A bubble is commonplace and ordinary. It's part of washing your hands, your hair, your car, and certain baths. Blowing bubbles is something many children do all the time, so it becomes very ordinary to some children too. So ordinary, that it's easy to overlook the tiny miracle that a bubble is.
Here's what I find incredible about a bubble:
Next time you are in the presence of a bubble, see it as a whole life, see it as significant as your own life, the floaty path it takes, your path. It's remarkable existence, yours. It's sudden disappearance, just like yours will be, the moment when you are no longer in the world, reflecting its details, swirling with changing tints and hues, perfect, fleeting, a marvel.
I've been trying to put my finger on something since my return from the Colorado River last week. It was a short trip. Hard even to recall and yet it's left an imprint that moves like a sun spot - always on the periphery of what's going on, but here still, adjusting everything in a way I can't yet place.
While there on the river, one thing presented after the next: floating, climbing, eating, chatting, hauling, organizing, snacking, getting ready for and floating out of the next or last rapid, covering up, cooling down in the water, caring for eyes in the dry hot wind, playing werewolf in the dark with eight people whose names I mastered just as I bid them goodbye. And the whole time trying actually to arrive.
We stopped at many bright and sacred oases, hidden waterfalls and water pools, places where ancient Puebloans left the mark of concentric circles or stored their grain way up high. Each of us rested on a warm rock in the shade, watched the glowing walls change as we floated up to, by and past their silence and specific set of magnificent scars.
I was rarely alone - normally I am alone more than half of the day. There I sat only a handful of times in solitude. The time I sketched canyon walls in the ninety degree blue white moonlit dark, too bright to sleep in. The times, each of them, when I was easily an early bird, rising before others to stand at river edge, or look out from the privacy of the 'adventure toilet', or to follow the hide and seek of a dawn bird call. The last time was in Deer Creek Canyon, sitting, awed by the height we'd climbed up over the waterfall, to the oasis behind and above it: cottonwood trees, carved pools, the sense of a thin flat plane of water appearing to flow uphill, the surprise of a place you didn't expect, and the overwhelming presence of grief love: when one's home in another has gone beyond one's physical reach, accepting the time had come for them or you to leap the ledge.
There and finally in Flagstaff when I shut the door to the hotel bathroom, were the moments I registered being alone, outside of the itinerary, the patter of family, short term plans and passerby, the flowing by of scenery unlike the familiar touchstones of my home address and agenda.
The main takeaway: This all slips by. It can't be held. It's vaster than can be comprehended or discovered, it's sometimes floating, sometimes shocking with cold or challenging with a heart-pounding climb. You can't stop it and yet it is saturated with tenderness, an intimacy that you already and ever are, that soft sand suggests and the small circle of a blowing weed traces in it. Just this is yours for just right now.
My dear friend Ron passed away in early May of this year. He had a form of cancer. We had been walking weekly, getting coffee, and when I moved, talking every few weeks. He read a poem at my wedding. He came to my art events. He taught me how to ground myself in my legs, to listen with my whole body, and to lower my expectations about human marriages, how they roll and how they feel, especially the first few years. In other words Ron was a good friend.
When he died, I realized I only had his cell phone number, and it took a bit to get his wife Patty's contact information. I called her to check in, see how she was. I know Patty less, but have spent a number of new year's days at their house, and she too, drove three hours to be at my wedding in 2017. I care about Patty. She was doing OK. I asked her about Ron's papers. She was happy to part with some of them, because she was in a cleaning and clearing mode. She sent me a box which I opened two days ago, with a few books and some of Ron's papers, so that I could make a book with them, one of the series I've made starting 20 years ago with my earliest handmade books. In this series 'Death Books,' someone's papers, after they die, get folded every which way and bound, so that you can see their thinking, their marking and their reading and writing, but it's now sideways, folded, upside down, only partly legible. It is a relic of a life that is now over. It is the data and the trace of the life of that singular mind.
Opening that box was something. Tender. An honor. First there was a little fat, laughing buddha on top of all the bubble wrap. Then Ron's inflatable zafu, meditation pillow, on which he did many a three month and one month retreat. Inside were his many notes, and his paper's from the Barre Center for Buddhist Studies. His letters of recommendation to join the retreat and have interviews with Joshu Suzuki Roshi, the stories about which I have heard many times. It's Ron in papers.
These books and the death of people, animals, chapters of life, or relationship, remind me that this art practice is just for fun, whether or not anybody else care's about it. It's just for a while. It's for while I'm breathing, inclined, and able to engage it. Doing something is more important, I feel, than doing it right, or looking good, or towing a line. I can turn a studio practice into those things for sure and I have, but engaging an art practice and making art, to me, is more important than most 'normal activities' in the following way.
Everything, every object in your world is a kind of icon. It's for doing something with. It prompts a certain kind of engagement. Like a file folder on your computer desktop is an icon. A bowl is to eat soup from. A file folder is to open to see files. A chair is to sit on. A book is to read. A dog is to pet. Icons.
