been unable to raise the money they needed for the exhibit that they were planning. They were backing out. I asked Steven what to do. He told me it was way too late to pair us with another curator. All of the deadlines for Participating Spaces are in early autumn. So, he said to me, “Why don’t you do something with your Dad? We would really like First Church to be part of FotoFest. I can give you a week to figure something out.” A week is not a long time to come up with a plan for an exhibit. But, I called my Dad, and well, here we are.
I am excited that are we able to be a venue for “Now is the Time.” Leonard Freed, whose work we are featuring, was a major American photographer. He was a member of Magnum Photos, the world’s premier photography collective, and for more than fifty years he travelled the world documenting major events. He used his art to stir sympathy and compassion and, during the 1950s and 1960s, break the “almost complete isolation between the races.” His work is in the collections of places like The Metropolitan Museum of Art, in New York, and the J. Paul Getty Museum, in Los Angeles.
Freed is best known for his photographs of the civil rights movement, particularly the set of images that were included in his 1968 “Black in White America.” It is a beautiful book. It documents African American life in the last days of Jim Crow. And it documents African American life right after the end of legal segregation.
There are lot of powerful pictures in that book. One of the most effecting is of a line of eight or nine African Americans standing in line to vote in a federal election for the first time in Washington, DC. They are in one those utilitarian spaces that often serve as polling places--I imagine it is a school gym or cafeteria or, maybe, a church basement. They are all ages. There is a tall distinguished gentleman wearing what looks like a tweed jacket, well pressed slacks, and perfectly shined shoes. There is a young woman in a long coat and knee length skirt with a large purse under her right arm. In her right hand she is grasping a white slip of paper, presumably documenting that she is eligible to vote. Everyone in the photograph looks like they have been waiting a long time--which, of course, they have been. They have been waiting however long they have been waiting in that line. And they have been waiting however long they have been alive. For this is the first that any of them have been able to vote in a national election. It does not matter that the man is probably over eighty and that the woman is most likely under thirty. They have both been waiting precisely the same amount of time: their whole lives. And they look tired--because I bet that line is a long one--and they look determined--because winning the right to vote was not easy.
Viewed from the vantage of Houston, Texas in the year 2020, the photograph is actual quite disturbing. It could have been taken on Tuesday. It could have been taken here in the Fourth Ward. It could have been taken in Third Ward. It could have been taken in almost any community of color in the state of Texas. Since 2012, the state’s Republican leadership has worked to close 750 polling places throughout the state. The vast majority of them have been closed in communities of color.
On Tuesday, I voted in polling place near Montrose in River Oaks. There were about a half dozen polling places for me to choose from in easy reach of my apartment. Now, I live in an affluent and predominately white area. And when I went to a polling place, I waited about fifteen minutes in line. I have a friend who lives in the Fourth Ward. She waited over an hour and a half to vote. And some people who voted at Texas Southern University--a historically black university--had to wait as many as six hours in line.
Compassion is not just having sympathy for those people who had to wait for hours and hours to vote. It is putting that sympathy into action and organizing to demand that people have easy access to voting.
Compassion, you can find images of people waiting to vote almost anywhere online. And these days, we are inundated by visual images at almost all times. They can overwhelm us. How many of you have a smartphone? And how many of you use Instagram, Facebook, or Twitter? I have them all on my phone. They have a common feature called endless scroll. Endless scroll is what repopulates your phone with images as you move your finger down the screen. No matter how many “friends” you have on Facebook or “followers” you have on Twitter, the social media companies constantly refresh your account so that you never run out of images. Endless scroll is just that--a string that seemingly goes on forever that you can never reach the end of, that is always presenting you with new content, new images, new videos, new sources of stimulation.
Endless scroll can be entrancing. I do not know about you, but I sometimes have the experience of scrolling from image to image on Instagram without even knowing that I am doing it. Sometimes I look up and realize that fifteen minutes have passed. It would be difficult for me to tell you what images I saw or engaged with during that time. They all went by in a catatonic blur.
The social media accounts that I follow come from all over the world. I follow news sources like the New York Times, the Houston Chronicle, the Guardian, and La Jornada--a very fine daily out of Mexico City. I follow a painter from Japan, anarchist labor union activists from Spain, organizers from Northern Syria, photographers from the Czech Republic, historians, philosophers, theologians, and religious leaders, from well, really, almost anywhere. And then there are my actual friends, who, in our highly connected global society, live on every continent except Antartica.
