Nov 18, 2019
as preached at the First Unitarian Universalist Church of Houston, Museum District campus, November 17, 2019
The Trappist monk, mystic, peace activist, and scholar Thomas Merton wrote about how he decided to pursue saintliness. One spring night he and a friend were walking along Sixth Avenue in New York City. The subway was being dug. The street was torn up--there were banks of dirt “marked out with red lanterns” lining sidewalks and piled up high in front of the shops. This was the 1940s. It was before Merton became a monk, when he was still a young man. Merton and his friend, someone who went on to become a noted poet, were arguing, passionately, about something.
Suddenly, Merton’s friend turned to him and asked, “What do you want to be, anyway?”
Merton recalls his answer, “I could not say, ‘I want to be Thomas Merton the well-known writer of all those book reviews in the back pages of the Times Book Review,’ or ‘Thomas Merton the assistant instructor of Freshman English...,’ so I put the thing on the spiritual plane, where I knew it belonged.”
Then Merton tried to formulate his response. He said, “I don’t know; I guess what I want to be is a good Catholic.”
Merton’s friend was not satisfied, “What do you mean, you want to be a good Catholic?”
Merton admitted that he was confused. And so, his friend continued to press him. “What you should say,” Merton’s friend informed him, “what you should say is that you want to be a saint.”
“A saint!... ‘How do you expect me to become a saint?’,” was Merton’s reply.
“By wanting to,” his friend said simply.
Merton was filled with self-doubt. “I can’t be a saint. I can’t be a saint,” he answered back. He recounts that in that moment, “my mind darkened with a confusion of realities and unrealities; the knowledge of my own sins, and the false humility which makes men say that they cannot do the things that they must do, cannot reach the level that the they must reach... cowardice.”
Merton’s friend would have none of it. He told him, “No. All that is necessary to be a saint is to want to be one. Don’t you believe that God will make you what He created you to be, if you will consent Him do it? All you have to do is desire it.”
Merton described this story in his spiritual classic the Seven Storey Mountain. It was the first major work that he published. For many people, especially of the Vietnam War generation, he went on to become exactly the person who his friend was prompting him to be, a saint.
Merton’s Catholic theistic theology may not resonate with most you but his narrative touches upon the theme of our sermon this morning. This is my second sermon for you on courage. We might define courage as the midpoint between fear and confidence. We exhibit courage when we acknowledge our fears, admit that there are ills which might befall us, and act anyway.
Last week I spoke with you about collective courage. Collective courage is the way that we can collectively face our fears and struggle to find new ways of being. It is the expressed in the seventeenth-century universalist phrase, “turn the world upside down.” It is the act of working together to confront social crises--great and small--and then attempting to reorder society.
This week I want to speak with you about individual courage. What I mean here is finding the courage to become the person you feel called to be. The theologian Paul Tillich wrote about finding “the courage to be.” We humans are born with the knowledge that we will die. We witness the mortality of others and realize that death will soon come for us. Maybe not today, maybe not tomorrow, but each breath draws us closer to our moment of expiration. This can make us anxious. No matter what we do--no matter how carefully we eat, how much we exercise, or how many doctors we see--the threat of death cannot be overcome. “The basic anxiety, the anxiety of a finite being about the threat of nonbeing, cannot be eliminated. It belongs to existence itself,” wrote Tillich.
In the face of our individual impending extinction it takes courage to continue along with life. And it takes even greater courage to be and to attempt to become, to recognize ourselves as poised on the existential void and still strive to live a life of authenticity. For Merton, it took an extraordinary amount of courage to pursue the vision of sainthood that he found with his friend that New York City night. It meant rejecting all of anxiety that told him he could not or would not or was unable to or that his life was too insignificant. Instead, it meant somehow moving past all of that and coming to recognize, in his words, “For me to be a saint means to be myself.”