An artwork is to...well what is it there for? What is it for? This line of reasoning kind of halts the automatic engagement, if one is really looking, and can loosen the automatic pilot of doing, responding, engaging. In fact anything. a chair, a book, or a dog, can similarly open things up, if one is really there with it. If one forgets it's name, or what it is associated with, or what you think about it. Somehow art is such a personal rendering with no obvious point, that it can be at times more ambiguous, and open things up. Other times, it's another symbol: of status, of fashion, of historic importance, or the kind I don't like. Art is to look at. Art is to buy. Art is to make. But as Anne Truitt said earlier:
...this process is mysterious. It's like not knowing where you're going but knowing how to get there. The fifteen years that David Smith thought it took to become an artist are spent partly in learning how to move ahead sure-footedly as if you did actually know where you are going. -Anne Truitt
Death Books is now also a service, which is described more fully on my art website: hannahburr.com/deathbooks. I will make one for you, from the papers of your beloved departed, if you like.
"In making my work, I make what comforts me, and what is home for me."
Are you comforted by making your work?
[I notice this question might be for the creatives reading, but consider that if you are reading here, my guess is that you are a creative whether you like it, know it, or not! In other words, this applies to anyone reading. So...]
Are you comforted by making your work?
I don't think comfort is a motivating factor in art-making for me. Perhaps the whole process of showing up to make, the routine of it, is a comfort, but the work is brightening and enlivening to me, sometimes disturbing to me, so I wouldn't say comforting. I don't make what comforts me, do I?
Sometimes making certain marks on certain surfaces, and finding the composition that is a YES to me, feels like putting things in order, or like straightening up the world. Putting it right. Perhaps that is a comfort to me.
There is also a discovery process, where for a long time there can be the same pile of materials, or the same kind of shape or process, and suddenly, by mistake or a loosening of something, or just paying closer attention to it and engaging it, the same 'stuff', in some new way or combination, has a new kind of pop or magic to it. That discovery is delightful to me. And then watching what happens to this discovery, or a new process, if it is sustained, or if it sort of fizzles out quickly. Exploring the questions of what sustains it, is in itself, quite motivating and engaging.
It's always felt really clear to me when something I make in the studio is valuable, though not always right away. Sometimes however, doubt gets ahold, some cloudy afternoon when it's cold, and the whole project seems lifeless or a complete lark with no value at all. I have also dreamed of some gorgeous things, while sleeping, and woken up besotted with interest, but not actually brought these things forward. Those are great dreams. Was I supposed to make that stuff? I don't know. Can you relate to this?
There was a period too where some of the marks that really satisfied me, didn't seem to hold up to scrutiny and I couldn't figure out what was going on. I think the intimate scale of making wasn't holding up to the more distant act of viewing a work from further away. In other words, my lines were falling apart from a distance, and I wasn't in enough conversation with others to realize it. This is where relationship, scrutiny, conversation, is so useful.
There are people like Henry Darger who hole up and just do their thing, and later someone realizes it was brilliant, in his own little world, so complete and unapologetic. And I think in a way, that innocence is the thing of letting your inner kid have free reign and knowing that this is where the brilliance is. But there's also the reality that for every discovered Henry Darger there's a rotting pile of papers on a landfill of someone else's world. And it will likely be mine!
There's a freedom in seeing how none of this ultimately matters. Even when a small mark or line also counts. That's a fine line I seem to walk, where there's a need for freedom to break a rule I had laid down, or to make a mess of something, and then there's the self curation, the conversation, the response of others, the asking of questions, and then choosing again. Nothing matters and everything counts.
In the end, it sometimes just comes down to color therapy. When I am surrounded by the colors, as well as the relationships of texture and forms, I feel fulfilled. Happy. Pleased in the most basic sense.
The rest of the art process: the part about jockeying for notice and applying and all of that makes me feel tired before I even begin. And so, I tend to not do that, and pursue other avenues. In part, this is because, when I do have a "show" where I put on a blouse and some boots and eat some sweaty cheese with friends, it often doesn't hold much magic afterall. It is however, truly a delight to meet people through the sharing of the work. To feel like my spirit and someone else's spirit meet through the resonance with my work, or their work, or the conversation that artwork ultimately can be is quite a thing. That is deeply valuable to me, and motivates me to write, to put things in print, to find other avenues to sharing that don't involve as much of a dog & pony show. Life is too short to be a pony or a dog.
Is what you make a comfort for you? I guess in some ways, it turns out to be for me.
Because of it's strong associations, I've spent a lot of time considering whether to use the word 'prayer' in my books at all. It's one of those hot button type of words, for many, and so I considered using several others instead.
Other words I considered using instead of prayer included:
Have I forgotten any that come to mind for you?
Writing all of these down makes me a) want to find an anneagram just because that sounds like fun (SPARPIAA? APRIAPSA!) and b) helps shed light perhaps, into what prayer is.
I always find this - that just translating, rewording, re-expressing something a different way, gets in between the labels and the lines a little more, into the experience of a thing itself. I know for me the word prayer is a label. It’s something that THUNK has a symbolic shape and feeling and form. For some, this symbol or label has a positive tone or feeling about it, or a mixed tone, or something aversive, irrelevant or negative about it.
When sharing about this book with say, museum shops, I avoided using the word in email post titles because so many people would just say NEOPE and delete it. Anyway, here’s what I learned from the consideration of and use of other terms.