One of the wonderful things about social media is that is it actually can link people from throughout the world together. I have, through my smart phone or computer, access to the words, sounds, and images from people who live in bustling cities and in remote villages. If I want to, I can actually communicate directly with them and find out something more about their human experience. I share with them some of mine. And maybe our digital interaction can open us up to being compassionate towards each other and help us recognize that truth about the human experience--lifted up in the seventh principle of the Unitarian Universalist Association--we are all connected, we are all part of the great web of being, we are all members of the great family of all souls, and what happens to you, in some way, minor or major, happens to me also.
One of the terrible things about social media is that it can make people numb to what is going on throughout the world. I have had this experience myself. I look at my phone and there are images of people dying under Assad’s brutal regime in Syria. I look at my phone and there are images of people suffering from the coronavirus first in China, then in Italy, and now, well, here in the United States. I look at my phone and there’s an image of a young African American man who has been killed by the police. I look at my phone and there’s images of the children who Immigration and Customs Enforcement officers have placed in cages. There are images of people who have been deported back to Central America and killed by gangs. There are images of... Well, there are a lot of awful images out there--images that provide a testament to just how terrible we humans can be to each other.
And you know what, I usually think to myself, “I cannot deal with this right now.” And scroll past the world’s horrors to look at pictures of a friend’s dog’s birthday party, a friend drinking beer at the cutest graffiti coated bar I have ever seen, a very nice looking breaking competition, a couple’s anniversary--one partner in a striking red dress, the other in an elegant tuxedo--, a delicious meal of fresh brilliant colored market vegetables, and, of course, cats. Like a whole lot of the world, I like images of cats--running, sleeping, or playing with some kind of improbable object. Cats are cute. Cats are goofy. Cats can easily bring a smile to my face. Cats can help me forgot the brutal things we do to each other.
Do you ever have the same experience? Where you look at the difficult news of the world and think to yourself, “I just can’t?” A bit more than a decade ago, when she was trying to grapple with the constant barrage of images of the Bush regime’s torture policies that were appearing in the New York Times and other places in the then dominant print media, the philosopher Susan Sontag observed, “An ample reserve of stoicism is needed to get through the great newspaper of record each morning, given the likelihood of seeing photographs that could make you cry.”
I suspect that the constant barrage of graphic images induces compassion fatigue in a lot of us. Compassion fatigue is the anger, dissociation, anxiety, and even nightmares that we experience from feeling powerless to change the world’s ills. It comes from what Sontag called “a quintessential modern experience,” “[b]eing a spectator of calamities taking place in another” place.
Endless scroll offers us the opportunity to spectate endless and exhausting calamities. It can dilute the power of the image to open us to compassion. And that is one reason why I think exhibits like “Now is the Time” and social documentary photography remain important even when we are constantly inundated with images. The framed image, mounted on the wall, allows us, offers us, the chance to stop and consider the human experience--or the natural world--in a moment of time.
Now, of course, all photographs are curated representations of reality. There is always something outside of the frame. The image is always partial and seen through the lens of the photographer. The photographer’s aesthetics and ethics--their choice of what they represent and how they represent it--is always shaping the image. When they produce an image, they are indicating that this transitory moment in time, this flitting bit of consciousness, matter, and experience, is worth preserving.
Freed’s work in “Now is the Time” preserves impressions of an historic shift, the end of apartheid in South Africa. He travelled there for three weeks to document the country’s first multi-racial election. As a white Jewish man from the United States, a white Jewish man who knew about the Holocaust and Jim Crow and the struggle for civil rights, he created his curated representations of the election that brought Nelson Mandela and the African National Congress to power.
His images are not the images that would have been made by someone with a different social location--they are not the images of a black South African who participated in the struggle to end apartheid. And they are not the images of a person who had suffered the social stigma of apartheid or Jim Crow. Nonetheless, they are designed to open their viewers to the fullness of the human experience--to remind us that there is joy and friendship and wonder. That human society can shift. That apartheid ended.