The courage of becoming has long been prized by our religious tradition. In the nineteenth-century, the Unitarian theologian James Walker preached, “We are not born with character, good or bad, but only with a capacity to form one.” Our characters might be described as the total sum of our virtues and vices. Virtues are things about us which are praiseworthy. They are the accretions of our actions. Our actions become our habits and then eventually our habits turn to virtues--or vices--and these become our characters. And we Unitarian Universalists have long taught that we are not born with our character fixed in place--born wicked as many a conservative religious tradition teaches. But rather we are born with the capacity to become, the capacity to develop our virtues and vices.
Thomas Aquinas, the twelfth century theologian, identified four principle virtues. These are wisdom, temperance, justice, and courage. Over the next several months as we explore how to develop the spiritual and resources that will allow us to address the grave crises of the hour and of our lives we will be examining some of these virtues. We have started with courage because developing the courage to be is essential if we are to pursue the other virtues. Without courage it is difficult to gather the wherewithal to figure out how to be ourselves. William Ellery Channing, another nineteenth-century Unitarian theologian, wrote that the courage to become ourselves might even “be called the perfection of humanity, for it is the exercise, result, and expression of the highest attributes of our nature.” When we find it we open ourselves to the rich possibilities of life and confront the truth that we have a responsibility for forming our own characters.
Bob Schaibly used to frequently remind this congregation of this truth. During the two decades he served here he often told you some variety of, “life... [does] not have a meaning; we give life its meaning, or rather we give our lives their meanings.” Bob’s death this week prompted me to go read a number of his sermons. Reading them I found that he also often told you some variant of, “You already have within you what it is you need, and what it is that we who know you need, and what all the living things in the world need.” The recognition that life does not have an intrinsic meaning, the realization that we are born with what we need to pass our time on our muddy planet, it takes courage to face these truths starkly. It takes courage to admit to them and then open ourselves to becoming ourselves.
I spent a portion of this summer thinking about courage. As some of you know, Asa and I were in Europe for about five weeks with my parents. You might remember that everyone else in our family is in the arts. My father is an art historian and photographer. My mother was a ceramicist in her younger years and then, after she retired from teaching, served on a musem board. She, incidentally, makes all of my stolls. My brother is a figurative painter. His girlfriend is fashion designer. And Emma is pursuing a career in fashion photography.
Traveling with my parents meant immersing ourselves in the arts. We spent about a week in Arles, France at the giant international photography festival there. Rencontres d’Arles is even larger than Houston’s FotoFest. It brings close to a hundred thousand people to the ancient Roman city where Van Gough painted. It is a premier event in the arts world, a bit akin to the Cannes Film Festival.
My parents go most years. This year was very special. One of their closest friends, the Czech photographer Libuse Jarcovjakova was one of the featured artists. She was given the former Saint Anne’s church as an exhibition space. The building has been stripped of religious iconography. The stones have been washed white and a blonde wooden floor put in. The side chapels and the nave have been converted into a gallery that allowed Libuse to exhibit more than two hundred of her images.
Libuse is about the same age as my parents. This was her first major show. It would something of an understatement to say that it was a smash success. During the week that we spent together in Arles there were major articles about her work in the New York Times, Der Spiegel, Le Monde, and the Guardian. Walking around Arles with her was what I roughly imagine moving through Cannes with a well-known movie director. People stopped us in the street or came up to us and introduced themselves to Libuse while we ate in French cafes.
It would be fair to say that Libuse was in a bit of state of shock. In the space of a week she went from a complete unknown to an international art celebrity. And there are two things about Libuse and courage that I want to share with you. The first is about her art itself. And the second is about her life as an artist.
Libuse’s photography comes from straight from her life. It is her record of courageously becoming. Which is no small thing. She, as I mentioned earlier, is Czech. She came of age in Communist Czechoslovakia. She is also queer. To put it mildly, being a queer artist was not a form of authenticity that was largely tolerated by the Marxist-Leninist authorities. And yet, over the course of more than twenty years she took thousands of black and white photographs documenting her life, lives of those she loved and the lives of those she just happened to encounter. She used photography to attempt to make sense of her life. She told me, “Sometimes I was involved in very complicated situations. I used photography to get some distance for myself and to make some sense of the situation.”
