Jul 5, 2019
I want to begin our sermon this morning in what might seem to you as an odd place. I want to begin with an apology. This week marks the fiftieth anniversary of the Stonewall riots. Unfortunately, I did not have this important anniversary on my calendar when we sat down to plan the June worship services. What was on my heart was figuring when to conclude our occasional series on the principles of the Unitarian Universalist Association. We have done seven services on the principles as they currently exist. I wanted to make sure we had service as part of the series on the proposed eighth principle before too much time had passed. The wording for it reads: “We, the member congregations of the Unitarian Universalist Association, covenant to affirm and promote: journeying toward spiritual wholeness by working to build a diverse multicultural Beloved Community by our actions that accountably dismantle racism and other oppressions in ourselves and our institutions.”
We will engage at greater depth with the principle in a moment. But first, I want to return to my apology. We should have devoted the entirety of our service to marking the fiftieth anniversary of Stonewall. And we did not. If you are a member of the LGBTQ community, if you love someone who is part of that community, if needed your church home to honor the fiftieth anniversary of Stonewall and if you feel that I have given that momentous event short shrift, I am deeply sorry. You are a vital part of this community. I see you. I love you. You are loved by this church. And we will do better in the future.
In the spirit of loving heart of our tradition, I offer you this poem by the Rev. Theresa Soto. They are a minister and transgender activist. They are also a leading voice in contemporary Unitarian Universalism. Their poem:
--dear trans*, non-binary, genderqueer
and gender-expansive friends and kin
(and those of us whose gender is survival):
let me explain. no,
there is too much. let me sum up*.
you are not hard to love and respect;
your existence is a blessing.
your pronouns are not a burden or a trial;
they are part of your name, just shorter.
someone getting them wrong is not a
poor reflection on you. it is not your fault.
your body (really and truly)
belongs to you. no one else.
the stories of your body
the names of your body’s parts
your body’s privacy
the sum of your body’s glory.
it is not okay for anyone
to press their story of you
back to the beginning
of your (of our) liberation.
we will find the people ready to be
on the freedom for the people way.
we will go on. no one can rename you
Other, it can’t stick, as you offer the gift
of being and saying who you are.
mostly, though, your stories belong to you.
your joy and complexity are beautiful
however you may choose to tell it (or not
tell it). some folks (cis) may take their liberty
for an unholy license. you are beloved. please
keep to our shared tasks of
Let me repeat those last three lines:
keep to our shared tasks of
Whatever the topic of the service, whatever the message of the sermon, that is what it is really all about. It is why we gather. It is why come together and create community. It is why there is currently a discussion within the Unitarian Universalist Association about adding the eighth principle. So that we might:
keep to our shared tasks of
Again, the proposed principle reads: “We, the member congregations of the Unitarian Universalist Association, covenant to affirm and promote: journeying toward spiritual wholeness by working to build a diverse multicultural Beloved Community by our actions that accountably dismantle racism and other oppressions in ourselves and our institutions.”
There is a certain sense in which my thoughtless around the anniversary of Stonewall emphasizes the importance of the eighth principle. The eighth principle calls us to be accountable to each other and to work on dismantling systems of oppression not only out in the world but within ourselves and within our institutions.
And central to that work is recognizing that individually and institutionally we occupy certain spaces within society and have particular identities. You see, I was able to forget about the fiftieth anniversary of Stonewall because of who I am. I am a heteronormative cis-gender white male. And even though I have plenty of friends who are part of the LGBTQ community, even though I have read texts on the history of sexuality, queer theology, and gender theory by people like Gloria Anzaldua, Leslie Feinberg, Michel Foucault, Pamela Lightsey, and Audre Lorde, even though some of my favorite musicians include gay icons such as the Petshop Boys, Frankie Knuckles, and Sylvester, even though I know how to strike a pose and vogue, my our consciousness is rooted my specific social location. And that social location makes it possible for me to forget to put something as important as the fiftieth anniversary of Stonewall on our liturgical calendar.
Recognizing that we each inhabit particular social location is central to the work of liberation. It is one reason why scholars like Pamela Lightsey begin their texts with statements such as: “I am a black queer lesbian womanist scholar and Christian minister.” Lightsey teaches at the Unitarian Universalist seminary Meadville Lombard Theology School. She is the only out lesbian African American minister within the United Methodist Church. Her work focuses on pushing Methodists and Unitarian Universalists to recognize that the majority of our religious institutions were not created by or for queer people of color. She argues that “institutional racism continues to be the primary instrument used to enforce personal racism.” And that if we want to be serious challenging racism in the United States we need to work on it within our own institutions. Her act of stating her own social location is meant to provoke people like me to make my own social location explicit.