The title of the exhibit comes from one of the African National Congress’s slogans during the 1994 election, “Now is the Time.” The slogan is evocative of Freed’s photograph of the people waiting in line to vote. Now is the time for change. It has finally come, after all these years of suffering and struggling and waiting and waiting. Now is the time, it has arrived. Now is the time to be compassionate towards each other and act together. Now is the time, if you want to learn more about the exhibit, my father will be offering a lecture about it next Sunday at 7:00 p.m. And I will be doing at least one gallery talk between now and when the exhibit closes at the end of April.
I hope that you will take time after the service or during the exhibit’s hours to study the photographs. There are a few that we have placed behind a curtain because they are not appropriate for Sunday mornings. But all them will offer you an opportunity to interrupt the endless scroll of visual imagery and look carefully at transitory moments of time, constructed representations, that, will do a little to help you with whatever compassion fatigue you might be experiencing. As you do, I invite you to remember words from Nikki Giovanni that we heard earlier in the service:
we must believe in each other’s dreams
i’m told and i dream
of me accepting you and you accepting yourself
Such words remind us of the possibility of compassion.
As you view Freed’s images, I invite you to consider these words by Nelson Mandela, words that he offered in his inaugural address as President of South Africa:
“We know it well that none of us acting alone can achieve success.
We must therefore act together as a united people, for national reconciliation, for nation building, for the birth of a new world.
Let there be justice for all.
Let there be peace for all.
Let there be work, bread, water and salt for all.
Let each know that for each the body, the mind and the soul have been freed to fulfill themselves.”
We would do well to hear Mandela’s word. They challenge us to be compassionate--to take our sympathy and empathy for others, sympathy and empathy that are rooted in our shared human experience, and transform them into the action of compassion.
We would also do well to pause, and look, and see if we can be stirred to compassion by all the rich visual imagery on display throughout the city of Houston during FotoFest. Our faith calls us to be compassionate. And the art which surrounds during these festival months has the possibility of inspiring us to greater depths of compassion--to transform our sympathy and empathy into action.
We are one human family, one world community, whether we like it or not. If we are to survive and thrive we must be compassionate towards each other. Let us remember that and, in doing so, let us recognize that now is the time to act--to work for voting rights, to do what we can to combat the coronavirus (no shaking hands after the service), to seek justice, and to build the beloved community.
Now is the time.
That it might be so, I invite the congregation to say Amen.
Oct 10, 2019
as preached at the First Unitarian Universalist Church of Houston, Museum District campus, October 6, 2019
I am a Yankee. Living in Houston has made this aspect of my identity abundantly clear. I move through the world in distinctively non-Texan ways. I do not wear cowboy boots. I cannot two-step. I do not own a car. I root for neither the Houston Texans nor the Dallas Cowboys--though we have been here long enough that Asa is a fan of the Astros and the Rockets. And probably most disconcerting for many of the Texans I have met; I do not eat meat. Barbecue is not part of my regular routine.
Part of my recognition of my own Yankee nature has come from what I might describe as my general sense of disorientation as I wander through the Houston landscape. I grew up in Michigan. I studied in Illinois, Massachusetts, and Ohio. I am used to different trees, different flowers, and different rivers. But most importantly, I am used to different mushrooms.
You might not know that one of my great passions is foraging for mushrooms. Stick me in a Northeastern forest for a few hours sometime between the beginning of May and the end of October and I am liable to walk out with several pounds of edible mushrooms. Morels--black, yellow, and grey--, chanterelles--flaming red or colored like egg yolk--, oysters, dryad’s saddles, gem studded and giant puffballs, chicken of the woods, hen of the woods, reishi, I know them all.
In Texas, I find myself uncertain in my identification of local mushroom species. There are mushrooms here that look deceptively similar to some that I eat confidently up North. They grow throughout the Museum District and in Herman Park. They have red caps and yellow stalks. They are plump, firm to the touch, solid all the way through and have pores rather than gills on the underside. They look and smell exactly like bicolor boletes--a highly prized delicacy quite similar in taste to porcinis.
Imagine my delight when, shortly after I moved here, I found dozens of these mushrooms growing around our building. Of course, I picked a number and brought them back to my office, with the intention of cooking them up that evening.