The images that garnered the most attention were from the T-Club, which was one of only two gay clubs in Prague during the Communist-era. Never entirely legal, Libuse describes it as a place for: “Convulsive laughter and genuine tears. Insightful conversation and superficial coquetry. One-night stands and love for life. Beautiful young men and beautiful young women. Effeminate “B´s” and respectable-looking gentlemen, who rebounded from their families. Female footballers, waiters, taxi drivers and most probably the secret police too.” In this “place of eternal carnival,” as Libuse called it, people were able to find the courage to be themselves.
And Libuse took photographs of them as they lived that courage. This Transgender Awareness Week, one image in particular stands out. It is of a young postman from North Bohemia who traveled to Prague to visit the T-Club. He wanted to be a woman and gender transition was not possible for him in that repressive society. And yet, there is Libuse’s photograph. In it, the young postman appears as the woman he longs to be. She’s wearing a blonde wig, flirting with the camera, beaming in a long fur coat, courageously, fully, being herself.
Libuse empathy for her subject pops right out of the frame. I can only imagine the courage that was necessary to both take the photograph and be its subject. It is quite possible that either act could have cost the photographer or her subject their livelihoods. For Libuse, even the attempt to be an artist took courage. You see, she came from an artistic family. Both her parents were artists. But they were not the kind of artists approved by the Communist Party. They painted modern abstract canvases. The Party wanted socialist realism, which depicted working people living an idealized life under the Marxist-Leninist regime.
When Libuse graduated from high school the Party had its revenge upon her parents. They her made undergo what was called forced proletarization. In other words, they denied her a college education and tried to make her become a factory worker. She wanted to be an artist like her parents. She did not give up the courage to become. Instead, she told the factory officials that while she worked in the factory, she wanted to document the glorious life of working people had under the Party’s leadership. So, she took her camera and made photographs of people at work. But she did not do it in service of the regime. Instead of showing workers nobly toiling away, she took photographs of them engaging in their everyday acts of resistance--goofing, napping, ignoring supervisors, or doing whatever else they did when they showed up to the factory and did not work. I particularly like the images she made of the creative ways people found to sleep at work--under desks, in giant steel tubes, behind piles of wooden crates...
It took a lot of courage for Libuse to make such defiant photographs. Finding this courage was necessary for her to be herself--to become an artist when her society told her explicitly that she could not be one. It also helped her to develop a sense that courage and beauty are found in everyday life. In conversation with me, she explained a bit of her philosophy, “Doing photos of such normal ordinary things seems like it might be boring but photography changes things. Life is changing so fast that this ordinary thing will be very important. You don’t need to have some extraordinary adventure. You just need to be present to every day, normal, ordinary life. That is very special.”
It takes courage to recognize the specialness of ordinary life. We probably will not become famous religious teachers like Thomas Merton. And we probably will not become internationally known artists like Libuse. But we can find the courage to be ourselves. After all, this is what both Libuse and Merton recommend to us. It is also what the virtue of courage offers us. When we cultivate it we find within ourselves the ability to shape our character. We are born not good or bad but with the ability to choose and in order to do so we must be courageous.
I had initially thought to end our sermon there, but the events of the week require further observations about the courage of being. I speak, of course, of the week’s impeachment hearings. They have demonstrated extraordinary instances of the courage to be by civil servants. The women and men who have testified in front of the nation have offered case studies in how we can shape our own characters. They each have decided upon a profession and then performed its actions, cultivated its habits, and, ultimately, found them embodying its virtues.
It is clear that one of the virtues of their profession is courage. In the face of intimidation by the most powerful man on Earth, the President of the United States, Marie Yovanovitch, the former ambassador to the Ukraine, testified on national television. In a telephone call, the President of the United States had said to the President of the Ukraine that he was displeased with Yovanovitch and that she would “go through some things,” words that for me recall mafia movies. Yet there she was, in front of the world, offering information that may well lead to the impeachment of the President.
The philosopher Alasdair MacIntyre observed, to “be courageous is to be someone on whom reliance can be placed.” And in her testimony, Yovanovitch demonstrated that whomever the President might be she can be relied upon to perform her professional duties. It was a demonstration of how she had cultivated the virtue of courage. It was a demonstration of the courage of being--of embracing the role, the profession, she had chosen for herself.
