Author: JennyDetroit (Page 39 of 52)

Being Whole Life

As a Catholic, it angers me to no end when I see certain (white) Catholics in America dismissing the Black Lives Matter movement, as if the issue of racial justice isn’t something we as Catholics need to worry about. “What about abortion?” many of these folks often retort. I do believe that abortion is an evil, and that we need to work to help women not choose abortion, but being against abortion doesn’t mean we can’t also be against racism. I mean, this isn’t hard, people! Racism = evil. Systematic racism = evil. This is Catholic social teaching 101.

And yet, there are some Catholics in the U.S. who always want to put a stop to any discussion about injustice or oppression by saying, “What about abortion?” As if that’s all we need to worry about. No other problems here, folks! No siree!

The Church’s teachings about the dignity of the human person, it’s teachings about the sanctity of life, it’s teachings about justice: all of these things compel us, as Catholics, to do something about racism, to do something about inequality, to do something about violence perpetrated against marginalized people. If the person in the womb matters, then so do black lives.

Pope’s Francis’s words should be ringing in the ears of every American Catholic today:

“My friends, we cannot tolerate or turn a blind eye to racism and exclusion in any form and yet claim to defend the sacredness of every human life,” [the pope] said on Wednesday.

I hope that this moment can be a turning point for my fellow Catholics, especially those who don’t see the need to fight for racial justice. I know that I too need to do more. We are called upon to do this work. And if we don’t, we will be judged for it.

The Things That Shaped Me: MERP

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My parents always loved making a big deal out of birthdays, but my tenth birthday was by far the biggest deal they ever made. They decided we were going to drive to Chicago for a family trip (we lived in Michigan, for geographical frame of reference). Why Chicago? Why my tenth birthday? I have no idea, but I made no objections. Who wouldn’t want to go to Chicago for her birthday? We were going to stay at the Water Tower Place hotel, eat at Ed Debevic’s, visit the Field Museum and the Shedd Aquarium, AND — this is the thing my ten-year-old brain was inexplicably most excited about — we were going to bring a portable TV/VCR in the minivan so my brother and I could watch movies during the long drive (this anecdote tells you how old I am that DVD players and screens didn’t come pre-installed in vehicles).

We rented a slew of movies, but the one I remember most was The Hobbit — not Peter Jackson’s Hobbit franchise (which hadn’t been made yet) — the Rankin-Bass animated movie from the 1970s.

This movie… let’s just say, this movie will make a future appearance in The Things That Shaped Me series.

We watched it on the way to Chicago and then on the way home to Michigan, so it served as a bookend to the birthday trip, an opening act and a closing act. I was obsessed with The Hobbit — book and movie — and by extension, Middle-Earth. But only The Hobbit-version of Middle-Earth. I hadn’t read The Lord of the Rings yet.  At ten-years-old, I wasn’t a good enough reader to handle the lengthier, weightier Rings books.

20200602_152858But I loved Tolkien’s world: the forests; the mountains; the dragons, goblins, elves, and dwarves. Mirkwood was as real to me as the little patch of woods that surrounded my grandmother’s house. The Misty Mountains were unspeakably enchanted, a world within a world filled with treasure, ancient lore, and shadowy creatures; I longed to travel there. And the map of the “Wilderlands” and Thorin’s map were like sacred manuscripts.

Although the trip to Chicago was exciting, what I wanted more than anything for my tenth birthday was something much simpler, and at the same time much stranger: I wanted the boxed set for MERP: Middle-Earth Role-Playing.

20200602_153018Back in those days, I had never played a role-playing game before. Frankly, I didn’t have anyone to play a role-playing game with. But I wanted MERP. The cover illustration alone was worth it. Also, there was something dangerously appealing about role-playing games. These games came with a dark reputation back in the 80s and early 90s. I was forbidden to play D&D; I had to work hard convincing my parents that other RPGs were okay and not gateways to Satanism. Somehow, I convinced them that MERP was alright. Maybe they figured a Tolkien-influenced game couldn’t be too bad. But the mystique, the forbidden quality of RPGs was still there, even if the cover said “Middle-Earth Role-Playing” and not “Dungeons and Dragons.”

The old MERP game came in a box, with the core book and several other supplements, including cardboard playing pieces and two ten-sided dice. Whenever I see pictures of the old MERP books — the core book, the different supplement books for the peoples and creatures of Middle-Earth — an overwhelming wave of nostalgia washes over me. I can’t quite explain it; like all old memories, it’s both intense and inexplicable. I can see and smell and sense all the moments from those old days, but I cannot make you see and smell and sense them in the same way.  Memories are like dreams; once we start to tell about them, they inevitably lose their magic, they become pedestrian and plain, they don’t capture the electricity and potency of what we see in our heads. Opening that box-set on my birthday and seeing those Angus McBride illustrations, holding the cardboard cut-outs and the ten-sided dice — it’s a feeling I find hard to describe. When the opening pages of the core book promised that “this game lets you step out of this world and stride boldly into Middle-earth,” I believed it: I was going to stride into Middle-Earth. I was going to experience adventures I’d never experienced before.

20200602_152810This memory is so strong, so central to my childhood, that I know I cannot convey to you what it really felt like. Flipping through the old MERP books brings me back to the past, to being ten-years-old, to being in the backseat of our minivan, watching the Rankin-Bass Hobbit, to being a kid who loved fantasy and who felt like she had to hide that love from the outside world. And there was the forbidden danger of role-playing games: the thrill of reading something that was maybe a bit too adult, a bit too beyond my ken.