Unfortunately, the mushrooms were not bicolor boletes. Now, this not a tale of mushroom poisoning. There’s a saying among foragers: “There are old mushroom hunters. And there are bold mushroom hunters. But there are no old bold mushroom hunters.” I practice an abundance of caution when it comes to mushrooms. And so, when I got back to my office I started fiddling with the mushrooms. They began to stain blue. That is a bad sign. Bicolor boletes do not stain blue. I could not positively identify them. One guidebook indicated that they might be lurid boletes. Those are edible but only grow in Europe. Another suggested that they might be boletus speciosus. Those are not found in the South. In a third they appeared to be a variety of devil’s boletes. But those smell unpleasant and these had a pleasant odor.
In the end, I decided that since I couldn’t completely figure out what they were I better not eat them. It was a disheartening experience. It made me feel disconnected, or even alienated, from the land. Normally, my knowledge of mushrooms helps me to feel connected to it.
The experience is one that I have been ruminating on over the last few weeks as we have been exploring the theme of disruption and three of the great crises of the hour. You might recall, that in worship this year we are exploring how we might develop some of the religious resources and spiritual practices to help us in the work of confronting the climate crisis, the resurgence of white supremacy, and the assault on democracy.
The roots of all three of these crises lie in disconnection or alienation. Many people in this country are alienated from the Earth and alienated from each other. The climate crisis has been created because many of us no longer understand that we are people of the Earth. As the planet goes, so goes the human species. The poet Joy Harjo offers us wise counsel when she enjoins us to:
Remember the earth whose skin you are:
red earth, black earth, yellow earth, white earth
brown earth, we are earth.
I had a taste of that alienation when I found myself unable to properly identify one of the local mushrooms. One of the principal reasons I love mushroom foraging is it helps me to feel connected to, and a part of, the earth whose skin I am.
Sometimes my experiences in the North are a bit like this: I walk the woods and ramble the riverbanks looking for signs of mushrooms. It is midsummer. There has been rain. Not yesterday, the day before. It is supposed to be chanterelle season. Slow growing, densely fleshed, chanterelles have symbiotic relationships with oak trees. They entwine themselves with the roots and share nutrients creating a network of enmeshed fungi and living wood that can stretch for acres.
My eyes are scouring the leaf litter for signs of wrinkled yellow or red caps. Nothing. I walk for another hour, drifting towards that stand of ancient oak or trying my luck nearer the edge of a shallow stream. Nothing. And then, at the edge of my vision, I see a hint of yellow. I investigate. I look down and there’s a mushroom. I look up and suddenly I see hundreds of beautiful fruiting bodies. They range from tiny buttons to unfolding fractal caps the size of my fist. It is as if I have been invited to be a part of the network of mycelium and root mass that runs through the forest. In moments like that I feel part of the Earth, creation, the unnamable all of existence which we might choose to call God or name the sacred and the divine.
Remember the plants, trees, animal life who all have their
tribes, their families, their histories, too. Talk to them,
listen to them. They are alive poems.
In the liberal theological tradition, of which Unitarian Universalism is one of the boldest expressions, God is understood to be the experience of connection to something greater than ourselves. The nineteenth century German theologian Friedrich Schleiermacher described this experience as “the feeling of absolute dependence.” This feeling of connection is at the root of what it means to be religious. The feeling of connection comes first. The words we use to describe it come later. The feeling is universal. It comes from being embodied creatures, traversing a world on which we are dependent. The words we use to describe this feeling are bound by the particularities of culture and tradition.
Contemporary Schleiermacher scholar and Unitarian Universalist theologian Thandeka describes the dynamic this way: “The first word that comes to mind to refer to this feeling of absolute dependence--for Christians... is God... For Buddhists, the first word might be Sunyata; for Pagans, Gaia; for Humanists, the infinite, uncreated Universe.”
The feeling is universal. The words are particular. And our society’s alienation from this unnamable mystery is at the root of the climate crisis. We use words to describe the universal. Words can separate us from each other and our experience of connection. Human and Earth... We can describe ourselves as something other than creatures of the planet. We can pretend it is possible to escape the consequences of our habits of burning fossil fuels, filling the ocean with plastic, and despoiling lands. We use words and begin to imagine this experience of connection to be an experience of disconnection, disembodiment.