Petition was not as religious of a word, and so might have been more descriptive or inclusive, and yet for me there is a pairing with politics, PTA meetings, civic dialogue. This kind of petition, meaning the kind you find in three of my books, is intimate, sometimes wordless, sometimes even embodied in gesture.
Supplication, to supplicate, is the ‘act of begging for something earnestly or humbly.’ Someone pointed out to me that that is one type of prayer you might find in my books, but it isn’t what all of them are. Some of them are more like ‘Hey thanks!’ or ‘I’m not cool with this’ and those are points of contact, but not supplications.
Affirmations do apply to many of these prayers. This is language more of Buddhism, freed up from religiosity in the traditional western sense. An affirmation by one definition is a form of emotional support and encouragement, and so when directed from me to me, or from me to someone else, may be like: ‘You’re doing great!’ or ‘You’re beautiful, don’t ever change.’ Some of the prayers in my books have this kind of tone, but instead they would be phrased like ‘Remind me’ or ‘show me that I am beautiful…’ which combines supplication or affirmation.
Requests would work, for sure. or even the word Bid. I like the word bid, popularized by the phrase ‘Bids for connection’ in the work of John Gottman, because a bid can take many forms, and I think prayer can be the way one lives a life, receives a gift, receives an unwelcome piece of news or a loss, or essentially, does anything. So I do like Bid. I’ll keep that one in mind. But on the cover of a book, it might relate more to the association with an auction and the Highest Bidder.
It has been pointed out to me that this series of books of prayers are essentially poems. Yes. However if I thought of them a poems, I would be twisting myself into knots, trying to wordsmith the crap out of them, and nary a one would have been published. So I’m glad that thought didn’t occur to me. But for many, I have learned, they look at these as books of poetry, and this opens things up even more.
Intention. Intention is a word I use a lot. It’s a word that gives shape to the nebulous. It’s a word from which things materialize. I find that prayer is a form of intention. It is an intention perhaps to connect. To widen, open, release, remember, rest, through a bid for connection, or a prayer. It has a great relevance to these books. These books as I see them at this moment, are a way to frame an experience, a way to shape or re-see and turn to a new view of what had previously been understood, thought of, or determined. It’s like a pulling back and opening up. And these are all a form of reshaping, intending. There is a collaborative aspect to both the prayers and to intentions. Intentions perhaps connote a more self oriented activity, but perhaps these prayers are similarly that as well.
Ask is just a term that I rarely use, but a fun alternate to throw in there: Contemporary Asks to Whatever Works? sure, but the grammar gets confusing!
Aspiration - a hope or ambition of achieving something. Yes, this does fit. An aspiration to whatever works, is like a bid or an ask, a form of reaching. And prayer is in a sense an act of reaching.
So, that’s my meander through a process of vetting terms for the title of my books. Incidentally, the third prayer book is called the same thing as the first. Originally it was going to be called Volume 2, with the same name, but the sales team decided that for new readers that would be confusing and so left it off. So I refer to it as the All New 2021 Edition for the purposes of clarity, because it is all new art and all new prayers.
Your thoughts? Other book title ideas for the future? Please comment below!
Find Hannah's other books for sale here.
I love this essay by painter Agnes Martin, and I love a particular passage in it for artists:
“You must especially know the response that you make to your own work. It is in this way that you discover your direction and the truth about yourself. If you do not discover your response to your own work, you miss the reward. You must look at the work and know how it makes you feel.”
from Beauty is the Mystery of Life, an essay by Agnes Martin.
Being in the studio alone can have many flavors to it. One can be relief, another freedom and delight, another is pressure to use this space your paying for, or have claimed, to do something “important” and unique and great and special. And, upon not feeling like that’s happening, there can be a feeling of existential dread. Do you know whereof I speak?
I investigated this feeling the other day. Meaning that I started with a funny twinge of discomfort, kind of like when you see a little sprout of a weed in the garden, and pull at it, and then discover this runner root zigzagging and netting all over the place, under and around all of the healthy plants. So, the little innocent weed was like a twinge. As I looked it took on more shape. It became stories like “I thought it was something and it’s nothing” underneath that was “I thought I was something and it turns out I’m nothing” or “I thought I was an artist but it turns out I’m a fraud” is another version people get. Underneath that was like a lizard brain ancestral kind of “Game Over” feeling, like the feeling you might have when lost in a desert, having run out of water, having been optimistic until this momentary shift to - Game Over - I thought I might just make it but it turns out I’m toast.
That’s what I mean about existential dread. Art making is so intimate, so ethereal, and so marginal in my culture - it’s not considered essential in the economy or the running of a civic society - and so it can be very intense sometimes, if you have planted a flag or hope to, to come up against generations, policies, and personal stories of - this and you, are a joke.
So, back to this lovely quote by Agnes Martin. In a way, what I think she’s saying here is: No one’s going to care if you don’t. This is an inside job. Strengthen your muscle of commitment to looking, responding, staying open, letting it not always work out, and be honest with what brightens and inspires and interests or even disturbs you, versus what you think others will think, or what will pass or look good, but has no juice for you.