Too often people like me often from a space of white normativity. We assume that our own experiences are typical, even universal. And we are oblivious to the ways in which the institutions we inhabit have been constructed to serve people like us. One good test to figure out how much you might operate from a place of white normativity is the “Race Game.” Have you ever played it? Unitarian Universalist theologian Thandeka describes it in her well known work “Learning to be White.” The game is straightforward. It has only one rule. For a whole week you use the ascriptive word white every time you refer to a European American. For example, when you go home today you tell a friend: “I went to church this morning. The preacher was an articulate white man.”
I imagine that I just made some of you uncomfortable. Race is an emotionally charged subject. An honest discussion of the subject brings up shame, fear, and anger. Talking about race can also be revalatory, it can bring the hidden into sight. What the “Race Game” reveals is the extent to which most white people assume white culture to be normative. Thandeka writes, “Euro-Americans... have learned a pervasive racial language... in their racial lexicon, their own racial group becomes the great unsaid.” In her book, she reports that no white person she has ever challenged to play the game has managed to successfully complete it. In the late 1990s, when she was finishing her text, she repeatedly challenged her primarily white lecture and workshop audiences to play the game for a day and write her a letter or e-mail describing their experiences. She only ever received one letter. According to Thandeka, the white women who authored it, “wrote apologetically,” she could not complete the game, “though she hoped someday to have the courage to do so.”
Revelation can be frightening. The things that we have hidden from ourselves are often ugly. In the Christian New Testament, the book of Revelation is a book filled with horrors. The advent of God’s reign on earth is proceeded by bringing the work of Satan into plain light. It is only once the invisible has been made visible that it can be confronted. Thandeka’s work reveals how white people are racialized. It shows that whiteness is not natural, it is an artificial creation. Whiteness is something that white people learn, it is not something that we are born with. Race is a social construct, not a biological one. It is a belief. And it is taught to children.
Thandeka recounts the stories of how many people of who believe themselves to be white learned about race. Most of the stories follow the narrative of Nina Simone’s powerful 1967 song “Turning Point.” I do not have Nina’s voice so I cannot do the song justice. But the words are poetry:
See the little brown girl
She's as old as me
She looks just like chocolate
Oh mummy can't you see
We are both in first grade
She sits next to me
I took care of her mum
When she skinned her knee
She sang a song so pretty
On the Jungle Gym
When Jimmy tried to hurt her
I punched him in the chin
Mom, can she come over
To play dolls with me?
We could have such fun mum
Oh mum what'd you say
Why not? oh why not?
Oh... I... see...
It is chilling, when Nina sings that last line. She sings it as if it was a revelation. The “Why not? oh why not?” are offered in low confused tones. The “Oh... I... see...” are loud and clear. They suggest a transformation, and not one to be proud of.
I do not have particularly clear memories of learning to be white. Many people Thandeka describes in her book belong to my parents’ generation, the Baby Boomers. I grew up in a somewhat integrated neighborhood. One of my neighbors, I used to mow his lawn when I was in high school, was the Freedom Rider Rev. John Washington. My elementary school had children and faculty of many races.
I do not remember thinking about race until I was in my early teens. I was with my white parents. We were driving through Chicago, the city where my white father was born, when our car broke down across from Cabrini Green. Do you remember Cabrini Green? It was Chicago’s most notorious public housing project, with terrible living conditions and a horrible reputation for violence. My parents told us, their white children, not to get out of the car. I have a clear memory of my white father telling us, “this is a very dangerous neighborhood.” When I asked him what he meant by that he responded by saying he would tell me later. I do not think that he ever did. It was only once I reached adulthood that I realized phrases like “dangerous neighborhood” and “nice neighborhood” or “unsafe failing school” and “good school” contained a racial code.
The effort behind the proposed eighth principle is to prompt Unitarian Universalist congregations to challenge their own unspoken racial codes. The Unitarian Universalist Association’s principles are implicitly anti-racist. Moving from being implicitly anti-racist to explicitly anti-racist might help us to reveal the ways in which our institutions were primarily built for people who believe themselves to be white. And most of them certainly were. All Souls, DC, the congregation behind the eighth principle proposal, has been a multiracial community for more than a hundred years. More than a hundred years ago, the abolitionist Frederick Douglass used to worship there. Yet All Souls includes among its founding members John Calhoun, one of the principal defenders of slavery.