We use words and we get caught up in doctrinal differences. Theist versus humanist. Unitarian Christian versus pagan. Jew, Muslim, Mormon, Hindu, Buddhist... We use words and create cleavages between religious communities. The techno musician “Mad” Mike Banks once described the dynamic this way: “categories and definitions separate and with separation comes exploitation.”
In what remains the sermon, I want to suggest a few strategies you might use to cultivate your sense of connection, move beyond words, and overcome alienation. Think of these as spiritual practices that might aid you in fostering a sense of connection during these times of dislocation and crisis.
I offer them with insights from the German Jewish theologian Martin Buber. Buber was one of the twentieth-century’s preeminent scholars of mysticism. He came to understand that humans develop our senses of identity in relation to the other. “I require a You to become; becoming I, I say You,” are some his most famous words.
It is only through a connection with someone or something else that we come to know ourselves. Buber called this experience I-Thou. I-Thou is an experience of pure being. I-Thou occurs when we cease to treat something or someone as an ends to a means. We view them not for their utility or use. Instead, we feel enveloped in the other, dependent, joined with, linked to them. Buber wrote, “He is no longer He or She [or They], limited by other Hes and Shes [and Theys], a dot in the world grid of space and time, nor a condition that can be experienced and described, a loose bundle of named qualities.” In some moments, we experience other beings as “seamless” and discover that “everything else lives in [their] light.” Buber’s language is difficult, poetic, dense, and hard to decipher. This is because language fails such experiences. They are experiences and not ideas. Experiences and not words. Yet, sometimes, we can find hints of such experiences in scriptures and sermon, poetry and luminous prose. One is evoked in denise levertov’s masterful poem “The Cat as Cat:”
flex and reflex of claws
gently pricking through sweater to skin
gently sustains their own tune,
not mine. I-Thou, cat, I-Thou.
“I-Thou, cat, I-Thou,” the words only conjure. But yet, I ask you, have you ever had such moments of connection with another being? A pet? A family member? A lover? A friend? A complete stranger? For me they open up when my cat lies on my lap and sings his cat song, when I get enthusiastic hugs from my children, when I sit beneath the foggy city stars and grasp for words to fill a conversation with a friend, when I dance and lose myself in the breaker’s circle or connect soul-to-soul with a tango partner, and when I lie at the salt water’s edge and hear the backwash drag across sand.
Such moments of connection provide, in Buber’s understanding, linkage to God, the grand mystery of the universe. Now, I recognize that God is a word that makes many Unitarian Universalists uncomfortable. Many of us like to label ourselves atheists, agnostics, and humanists and reject God. It is all words and words divide and fail to describe the indescribable, the unnamable, that I experience, and I suspect you do as well, when I feel connected to something greater than myself.
Sometimes, in my work as a minister, I will have people come to me expressing hesitation about joining a Unitarian Universalist congregation. They do not believe in God, they will tell me, and therefore, they think, they cannot be part of a liberal religious community. I draw upon advice from the late Unitarian Universalist theologian Forrest Church and ask them, “Tell me about this God you do not believe in. Chances are, I do not believe in that God either.”
We Unitarian Universalists often get too caught up in what theologians call the via negativa. We love to talk about what God is not and express disbelief. God is not an old white man with a beard in the sky. God is not a vengeful deity angrily coming to smite those who have strayed from rigid doctrine. God is not a being that hates anyone who fails to fit into the all too tidy box of heteronormativity. God is none of these things.
What I am suggesting this morning is that one of the religious practices that we can go back, root ourselves in, in times of crisis is to pursue the via postiva. Here Forrest Church offered us advice, “God is not God's name,” he told us. “God is our name for the mystery that looms within and looms beyond the limits of our being. Life force, spirit, ground of being, these too are names for the unnamable.” God is present when we feel connected to, and not separated from, the blue green ball of a planet and the great family of all souls of which we are each but a part.
Martin Buber suggested that there were three ways we might encounter this experience of pure being, which he was unafraid to call God. We can find it, first, through nature. Second, through other beings--people and animals. And third, through art.