I’m not Agnes Martin and I don’t know what she means, but I do get from this essay that you have to practice putting your own response first, because everything else is just smoke and mirrors. And in a way, you are just smoke and mirrors too, which can be terrifying to realize, but also liberating to discover that truly, none of this matters at all, but somehow too, all of it counts. How well you attend to yourself, or show up for these sprouts of fear that turn out to have a big old root system going back generations and years, is the special sauce of creative practice. It’s essentially like being on retreat with all of your demons, and all of your angels, and keeping steady, sometimes, in the midst of it all.
I marvel that in my 20s, I stumbled into an amazing situation: a great economy, an amazing loft space with artsists in downtown Boston, a good job, and time and interest to just make and make and make art, that people bought. I do also remember how acrid some of my time in the studio was, when the praise and the boons and the sales wasn’t enough. I hated myself underneath, mostly because I didn’t know myself, and I was hanging on to the idea that if you liked me, I’d be ok. But that’s a losing proposition, because everyone on this planet, as my friend Bryan likes to say, is third graders, that’s as skillful and mature as we humans get. So putting my self worth in the hands of you all on the playground is not so smart of a plan.
So eventually, as the cracks started showing: overdoing alcohol and boys and anxiety mounting, some of the root system began to get undug. Until the whole garden was just dirt and I was exhausted and apparently had lost everything. But the ground for things to grow, I realized, was purer and clearer and freer than it had been. So now a whole lifetime later, it’s a flourishing garden with other root systems needing balancing - and those little seedlings of “I’m toast” asking for my attention, which equals my love.
In the end, yes, I am toast. Inconsequential and nothing. Forgotten, maybe 50 years or sooner after I’m dead by anyone that knew me. Turned into something else by anyone who may have known of me. Nothing! Light as a feather. Lighter. Freer. Terrifying!!
Can you relate to the studio demons? Or are they keeping you from the very prospect of a studio in the first place? How do you ground and respond to yourself, your creative work, and your twinges of terror? What are you attending to? What’s growing in your garden plot? What would you like to grow there?
There are many forms of meditation:
Formal and structured
Open eye, walking around in the world types
Closed eye or soft eye meditation seated
Mystical and direct path practices
Loving kindness practice
and many different flavors, cultures and styles to how these are presented:
Zen from Korea, Japan and elsewhere
Vipassana from Burma and Thailand
on so many more
You may yourself already have a practice, have favorite books, a community and a personal philosophy. You may be sampling and learning.
Whatever your situation, I recommend that you do whichever one feels literally the easiest and the most relaxed. We don't need to tie ourselves into knots over something else in our lives. We have plenty of ways of doing so already. So do whatever feels effective and easy for you.
I love the simple exercise Ajahn Chah had listeners try in a talk he gave once. He asked: Do you notice that you are seeing right now? Just check.
Then he asked, how much effort does that seeing take?
That's the effort that is needed for meditation - just that little bit of noticing. No efforting, no big doing, or trying.
I love this. I agree.
Another kind of mess is not knowing. This feels very messy, though it is a very common experience on this planet. How will it turn out? Any project is full of such unknowns, and add to that a team of people you don't know very well, and multiply the unknowns by 2X the number of people on the project, and you have what can feel like a very big mess. How to interpret a silence can be messy in an of itself, and this is in so many places where silence is occurring: Did we get in? Will he call back? Do they like it? Am I going to get to keep this job? Am I dying? Are we ok? What happens next?
The good news is that every religion in the world, most philosophies and many spiritual traditions, as well as the content of most magazines and books, is in response to just this kind of mess, and is filled with explanations, theories, ideas, fixit strategies, processes, hacks and stories to help ostensibly with such a mess as the unknown. Which ultimately is the mess of your life unfolding, perfectly, but without your foreknowledge or a map, no matter what kind of an expert planner and list maker you may be. I won't try to wrap this up with a pithy platitude, just that I feel it too, about every other day, and you are not alone in this messy feeling.
Here is a related page from the new book: Contemporary Prayers 2021 edition:
Below I share my own background with meditation, as well as some lessons I have learned that may help you avoid some of the sillier sides to the industry they call meditation and mindfulness.
My own experience with meditation (skip this part if you don't care!):
I've always been a bit of a mystic, interested in religious rites and rituals of all kinds. I was curious and a little perplexed by those of the episcopal church I grew up attending socially with my family, tried to make sense of a child's illustrated bible my minister uncle provided upon my request when I was 8, and did a 25 page report on Haitian Voodoo ceremonies for an expository writing class in high school.
When I was in college, I ended up double-majoring in art and religion - the least practical two fields one could choose, and two that really were perfect for me. I chose the religious studies department at Brown University because it was a more 'happening' department at that time than the Anthropology department from what I could tell. I studied East Asian religions: Buddhism, Taoism, Confucianism, as well as Christianity, and a tiny bit of Judaism and Islam. I wrote my senior thesis on Jonestown. I was interested in the difference between cults and religions, how they form and who decides.
I didn't actually meditate at all until I was out of college for a few years, when a good friend, visiting me in the midst of a painful breakup (mine), showed me how. I spent the next ten years trying to attain sainthood by doing lots of meditation of various forms, having a couple of 'special state' moments, and a couple of cultish sidebars that made me wary of the whole thing and fairly confused. Suffice it to say, I learned a lot about what meditation is not, and what to do if you really want to hurt yourself.
