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Showing posts with label annie dillard. Show all posts
Showing posts with label annie dillard. Show all posts

Thursday, December 8, 2011

CHURCH OF THE NATIVITY

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One of the queerest spots on earth - I hope -
is the patch of planet where, according to tradition,
a cave once stabled animals, and where Mary
gave birth to a son whose later preaching -
scholars of every stripe agree,
with varying enthusiasm -
caused the occupying Romans to crucify him.
Generations of Christians have churched over the
traditional Bethlehem spot to the highest degree.
Centuries of additions have made the architecture peculiar,
but no one can see the church anyway,
because many monasteries clamp onto it
in clusters like barnacles.
The Greek Orthodox Church owns the grotto site now,
in the form of the Church of the Nativity.
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There, in the Church of the Nativity, I took
worn stone stairways to descend the levels of dark rooms,
chapels, and dungeonlike corridors where hushed
people passed. The floors were black stone or
cracked marble. Dense brocades hung down
old stone walls. Oil lamps hung in layers.
Each polished silver or brass lamp seemed to
absorb more light than its orange flame emitted,
so the more lamps shone, the darker the space.
Descending once more, I passed several monks,
narrow men, fine-faced and black, who wore
tall hats and long black robes. Ethiopians,
they use the oldest Christian rite.
At a lower level, in a small room,
I peered over half a stone wall and saw
Europeans below; they whispered in a language
I could not identify.
Distant music sounded deep, as if from within
my ribs. The music was, in fact, people from all over
the world in the upper chamber, singing harmonies
in their various tongues. The music
threaded the vaults.
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Now I climbed down innumerable dark
stone stairs to the main part, the deepest basement:
The Grotto of the Nativity.
The grotto was down yet another smoky stairway,
at the back of a stone cave far beneath street level.
This was the place.
It smelled of wet sand.
A fourteen-pointed silver star
two feet in diameter, covered a raised bit
of marble floor at the cave wall.
This silver star was the X that marked the spot:
Here, just here, the infant got born.
Two thousand years of Christianity began here,
where God emptied himself into man.
Actually, many Christian scholars think
"Jesus of Nazareth" was likely born in Nazareth.
Early writers hooked his birth to Bethlehem
to fit a prophecy.
Here, now, the burning oils smelled heavy.
It must have struck many people that we were
competing with these lamps for oxygen.
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In the center of the silver star was a circular hole.
That was the bull's eye, God's quandam target.
Crouching people leaned forward to wipe
their fingers across the hole's flat bottom.
When it was my turn, I knelt, bent under
a fringed satin drape, reached across
half the silver star,
and touched its hole.
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I could feel some sort of soft wax in it.
The hole was a quarter inch deep
and six inches across, like a wide petri dish.
I have never read any theologian who claims that
God is particularly interested in religion, anyway.
Any patch of ground anywhere smacks more
of God's presence on earth, to me, than
did this marble grotto.
The ugliness of the blunt and bumpy
silver star impressed me.
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The pathetic pomp
of the heavy, tasseled brocades, the marble,
the censers hanging from chains,
the embroidered antependium, the aspergillum,
the crosiers, the ornate lamps -
some human's idea of elegance -
bespoke grand comedy, too,
that God would put up with it.
And why should he not?
Things here on earth get a whole lot worse
than bad taste.
"Every day," said Rabbi Nachman of Bratslav,
"the glory is ready to immerge from its debasement."
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Annie Dillard, b. 1945
American novelist and essayist
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WE'RE GOING WHERE?
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Take a tour to Israel and there is
one town you'll need to think twice about visiting.
Jewish tours almost always avoid it, even though it is the
birthplace of the greatest ruler in Israel's ancient history—King David.
Christians like to tour there,
but it is such a hassle that many settle for a "facsimile."
You can walk through a reproduction of this town
(particularly at this time of year) in many major U.S. cities,
from Longview, Washington, to Orlando, Florida.
I am talking about that little town of Bethlehem.

Bethlehem is only six miles from the heart of Jerusalem,
but since it is in Palestinian territory, to get there from Israel
you have to go through a border crossing.
If you are part of a tour, you will probably have to
get off your bus and board another with a Palestinian tour guide and driver.
That is why Jewish groups rarely go there and 
why many Christian groups decide the hassle isn't worth it.
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From the jewsforjesus.org site
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Saturday, June 4, 2011

THESE MOUNTAINS....