I offered my experience as a mushroom hunter as an example of finding the sense of connection in nature. Such episodes are important. They remind us that we are dependent upon, not separate from, this planet which is in ecological crisis. You might find them walking through the woods, strolling along a bayou, or rooting in the soil while you work your garden. Maybe you might even find it simply by gazing at a tree, as Buber himself once did. Reflecting on what he felt while communing with a tree he wrote, “Whatever belongs to the tree is included: its form and its mechanics, its colors and its chemistry, its conversation with the elements and its conversation with the stars.”
We can also find the experience of connection with other beings, human and animal. And here I could offer many examples--some rooted in wordless intimacies and others in ecstatic conversations. Holding a newborn baby, grasping the hand of a dying loved one, singing in community, sharing a well-crafted meal, silently coordinating together as we work to refurbish a house, the litany could continue endlessly, could continue as long as we could find new permutations of relation. Buber, denise levertov, and I all apparently find the experience in our cats. Buber wrote, “I sometimes look into the eyes of a house cat” in the midst of an eloquent passage on his theology of relation.
And finally, there is what Buber called “spiritual beings.” Here he meant not angels or demons but rather art and knowledge. These are things created by human beings that draw other human beings into the realm of I-Thou. To truly gain knowledge, and to understand another’s knowledge, we need be present entirely to what we are attempting to learn. We have to connect to it and let its patterns unfold before us. As an undergraduate I earned a degree in physics. I remember a sense of awe and wonder that would come as I puzzled through line after line of confusing equations. Suddenly, sometimes, the solution would appear--five, six, seven lines in--an expression that represented the classical mechanics of pulleys or the way light bent as it traversed through a series of lenses. It was like a flash that illuminated our relation to the ground of being--which there I might have called the laws of science.
I have long since forsaken my scientific studies. These days I am much more likely to experience connection through art. Have you ever had the experience of being completed subsumed by a piece of art? Where the work opened up a depth of emotion for you that blotted out everything around you? Some afternoon following service I invite you to go down the block and visit the Museum of Fine Arts. Pick a piece, preferably in a quiet side gallery where you are not likely to be interrupted. I might suggest František Kupka’s “The Yellow Scale.” It is found on the second floor of the Audrey Jones Beck Building, in the European painting section.
Commit to spending three minutes looking at the piece. One minute from far away, one minute a bit closer, and the final minute as close you can get. Three minutes can be a long time to look at a piece of art and in that time in might start to open itself up to you. Kupka’s “The Yellow Scale” appears to be a self-portrait. The artist reclines upon a wicker chair, one hand resting upon a book, the other grasping a cigarette. He gazes straight out at you. He is awash in a sea of yellow. Only his flesh, hair, cigarette, and chair are other than yellow. The background is textured golden, the oil of the paint forming thin clots that give the painting depth. Kupka’s robe is a brighter yellow, the fabric folding, reflecting, capturing light. Even his book and pillow are yellow. Each minute I move closer to the painting, I find myself more absorbed by its details. Soon there is only the painting and I, I and the painting, a moment of pure being, pure connection, the experience of being part of something larger than myself.
Mushrooms, a tree, cat and human, knowledge and art, Buber claimed “All actual life is encounter.” As we seek the religious tools to help us deal with the great disruptions of the hour, I suggest that we open ourselves up to these experiences of encounter. They can help us understand that we are neither separate from each other nor separate from the Earth. We are not alienated from our planet or the family of all souls. We are all intricately bound together and by opening ourselves to the I-Thou, the experience of mystery, we find strength and reorientation for the struggles ahead.
We can find that sense of connection within the walls of this sanctuary as well. I suspect that it is one reason why so many of us gather together, Sunday after Sunday. Here when we lift our voices together in song, sit together in the wooden pews, or join together in meditation we can encounter the feeling of connection to a community, the feeling of connection to something greater than ourselves, the great mystery of life.
And in the last months, I have found that I can have the experience of connection even in the city of Houston. As I have walked through the streets of Montrose I have seen it there--purslane--a plant I know how to pick, eat and prepare. Small, succulent weed, thick juicy leaves, red creeping stalk, medicinal, edible, a gentle reminder to me that even when I feel alienated, disconnected, from the sweet Earth there is always the possibility of reconnection, of rerooting, of opening myself to the beauty and mystery of the all that surrounds us.
So that such moments of connection, such gentle overcomings of alienation, might be available to all of us, I invite the congregation to say Amen.