Her testimony reminded me of words by the civil rights organizer, Ella Baker. Baker said, “I am here and so are you. And we matter. We can change things.” Baker’s words are an invocation of the courage of being. They remind us that we are here and that what we do matters. It takes courage to accept this, courage to admit, as Bob Schaibly taught, that we make the meaning we find in life. Yovanovitch was reminding the world that civil servants play a significant role in government. However much the President of the United States might slight her and her State Department colleagues, they remain actively involved in shaping the destiny of the federal government. And their professional virtues, of which courage is but one, are a significant reason as to why.
Not all of us are civil servants, just as not all of us are artists or great religious teachers. And yet, there is something about the courage to be that it is found in the lives of each person I have talked with you about this morning that recommends itself to each of us. It takes courage to recognize that we have within us the potential to be something and then courage to search for that something. It is the ordinary courage of life, not something extraordinary, and it is something we can find within us.
That is what Libuse tries to communicate with her photography. Her work is not of important religious leaders like Thomas Merton or successful government officials like Marie Yovanovitch. It is of regular working people like the woman from Bohemia dressed in her furs outside the T-Club, finding a space to courageously be the woman she knew she was despite having to live as a postman. It is of regular working people discovering the courage to be their human selves amid a brutal Marxist-Leninist regime--to goof off at work, to sleep on the job.
Can you find the courage to be and become? Such courage might mean admitting that you are uncertain of who you are supposed to be and living with that ambiguity. That is certainly something of what Bob Schaibly suggested in his sermons. Before we find the courage to be we must first discover the courage to recognize that it is we who make the meaning of our lives. In some times and places this is much easier to recognize that in others. Living in New York, the child of relative wealth and privilege, it was no doubt easier for Thomas Merton to accept that he could become who he wanted to be than it was for Libuse in 1970s Prague. Finding the courage to be a queer dissident artist under the Soviets and refusing to let the officials of a totalitarian regime be the people who made meaning from her life was extraordinarily difficult. It meant creating in secrecy, without recognition, for decades. And yet, she found the courage to be.
Can you find the courage to be and become? Have you found it? Can you accept that we make meaning in our lives? It is a significant responsibility. And it means accepting that our ordinary lives--yours and mine--can contain the meaning we give them. We might be hemmed in on many sides. We might not come from lives of privilege or have the advantages of a fine education or struggle with poverty. But we can find the courage to be and discover within ourselves the resources to make meaning in our lives. And to accept that such meaning will change over time. It is like Bob Schaibly said, “at different times the meaning of your life may have been to do God’s will, or to do justice, or to love mercy, or to enjoy the fruits of creation, to complete your education, to raise your children, to get these kids through college, and so forth.” Your meaning is your own if you can cultivate the courage to make it.
This belies the universe having cosmic meaning. And it takes courage to face that, as the poet Cristina Peri Rossi wrote:
“Se necesita mucho valor
para tanta muerte inútil.”
“One needs a lot of courage
for so much useless death.”
Death, like life, is only given the meaning we provide it. It takes courage to face that and to give our lives, and ultimately, our deaths meaning. And so, let me give the last words to Bob Schaibly who gave his life, and his death, meaning in part by serving this congregation, Unitarian Universalism, and our human world:
You already have within you what it is you need, and what it is that we who know you need, and what all the living things in the world need.
May we each, as members of this religious community and as members of the great family of all souls, cultivate within us the courage to find what we need within Bob Schaibly’s words.
Let the congregation say Amen.
Apr 15, 2019
as preached at the First Unitarian Universalist Church of Houston, Museum District campus, April 14, 2019
This morning’s sermon is about drawing spiritual lessons from the music of Neil Diamond. I will get to that in the moment. But first I want to tell you about one of my favorite artists, the French surrealist Marcel Duchamp. Do you know his work? He is perhaps most famous for his piece the “Fountain.” He entered it into an art show in New York City in 1917. The show had a simple selection criterion: anyone who paid the entry fee had their piece accepted. Duchamp, cheeky surrealist that he was, submitted a commercially manufactured porcelain urinal under the pseudonym “R. Mutt.” This enraged the selection committee. They complained that R. Mutt had not created the piece. It had obviously been produced in a factory. More troubling, the urinal was not art. It was an ordinary object that was used for, shall we say, basic human functions. Its presence in the show debased art. It placed one of the highest expressions of human culture alongside the ordinary, banal, and mundane.