After that, I found Vipassana meditation, also called insight meditation, and I liked it because I felt there were fewer bells and whistles, and less outward forms and rituals to adhere to than my forays into Tibetan and Zen buddhism had yielded. I also did some specialized yoga, went on a pilgrimage to south India, and almost gave up my life to go live at an ashram with a couple of kooks; I am grateful that I ultimately did not!
What all those years of attempting to perfect or fix myself and my troubles through meditation did, is to hone my bullshit meter pretty sharply. Here are my *fairly cynical* (you are forewarned!) takeaways or you might call it
Hannah B’s Rough Guide to meditation:
Meditation is being present for what happens. It is simply a form of attention. Attention is love.
There are many ways to be present, some of them are easier than others, some work better for one person than another.
Meditation can be used to calm and center the mind and body, and can be good for your health. It can also really F up your knees if you think it has to be done cross legged like on the magazine covers.
Meditation doesn't look a certain way. You don't have to buy special stuff or hold painful poses. You do not need to have a top knot or mala beads or a shawl. You can eat meat. You can be in therapy. You can enjoy wearing heels or vote republican. If you find yourself developing a new style or persona around your meditation practice, please notice this: it's got nothing, nothing, to do with actually being present.
Meditation doesn't mean that thinking stops. In my experience, you are not in charge of thoughts: the brain thinks like the nose smells, just doing its job. Thinking is not you but a function of the organ called the brain. The more you believe a thought to be you, and believe whatever ticker-tape thoughts come along, the deeper suffering may ensue.
Meditation is not one-size-fits-all.
If anyone tells you their way of meditating is the right way and only way, please do not believe them!
Everybody responds differently to different types of meditation, based on who they are, their genetics, personalities, learning styles and needs, and there are many options. That being said, I recommend keeping it simple and not getting too fetishy about it.
The whole thing, I’ve found, is an inside out process. How you look is just your ego trying to be perfect and liked. I spent a long time trying to 'do it right' and 'look good' because frankly I didn't like who I was, and I thought if I could be this saintly gal, I would have no flaws and I would finally be loved. What I had backward is that the only place where love is is inside, and the outer situation only reflects whatever that relationship is. If the teacher liked me, then I was ok. If I seemed sagely and selfless, then I was safe. Underneath was a really fraudulent feeling and I didn't think it was ok to have such a feeling, to be confused, to be a giant throbbing mess. But I was.
The good news is that, though you can hurt yourself with this "idea" of yourself as a meditator or somehow in a superior place, eventually your course will self correct, it can't not. It may just take longer if you are trying really really hard.
People often learn how to meditate from other people.
This is a little like the way electricity is conducted through metal. It seems helpful to be in conversation with others. In this day and age, such an interaction can be refreshingly down to earth. In my experience a good teacher makes you feel at ease with things as they are, and yourself as you are. Because in a way this is all a big mirror, if you feel like you are disappointing your teacher or getting corrected a lot, it may be because they are feeling disappointed and critical of themselves. Your boundaries are to be valued and honored, as well as your life experience.
If you feel like there's a level of fakeness in the air at a given meditation center, there probably is. A healthy community that forms around meditation is not hierarchical, does not involve prescribed dress and ways of moving, speaking or talking, or giving up all your cash. It may be you that's feeling fake. So see what it's like if you drop that. If it's not okay, perhaps you're in a cult! They are quite common. If you can't be yourself or make choices for yourself freely in that environment, there may be a problem there.
Sometimes there's this far out thing described as having an enlightenment experience, and somebody who has special status because of theirs. Also, be wary here. If what is being referred to is in the past, is romanticising a certain time or association, or a special state other than the present, including you and your experience, also this is something to avoid getting too enamoured of.
Any teacher sitting in front of you is a human being with their own conditioning, preferences, foibles and imperfections. If this is not acknowledged by the teacher, this is a flag. If they dangle something really special in front of you like waking up, and tell you that it takes a long time, decades of sitting on a meditation cushion, or lots of money and expressions of loyalty to the teacher, please run away! If there is like an inner circle, that too is weird. It is!
Some people may be fully awake and never have formally meditated, and never will. Often people who spend decades on a meditation cushion, like I did, do so because they have trouble getting along in the world, not because they've transcended it. Any claim I make, or another makes, to being superior is hiding a fear of being inferior. We certainly all, as humans, believe and sometimes outwardly make such claims, but remembering this can help you take any leader with a grain of salt. As my friend Brian likes to say, we are all - every last one of us, a bunch of third graders wandering around. No one can claim authority for another when we see this fundamental truth. So be scientific and skeptical. Ask the awkward question. Try it out, but trust your gut.
Just Sitting There
My Philosophy of Prayer
Or see the category: Contemplative Practice
Today is a special day. It is one of those days, like a graduation or a wedding, that has been emblazoned on my brain for about a year, because it is the day that the brand new 2021 edition of Contemporary Prayers to Whatever Works, is officially published!
Because this new title is not self published, the date is significant. With my self published earlier titles,* there wasn’t technically a launch date because I just received the shipment of books and then had to scratch my head about how to not ruin the suspension in my car or pull my back or ruin friendships with requests to help me move book boxes, storing them under my bed and using them as furniture in their own right, as well as how to let people know about them, and how to sell them. This is a lot for one person!