Whenever I look at those MERP books now, after all these years, I feel the excitement of ten-year-old me, the sense that I’m about to embark on a strange, unknown, wondrous adventure — like Bilbo stepping outside his door to find the Lonely Mountain. But how can I make you feel these same feelings, or catch a glimpse of what they mean to me? I can’t. I can only hope that perhaps you loved MERP as a kid too, or that you know what it feels like to watch The Hobbit while the moon is rising between the clouds on a summer’s night.

“Think of a sound that reminds you of childhood”

bug-cicada-insect-nature-357385That’s a quote from p. 78 of The Art of Noticing (“Listen Deeply”).

Problem is: I’m not sure I can think of any.

Cicadas, I suppose. Swing jazz (like Count Basie and Benny Goodman) (because my grandpa used to play their records all the time, and I spent so much of my childhood hanging out with my grandparents). Maybe the ticking of a clock in my Great-Aunt Carmie’s house. Certain songs, for sure. These are the sounds I most remember: music sounds.

R.E.M. and Guns N’ Roses and The Beatles and my dad’s doo wop cassettes.

But it’s funny that I have no real memory of non-musical sounds. (Maybe the sound of the screen door slamming/swinging shut at my grandma and grandpa’s?)

My memory is driven by sight, by smell, a little bit by touch/feel, some taste. And songs. Lots of songs. But non-musical sound seems to be less memorable. I wonder why? I wonder if I should cultivate my sound awareness. Do more “sound noticing.”

 

Season of the Book

over-sea-under-stoneI have this theory that books belong to seasons. Some books are meant for fall, some for summer; some for winter, some for spring.

For example, I read Susan Cooper’s Over Sea, Under Stone and Greenwitch a couple of summers ago (having read The Dark Is Rising the winter before. I read it during Christmas break, appropriately). After I read Greenwitch, I wanted to continue the series. I soon realized, however, that The Grey King was an autumn book. It takes place during autumn, and the content of the book seemed more in keeping with dark October nights — not bright, humid July days.

Over Sea, Under Stone and Greenwitch worked their magic because I was reading them during the right season. Over Sea, Under Stone, of course, takes place during the summer. But even Greenwitch, which is set in spring, works as a summer book because it’s about the sea and the vacation-y adventures of the Drew children. Oceans and vacations are very summer things. But The Grey King felt immediately different — it was colder and damper and heavier — and I knew I should put the book down until fall, when the time would be right to experience the proper mood of the story. When fall did come, I read The Grey King, and the coldness and decay of autumn were a perfect accompaniment.

This is what I mean by books belonging to seasons.

With its endless oceans and summer skies, its search for the edge of the world and for Aslan’s country, The Voyage of the Dawn Treader is a summer book. The Silver Chair is autumn. The Lion, the Witch, and the Wardrobe is trickier — you’d think it belongs to winter and Christmastide. But I think it’s a spring book. Spring is the season of Easter after all, and the book is about breaking the spell of winter, not reveling in it. Winter is beautiful in its time, but especially here in the Midwest (and I imagine England as well), winter overstays its welcome. By March, when it snows AGAIN, many of us are wishing for someone to break the White Witch’s spell. When Aslan romps, resurrected by the Deeper Magic, and Susan and Lucy ride upon his back: that is Spring.

My husband thinks this theory is weird. Books do not have seasons, so he says. He’s probably right; for most people, they read books when they want to read them. They don’t wait, for heaven’s sake, until the wind changes!

But when you find a book, and you don’t know what season it belongs to, and you read it and realize it just happens to be the perfect season for that very book — perfect for the story, for the setting, for the themes — there’s a kind of magic at work that links the book not only to your imagination and your thoughts but to your physical world as well. The literary and the natural co-mingle to make something bigger and grander than just a good book or a good season.

I am reading Kristin Lavransdatter right now, and winter seems the right time for a book set in Medieval Norway. It makes my winter here in Michigan seem snowier, and my winter makes the hearth fires in Jorundgard seem hotter. Winter and the Middle Ages have been linked in my memory and imagination for awhile; perhaps it’s because the winter reminds me of mortality, and how perilous our lives would be if we lived long ago. So now, when I read Kristin Lavransdatter, and the snow falls heavy in February, or the sun sparkles over the frozen lakes, I feel connected to that long-ago world, and my own world, inexplicably, takes on the qualities of a legendary Norway. I could read this same book in summer and enjoy it just as well. But somehow the winter feels better when I’m reading Kristin Lavransdatter. And the book feels better too. In its proper season.

Regrets

I was reading something online the other day, and it was something cultural/political, and I remember thinking, “These are interesting ideas, and I’m interested in exploring them. I should write these ideas down.”

But then I didn’t. I clicked on something else, and now today I wish I could remember what those ideas were. This is a reminder that I need to have my writer’s notebook always handy (always open?), and I need to write everything down. The notebook isn’t a performance space.*  It’s a collecting machine, a net, and I need the net to be ready, and I need to swing it around a lot, collecting thoughts/ideas/motifs/messages: anything that my head or my heart wants to remember.

 

*I sometimes slip into the bad habit of thinking that I must “perform” in my writer’s notebook. As if there is an audience who will read it, and I must impress them. But a notebook is not a performance space. It’s not meant for an outside audience. It’s terrible that I fall into this trap of trying to “write good” in the notebook; it’s the same trap I continually warn my students about, and yet here I am, getting my hand caught in the same snare.

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