Duchamp responded by publishing an anonymous editorial in an art magazine that he ran with a couple of friends. The relevant section from the editorial reads: “Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, and placed it so that its useful significance disappeared under the new title and point of view--created a new thought for that object.”
The editorial gets at why I like the piece. I think it offers an essential religious lesson: all things contain beauty. It is a religious discipline to open ourselves to that beauty. An “ordinary article of life” viewed through the eye of the artist becomes art, becomes something beautiful. The artist has “a new thought for that object,” they see something new, something that challenges them, when they look at the familiar--perhaps the most familiar.
I invite you to try it. Pick an object in the sanctuary. A brick. A floor tile. A wooden pew. A section of the ceiling. Your shoes. It does not matter. Just pick something. The more ordinary the better. Look at it for a moment. Really look at it. Can see something of the beauty in it?
When I was preparing this sermon, I came down from my office, stood in this pulpit, and tried the exercise myself. I picked that brick. It is ordinary in its brown redness. There are a scattering of dark spots. These attest to the presence of the iron sulphate in the clay used to make the brick. A few of the spots are pock marked--evidence of where air bubbles burst when the brick baked. Some of the spots lack clear edges--they fade into the mass of red brown when the eye inquires for their ends.
As I stood in the pulpit, I watched light play off the brick. The beauty of the brick shifted as the sun’s rays filtered through the sanctuary window that sits above the choir. It had one set of tones when a cloud passed in front of the sun and another when the day star shone uninhibited. Looking at the brick, I thought of the canvases in Houston’s Rothko Chapel. Have you seen them? The chapel is under renovation until the end of the year. If you have not been, I hope you will go when it opens again.
Light in the chapel comes through the top skylight. As the earth spins on its access, as water vapor moves through the sky, the amount of light that hits each canvas changes. And with it the richness of the canvas--purple tones fade to black or move against pecan or hickory framing.
The roughness of the brick’s clay contains the same effect--it shifts as the light hits it. Looking at the brick, there is beauty in an “ordinary article of life.” There is “a new thought for that object.” Shall I name it? Perhaps, Seven Stars of Revelation--seven being the number of spots and a mystical number found over and over again in the biblical book of Revelation. That book attests, “These are the words of him who holds the seven stars in his right hand,” and unfolds one of the grandest mystical visions in the Christian New Testament.
The Unitarian minister and transcendentalist writer, Ralph Waldo Emerson taught us “revelation is not sealed.” These words are to remind us that we can learn something new, something beautiful, from each experience, from each ordinary object, in our lives. When I look carefully at the brick with the seven spots I am reminded of Emerson’s lesson--seven stars which help me open to constant possibility of revelation--of the feeling the sacred--that is around each of us in each moment of our lives.
Another exercise, listen. Not to me. Listen in this pause to the sound that surrounds the silence. When I stop speaking what do you hear? The musician John Cage composed a piece named 4’33”. It consists of a pianist sitting on a piano bench for four minutes and thirty-three seconds. The pianist just sits there. They do not play a single note. Cage’s intention with the piece is to prompt the audience to listen to the sounds that are around us at all times--your breath, and mine, the heart’s beat, the passing street car, the rustle of your shirtsleeve. What is music? What is beauty?
A musician friend of mine made a similar point in a piece they composed called “Up Train, Down Train.” For the piece, they rode the commuter rail up and down the San Francisco peninsula. Along the way recorded the sounds of their journey: the ticket collector, the jostling of the passengers, the clatter of rail, doors sliding open, and the rain on window glass. In their recording studio they mixed in a variety of other sounds--fragments from classical music, bits of Beethoven or Brahms, snatches of jazz, spoken threads of poetry. Incidental noise and carefully crafted songs were combined to create a haunting composition that pushed me to open my ears to the ordinary music of life.