With Tiller Press, a division of Simon & Schuster however, I don’t receive the books, and I don’t sell them either. So what exactly happens today? On this the publication date, the book officially goes on sale, which also means more specifically that the book makes its way today through the distribution chain to those retailers that have ordered it.
Today is the day that my new book hits the shelves! I just held the first copy in my hands, and very relieved that the cover isn’t on upside down or something, and that everything is going as planned.
Also, because I was a one woman operation for so long, the fact that I have had a team of skilled professionals doing their sparkly magic in the background like sharing the title with a sales team, who then shares it with retailers, is all very abstract to me. But it’s darn exciting, because with my last books, there is like, no way to really get them into a distribution stream that isn’t very local and very painstaking to set up. There is a special dread to stopping into a shop to ‘let them know’ about my book.
So even though there is nothing particularly tangible going on over here right now, please celebrate with me! Better yet, please purchase a copy of the book, which you can do here. By so doing you help me be in good standing with the publisher and have the possibility of future dealings with them! All of this, truly is an amazing product of a community of people believing in an artist’s project and supporting it. My intention now is to be of service to anyone and everyone who needs some connection, direction and comfort, with a side of humor, some vibrant new imagery and no BS to tangle with.
Thanks again to all of you that have supported me getting to this moment, this is a celebration I share with you!!
much love, lots of gratitude,
*the original contemporary prayers in 2013, Help me [ ], do the thing. that followed in 2016 and the Elements: a love letter to all things everywhere, 2019
In just under a month, the third prayer book, which is my fourth book, and is also my very first book fully published by someone else (in this case Simon+ Schuster’s Tiller Press) arrives! As if by stork. It has in fact already been printed but I have not yet seen it. This feels a little like when you’ve given birth in the nineteen fifties and you are waiting for a nurse to bring you your child. But instead your child is going to arrive one of these days via the US Mail in 2021.
It’s in a very small way like that. The hard work is done - or is it? The sweat of creating the thing has been wiped from our brows, and now the book exists, they tell me, and I am excited! It will be fully out in the world on March 23rd 2021!
But for now, the news I have is that your pre-ordered book is within reach, and is available for purchase via the retailer of your choice at this link: bit.ly/contemporaryprayers
It is funny trying to get ready for something you haven’t ever experienced. It’s challenging to know what preparation matters, and what is just spinning wheels. Self publishing is a very different beast. A lot more control, a lot clearer information, a much smaller platform, and for me, a little more of knowing what to expect. Which here I do not!
Especially in the last year, I find that I am committed to having a reasonably day, everyday, wherever I have a choice in the matter. There is so much in this year that reveals how little control we have, and with this information, it’s become clear to me that being kind to oneself and to those around one is a priority. So I will plan on sharing with you in small bites, in palatable doses for both of us, with the intention of enriching your life and moment, and showing up to be a steward for what s arriving. Here are a couple of sneak peak inside pages for you, and some prayers to get a sense of it.
Hannah, why prayer?
When I share about one of the prayer books, this is one of the questions that comes up. Why did I write these books in the first place? Prayer was not a regular part of my life growing up, and nobody really modeled it for me. I was raised in an Episcopal church, the Easter and Christmas kind of attendance, where it was more social and obligatory than in any way personal. Church was a place where my mother got support and childcare when she was single, working, and struggling. Church was a place where I remember the toys in the daycare area and the beef broth scalding my tongue after the service. There were a couple of nice prayers, but the repetition en masse felt like I was in an army or something, and I was proving my allegiance for my peers, not in any kind of personal or conscious contact with anything.
I came across a more practical form of prayer from several close mentors I had in my twenties and thirties. I learned about things like a prayer for fear and a prayer for when you're pissed off at someone. I also learned there about laying off the whole 'what is God' type of conversation, as less important than actually being in some kind of constructive action, when the alternative is more suffering, conflict and resentment.
The prayer books I've written do not use a word like 'god,' which I see as the ultimate placeholder word, and instead use a form that is abstract, in other words, it doesn't look like anything specific, and that changes on every page and is part of the sentence. *
Why did you use a symbol instead of the word 'god' in your books? I did this because I actually don't know what it is that I'm praying to. I have no idea. I used to have lots and lots of ideas, studying religion and art at Brown University, but I had no experience of prayer, connecting, or feeling connected to speak of. Just a lot of thoughts and ideas about me and my beliefs. That didn't help in any way. Prayer itself has been incredibly helpful once I got desperate enough to actually use it.
Prayer for me is a kind of gesture that you make. It's a kind of connecting, like when the Buddha touched the earth when Mara was getting all up in his grill, or when a dog comes up for a stroke on the muzzle. It's an act of going into relationship. The weird part is, you can, in my experience only learn what you are going into relationship with by trying it out and seeing what happens. Testing the hypothesis in other words.
The issue that I find with religious forms of authority is that they describe something ineffable and then we're dealing with third hand information, and no personal experience whatever.
Why do you use the form of relationship like in a me and you kind of way, if you don't know what you are praying to? If I may be praying to Gravity, or the Universe, why am I using interpersonal language?