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I came here to study hard things -
rock mountain and salt sea - and to
temper my spirit on their edges.
"teach me thy ways, O Lord" is, like all prayers,
a rash one, and one I cannot but recommend.
These mountains - Mount Baker and the Sisters
and Shuksan, the Canadian Coastal Range and
the Olympics on the peninsula - are surely
the edge of the known and comprehended world....
That they bear their own unimaginable masses
and weathers aloft, holding them up in the sky
for anyone to see plain, makes them,
as Chesterton said of the Eucharist, only the
more mysterious by their very visibility
and absence of secrecy.
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Annie Dillard - b. 1945
Pulitzer Prize-winning American author
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Friday, January 14, 2011

ALL TOGETHER NOW....KUMBAYA, MY LORD....

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Edited from Knocking On Heaven's Door -
American Religion In The Age Of Counterculture
by Mark Oppenheimer
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From Chapter Two
"Roman Catholics and The Folk Mass"
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"There is a singing group in this Catholic
church today," writes Annie Dillard,
"a singing group which calls itself
'Wildflowers.' The lead is a tall, square-
jawed teen-aged boy, buoyant, and glad to
be here. He carries a guitar; he plucks out
a little bluesy riff and hits some chords.
With him are the rest of the Wildflowers.
There is an old woman, wonderfully determined;
she has long orange hair and is dressed country-
and-western style. A long embroidered strap
around her neck slings a big western guitar
low over her pelvis. Beside her stands a frail,
withdrawn fourteen-year-old boy, and a large
Chinese man in his twenties who seems to want
to enjoy himself but is not quite sure how to.
He looks around wildly as he sings, and shuffles
his feet. There is also a very tall teen-aged
girl, presumably the lead singer's girlfriend;
she is delicate of feature, half-serene and
petrified, a wispy soprano. They straggle out
in front of the altar and teach us a brand
new hymn.
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It all seems a pity at first, for I have overcome
a fiercely anti-Catholic upbringing in order
to attend Mass simply and solely to escape
Protestant guitars. Why am I here?
Who gave these nice Catholics guitars?
Why are they not mumbling in Latin and
performing superstitious rituals?
What is the Pope thinking of?"
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Guitars - to answer Annie Dillard's
question - were not exactly what the
pope was thinking of, but rather what some
liberal American Catholics hoped the pope
was thinking of. Or what traditional Catholics
feared he was thinking of. American
Catholics once thought their religion was
timeless, perfectly designed to withstand
the corrosive pressures of the world outside
its cathedrals. But in the United States,
religion must constantly sell itself, and
so it must change to suit the new moods.
Adopting to the culture is a chore incumbent
on all American religions - except, it was
once thought, if the religion was Catholicism.
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In his dyspeptic book about bad church
music, Thomas Day tells the story of a friend
at a mass in the early 1970's:
"The time came around for the Handshake
of Peace....My friend turned to the elderly
lady at this point and, holding out his hand
in friendship, said, 'May the peace of the
Lord be with you.' The old lady scowled.
She looked at the proffered hand as if
it were diseased. 'I don't believe in
that shit,' she replied and, without
missing a breath, went back to the
quiet mumbling of her rosary."
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The Catholic Church looks different today.
It reacted to the counterculture by
providing a place for the aesthetics of
the late 1960's, but without liberalizing
in any other sense. Any political changes
resulted from the perestroika ushered in
by the new, more liberal feel of the church -
and that feel was created by the new Mass.
The countercultural legacy in the Catholic
Church is primarily aesthetic, and the
leadership did not contest these aesthetic
changes. Though Catholics had had the
most standardized liturgy of any American
religion, a Mass fashioned by Rome, they
became famous for guitar masses. But it was
the Catholic Church whose official stands
on other matters changed the least:
abortion would not be approved, or
birth control. Women never became priests.
Because Vatican II had given the folkies
permission, aesthetic changes were almost
entirely decoupled from politics. In the
Catholic Church, the hierarchy retained
its tight, conservative control on what
Catholics were supposed to believe, while
the iconography of liberalism - the
sandals, guitars, and hugging -
seized the day easily.
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