The heart can turn any object, any sound, any song, into a prayer. Prayer, in my understanding, is the act of reaching out for connection with that which is greater than any of us, surrounds each of us, and infuses all of us. Prayer need not be theistic--God centered--in its orientation. It only need be the opening of the individual self--the I, the you--to the infinity without and the infinity within. This is an understanding I carry with me as I move through the ordinary world, encountering the ordinary objects of life. And it is a lesson I take with me when I have preaching assignments that are not quite of my choosing.
This year at the church auction, I auctioned off the right to give Mark and me a prompt for a Sunday service. This a well-worn practice in a number of Unitarian Universalist congregations. It is one that comes with warning from experienced clergy. One minister I know tells the story about the time they were assigned the Apollo moon landings as a service topic. Well, actually, the person who won the auction item was a conspiracy theorist. They wanted to a have service on why and how NASA’s moon landings had been faked.
My ministerial colleague managed to craft a service that somehow served their congregations from that assignment. Nonetheless, I was a bit worried when this year I decided to auction one of our services. So, I was relieved when I found out our topic was to be the singer songwriter Neil Diamond. I admit that I did not that much about Diamond or his music--or at least I thought I did not. But music is a well-worn path to the spiritual. I knew that if I listened to his music and read something of his life I could find a lesson in it.
When I found out the service topic the first thing, before I even turned to Google, was call my brother Jorin. Jorin, you might know, is a painter who lives in Los Angeles. He is also a fount of information when it comes to popular music.
So, I got him on the phone and asked him, “Jorin, what should I know about Neil Diamond?”
He paused for a moment and then began, “Well, some people call him the Jewish Elvis. You definitely know his music. He wrote, ‘Sweet Caroline,’ and ‘America.’ He also wrote the Monkees’ song ‘I’m a Believer.’”
As I listened to my brother I realized that Diamond is one of those musicians who music infuses much of contemporary life. In this country, you are likely to hear a song like “Sweet Caroline” almost anywhere. It has been featured in movies, sung by a contestant on American Idol, and used in television commercials. It is one of those pop songs that it seems like almost everyone knows. The tune might be familiar, Mark. You might recognize the chorus as well:
Good times never seemed so good
I believe they never could
Mark already played the other Diamond song that my brother mentioned, “America.” Diamond’s parents were themselves the children of Jewish immigrants to New York. He grew up in Brooklyn listening to family stories about his grandparents journeys from Poland and Russia to the United States. Diamond’s immigrant heritage inspired him to write “America.” Its lyrics suggest two things. First, the United States has represented a land of freedom and opportunity for many people around the world for generations. Second, most people in the United States are the descendants of immigrants. As the song begins:
We've been traveling far
Without a home
But not without a star
Only want to be free
We huddle close
Hang on to a dream
The intertwined messages of this song are important today when we have a President who praises dictators like North Korean ruler Kim Jong Un and maligns liberal democratic political systems such as the European Union. The song is a reminder that the authoritarian values of the current White House occupant are not consistent with liberal democratic values--the values that Diamond celebrates in his tune. The song is also a reminder that immigrants have contributed enormously to the economic prosperity and cultural vibrancy of the United States. The current President should know this. His mother was an immigrant from Scotland. His grandparents were immigrants from Germany. Two of his three wives have been immigrants as well. I could pause now to make the observation that the President’s comfort with his European immigrant family and his antipathy or even hatred for immigrants from Latin America highlights his ties to white supremacist movements. That, however, is not the subject of this sermon.
Returning to Diamond, I note that like a lot of Jewish America singer songwriters of his generation he got his start writing songs for other people. He wrote four songs for the manufactured British band the Monkees, one of the boy bands of the seventies. They used have a television show that my brother and I watched as reruns in the early nineties. The lyrics of “Believer” suggest of the way that love, that profound and intimate connection with another soul, can spring up unbidden and unexpected:
Then I saw her face, now I'm a believer
Not a trace, of doubt in my mind
I'm in love, and I'm a believer
As I researched Diamond I began to see something of myself in him. As I suggested at the opening of the sermon, any object can be seen to contain beauty. Anything around us can open the marvels of the universe. The same might be said of human biography. Each of us has a great deal in common with the rest of us. On some level, all humans need the same things: clean air to breath, clean water to drink, good food to eat, shelter, love, and some work to call honest. This observation is one of the core conceits of our Unitarian Universalist faith.