I use this language because it's how I as a human being am wired. I am wired for relationship. For a me and you kind of equation. So the you in this equation becomes anything and everything, when instead of a word it becomes an abstract form.
Why is there a picture instead of a word in your book of prayer? How did that idea come about?
I am an visual artist and also have a background in design. At one point I took Edward Tufte's course on the design of visual information and I learned about Galileo and the way he notated his observations of planets and their travel through the night sky. He used small pictograms or of planets right in a sentence, like symbols in a math equation, instead of a name for it.
This really stuck with me. (The image above is a screenshot from Edward Tufte's website). This is what inspired the use of an image in each prayer, rather than a blank or a word. Also, it was the only way I would ever write a book of prayer, because I strongly feel that every one of us has our own conception of whatever the shared ‘god’ is, even if we all belong to the same spiritual or religious or yogic organization. There is literally no way we all have the same feeling, image, or idea, even if the culture is extremely specific about the details. Everyone is doing some kind of translation process whenever language is used, to make sense of and meaning out of what is shared, just like you are doing while reading here. That I feel is no different for shared spiritual, philosophic or religious beliefs and ideas.
Drop the Props and Poses
There is no need to look or feel a certain way to engage meditation. You don't need an expensive pillow or to be flexible or to be able to sit on the floor. Take care of your body. Sometimes having low back support in a chair, or a little cushion to lift up you butt, helps the spine to naturally be relaxed and fairly upright, which allows a nice free flow of energy throughout your body. This helps parts of it not fall asleep and maybe helps you stay awake and be more comfortable.
Establishing a little space
By this I mean some internal space. Please don't try to get yourself to stop thinking. One way is to notice the breath, or perhaps notice sounds in the environment, that kind of a simple focus for a few minutes can help you establish a little internal ease and quiet. There are lots of ways to do this. Some people call it a concentration practice: just pick some version that feels easy and relatively natural for you, to establish this kind of quiet.
Widening the Field
After you establish a little steadiness as explained above, you can then set about to broaden your focus to include whatever happens to be coming up in your experience. This includes physical sensations, thoughts, emotions, sounds, tastes, temperature, areas of contraction, neutrality and density.
This isn't always easy, depending on what emotions might be present, but I strongly recommend looking at whatever comes up as human, natural and ultimately, just passing through, like a bird alighting on a branch outside your window. It might be a noisy flock of house sparrows or a huge coven of crows that hangs out for a while, or a buzzard looming, but it's just coming and going, and like a birdwatcher or even the welcoming backyard itself, recognize that it's not your doing, not your fault, and whatever kind of shitty bird alights, see it as just a visitor to be curious about and open to.
Drop the idea of practice or of yourself practicing
At some point, if and when things feel pretty peaceful, drop any kind of practice and just hang out. No one doing anything. Be the yard. Be the field. Without doing it.
Whatever happens, can you hang out with it? If not, can you hang out with what that's like?
When suffering, for example if the answer to the above two questions is No and Absolutely Not, see if you can sit with the one in pain, like a friend would, someone who loved you.
When, if you are sitting in formal meditation, the timer goes off or you finish the formal part, see if you can carry that same simple sense of observation with you into the day - no need again to look or feel a certain way, in fact better if you don't try to steer or manage that, just see what is happening now. And what about now? Who is here? What's present? those are a few questions you can play with to re acquaint yourself at intervals throughout the day.
Let it be a mess.
Rarely as humans are we all dialed in and buttoned up. Especially if we feel compelled to meditate, or are stopping to notice what's underneath all of the activity and motion, there are messy things to encounter. Unruly feelings, blotchy skin and stuffed up noses, runaway radio station brain activity, bodies that keep trying to get comfortable,or even songs that stick in the head and sabotage that nice mellow feeling we were after. That's to be expected. Please don't expect otherwise. Unless you are another form of life from human, there will be the smelly and the ungainly. Invite that in too.
A note about teachers
If you learn from someone else, please be sure they are not claiming perfection, please be sure to trust your own intuition if things feel off. Ultimately what you are doing when you meditate is paying attention to what is happening. Please let that be from the inside out, and not something someone else controls from outside. The best teachers give you their experience of how to unlock your own freedoms, your own insights, your own guidance. They should not at any point need you to do anything or respond any kind of way. Above all trust your own intuitive response.
On the verge of a brand new edition of Contemporary Prayers coming out on March 23 2021, it seems relevant to share my general experience with a philosophy of prayer. In related posts (upcoming!) I share about why prayer in the first place, about the “God” word and how it seems to me.
Of course, this is a philosophy of one, and whenever I am sharing such things, it is only for you to investigate and see for yourself. That’s kind of the point of the prayer books in a way, is to connect directly, see what happens for you, tweak it, leave it be, and know what your own response is.*
Here are seven ways that I find prayer works effectively
1.Don’t sugar coat a prayer: If you speak with a flourish because it’s who you are, that’s how I have found it best to pray: in your own language, and without filagree that isn’t genuine.
I’ve found my own language is a little less floral, and as a result, the relationship is also easier. Just think about other relationships and the language you use with the people closest to you. If it’s intimate, the way you speak is likely genuine and honest.