As you might remember, in addition to being a minister I am also an academic. Over the last several years much of my research has been into the history of white supremacy. It has convinced me of the necessity of adopting the eighth principle. While working on my dissertation, I read thousands of pages of texts from the Ku Klux Klan. I studied the history of the Confederacy and the ideology of chattel slavery. And I learned that until the middle of the twentieth-century white supremacists thought of themselves as liberal. They promoted the values of free speech and freedom of religion. They just thought that these freedoms were only for people who believed themselves to be white. Their position was sometimes implicit--they did not state such freedoms did not extend to everyone. They just refused to extend them to all of humanity.
Each year prior to the Fourth of July I read Frederick Douglass’s speech “What to the Slave is the Fourth of July?” It is a reminder that so often the liberal principles of freedom have not extended to all people. Their proponents have assumed white normativity. So, let us invoke Douglass, one of the greatest abolitionists, the escaped slave who declaimed, “I shall see this day and its popular characteristics from the slave’s point of view.” Observed thusly the holiday showed, in his words, “America is false to the past, false to the present, and solemnly binds herself to be false to the future.”
Douglass believed America was false to its past because European Americans pretended that the American Revolution was about freedom. The truth differed. The Revolution was about freedom for whites. For African Americans it heralded another ninety years of enslavement. For Native Americans, the indigenous people of this continent, it signaled the continuation and amplification of generations of land theft and genocide. Slavery was outlawed in England, but not the English colonies, in 1772. The English crown was more respectful of Native America nations than most European colonists wished. What to the Slave was the Fourth of July? A celebration of white freedom; a gala for African American slavery. Liberty and slavery were the conjoined twins of the American Revolution. High freedom for those who believed themselves to be white, and base oppression for others, mostly people of color, continues to be its legacy.
For those of you who are comfortable with traditional religious language, let me suggest that white supremacy is a sin. Paul Tillich, one of the great white Christian theologians of the twentieth century, helpfully described sin as “estrangement.” It can be cast as separation, and alienation, from the bulk of humanity, the natural world, and, if you identify as a theist, God. James Luther Adams, one of Tillich’s students and the greatest white Unitarian Universalist theologian of the second half of the twentieth century, believed that the cure for the estrangement of sin was intentional, voluntary association. We can create communities that overcome human separation. He wrote, “Human sinfulness expresses itself... in the indifference of the average citizen who is so impotent... [so] privatized... as not to exercise freedom of association for the sake of the general welfare and for the sake of becoming a responsible self.”
The Christian tradition offers a religious prescription for dealing with sin. First, confess than you have sinned. Second, do penance for your sin. First, admit that you are estranged. Second, try to overcome that estrangement. We might recast the prescription in terms of addiction. First, if you believe yourself to white, admit that you are addicted to whiteness. Second, you try to overcome your addiction, step by small step. First, you admit that we, as a society, have a problem. Second, we try to address it.
The eighth principle is a vital effort to address the social construct, the collective sin, of racism. Racism requires institutions to maintain. The eighth principle challenges to place our institutional commitment to dismantling racism at the center of our faith tradition--not on its periphery. It challenges us to make Unitarian Universalism explicitly anti-racist, not implicitly so.
Frederick Douglass, and other abolitionists, accused the churches of their day of siding with the slave masters against the enslaved. Douglass proclaimed, “the church of this country is not only indifferent to the wrongs of the slave, it actually sides with the oppressors.” Today most religious institutions, particularly most predominantly white religious institutions, maintain racial norms not out of malice but out of ignorance. Silence is the standard. But, as Audre Lorde said, “Your silence will not protect you.” The proposed eighth principle calls on Unitarian Universalists to break our institutional silence.
And breaking this silence requires people like me recognize that our perspective is not universal. It is just as vital for me to sometimes say, I speak as a cis-gendered heteronormative male who society has labelled white as it is for someone like Pamela Lightsey to specify her position. Such specificity means that in a country which devalues the lives of LGBTQ people and people of color we make it clear that everyone has inherent worth and dignity. This means breaking assumptions that the experiences of people like me that our experiences our universal, that this country honors everyone’s inherent worth and dignity because it has historically honored the worth and dignity of men who believe themselves to be white.
This is difficult work. It means making mistakes. It means apologizing. It means learning from those mistakes and then trying to do better. And it means committing to stay together in community because we believe that our community can be redemptive. It can be a place to overcome the sin of separation. For we understand that in the face of all of the difficulties and challenges, all the fear and assumptions, there is a higher truth: love is the most powerful force there is. Love can bind us together. Love is stronger than hate. Love can change the world.
In the knowledge that it is so, I invite the congregation to 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.