And so, I was not surprised when I came across words by Diamond describing his own experience as a songwriter and his approach to his music that resonated with me. They are from an interview he did in 1975 with Rolling Stone magazine. There he says that his work is an artist stems from an attempt, “to gain an inner sense of acceptance of the self.” My own approach to the craft of preaching is linked to a similar attempt to both find self-knowledge and stir it in others. At the same time, I find myself agreeing with Diamond that music and art are not bound by tightly dictated rules. According to the interviewer, he believes that his songs do not “need to be explained. Or even understood.” He just wants people to open to the music and be stirred by it. About the composition of music he says, “There are no rules, you see. That’s the beautiful thing about it. And the best things I’ve done are the things that people don’t really understand.”
The interviewer describes Diamond as “the consummate searcher,” a sentiment that is familiar to many Unitarian Universalists. A sense of that appears in his song “I’ve Been This Way Before” which the choir performed earlier:
I've seen the light
And I've seen the flame
And I've been this way before
The search for meaning that I find in this song resonates with the Unitarian Universalist tradition of a search for truth and meaning. And if there is any message that I have been trying to communicate in this sermon it is this: we can find religious truth, beauty, meaning, in almost anything. It is more about the perspective we bring than it is necessarily the content, the object, that is already there. For Marcel Duchamp, beauty or art could be found in the ordinary objects of life. For my musician friend, it was found in the rocking movement of the train as it travelled up and down the San Francisco peninsula. And for lovers of Neil Diamond’s music, it is found in his songs.
And now, before I close, two brief pointers to our readings and two spiritual suggestions for you. The poems I chose are each about finding the sacred, the beautiful, in ordinary life. Allen Ginsberg’s poem “A Supermarket in California” is a personal favorite. It connects to the way I tend wander through the world: a head full of poetry and a rather ordinary life of grocery shopping, children’s basketball, and laundry. Like Ginsberg, I often find myself opening to the sacredness of the ordinary in the most banal of places: the Trader Joe’s on Shepherd Street or the HEB on West Alabama. And like Whitman in Ginsberg’s poem, I discover myself going from the most basic questions to the most profound: “Who killed the pork chops? What price bananas? Are you my Angel?” What about you? Do you have similar experiences in your life?
Naomi Shihab Nye is a Texas poet and the child of a Palestinian immigrant. Her poem “My Grandmother in the Stars” recounts a similar experience:
Where we live in the world
is never one place. Our hearts,
those dogged mirrors, keep flashing us
moons before we are ready for them.
Looking at the night sky, she finds that she carries memory, beauty, art, a sense of the sacred ever within her. It is everywhere. In the stars. In the universe which connects all to all. And in her unnamed companion.
Any object can open us to the divine. Any sound can be music. I conclude with my two spiritual suggestions. This, afternoon, or tomorrow, or anytime, take a few minutes to do two things. First, find an ordinary object from life. It could be a urinal, a brick, a piece of asphalt, a cigarette butt, or the beam on a suspension bridge. It does not matter. Spend five minutes really looking at it. What do you see? Do you find yourself opening a little more to the beauty of the universe when you engage the object.
Second, listen to an familiar sound. Pick a pop song that you do not know or choose the ambient collision of wind upon leaf. What sense of connection to the universe do you find within it? Do you discover that revelation is not sealed? That each of us has an original relationship with the universe?
For I've been released
And I've been regained
And I've sung my song before
And I'm sure to sing my song again
...there is only the sky
tying the universe together.
What thoughts I have of you tonight, Walt Whitman, for I walked
down the sidestreets under the trees with a headache self-conscious looking
at the full moon.
Let the congregation say Amen.