2. Bring especially, the petty stuff to prayer: It’s the petty stuff that sometimes really gets me. That’s the stuff that can grab hold of my system and not let go. So that’s the stuff I particularly set down through prayer. That’s how it feels. It’s like setting something down. That’s why in my first book, there are prayers about finding keys and turning down the heat. Sometimes we humans need help making basic decisions or remembering basic things.
I also find that when I do use these kinds of ‘set down’ prayers, I find that I don’t need to ‘hold’ the worry or the fear. I do remember, I do turn and pick up that book and lo, the keys are there underneath the book when I’ve asked for help in prayer with these details. That’s the only reason that I have shared these prayers. They have made things much easier and less thought-filled, created space for me to focus on what feels more important, and they have worked.
3. There’s no need for spiritual experience or special state to pray. What I mean by this is that, if I’m full of fear and I just state that I’m full of fear, it might not make the fear go away at that moment, I might not feel suddenly brave and confident, but it helps me to step back and to connect, and is the opening for a shift to occur. If I am in pain and just say ‘I am in pain!’ in the form of a prayer, or even just sharing with a trusted friend, that too is an honest offering, and I don’t have to look or feel any different than I do.
4. Praying for one specific outcome like Please make Joey get the measles, or Please make it rain so that I don’t have to go to that picnic, doesn't work. It is limited in imagination to what I can dream up for one thing, it’s trying to run the whole show for another. In essence, it’s more controlling than collaborative. It helps to drop the related objects: the people places and things in the situation, and then to see what’s going on underneath for you. Whatever is discovered, make that as an offering, or ask for another way of seeing.
Any kind of prayer however, is ultimately OK however, because its the act of connecting, of remembering that we are not separate, that seems to be the main point.
5. Asking ‘why’ gets you crickets. It’s a little like asking for very specifc and complex outcomes in prayer; asking ‘why’ is kind of a demand. Why did this happen. Why are you punishing me? that one’s an accusation and comes with a built in story: that you are being punished. I once got a strong intuition that really, it’s none of my busness why. I am not privy to the back room workings of the cosmos. I am making a kind of offering in prayer, of what’s here, what feels challenging. Asking Why is demanding an explanation, like you might with a naughty child. But that doesn’t mean you can’t get mad.
6. Offering is anger, rage, giving up, complete resistance or throw-down is a lovely, honest and intimate way to pray. That’s why I include prayers with swears in them - that’s how I’ve found prayer works. It’s part of the honesty thing. I think, as a sidebar, we’ve been told that we are supposed to act and look a certain way to be spiritual or religious. This is something I enthusiastically avoid. I once dropped some books off at a well known retreat center and there was so much soft toned namastaying going on, my bullshit meter was at 11. I couldn’t get out of there fast enough! There are many different flavors and styles of spiritual or religious BS, mixed in with genuine sincerity.
Strange as it may sound, the few times I have truly let my honest rage and despair flow, directing it straight to * and not to the people I felt were involved, or toward myself, I felt, palpably, when the dust settled, a deep and loving response. The offering is the rage, it’s taking it to the source, rather than dumping it on other fallible humans also struggling.
7. It helps if I’ve said prayers at some earlier point, to look back and see how things went, with curiosity. How did it go? You might call this a kind of gratitude practice. Here’s *, where I felt your presence in the day. That way you can see more clearly for yourself if the prayers had any effect, and you can express your awareness of and appreciation for what you’d like more of.
The word God makes a lot of people flinch. It makes other people gush. It’s loaded, similar to the word Art. So many many ways that people strike the lightning rod of the word. So I thought it would be worth sharing directly what my own relationship is to the word God.
For me the word God is the ultimate placeholder. It means something like [ ], or that thing we don't know how to describe. Or that thing that you and I want to be able to talk about but may have a completely different relationship to - like everything, but even more so. And so a symbol has been placed on it (like everything but even more so!). And that symbol has become synonymous with it, like the way the dollar bill is a symbol of money that's become synonymous for all practical purposes with money itself and used as such.
The word God is used openly in the monotheistic religions. The big ones: Judaism, Christianity and Islam. In certain instances within these three religions - especially the first two - God is sometimes taken to be a guy in the sky: Skygod. Occasionally people go mad and start wars over their brand of Skygod over yours. It gets very literal when you believe in your symbols as actual things, and as superior to the symbols of others.
I sometimes do use the placeholder word God in prayer. For me, it's just the nickname for the very situation, the arising sensory input, the answer to the human brain's endless rant - something outside myself that isn't the little me, with whom to lay a burden down.
As I've said before, there is, as a result of this prayer activity, a deepening experience of this relationship, this contact, and less and less of a way that the brain and language can accurately pin it down, describe it or explain it. It's dynamic, it keeps changing and deepening, in a way becoming more of the foreground.
If you are yourself a deep skeptic, this is good! Use your scientific bent to test it out. Try out a prayer from the book. See if you get any juice from it. Not necessarily in the moment, but in the way things play out in the larger situation, as you look back on the day. If you scoff-pray, I don't know how much you'll get out of the exercise. Perhaps you will feel right. Which is it's own kind of booby prize. But if you try it with any degree of openness or curiosity, you might find out what, if anything about it, is useful, practically speaking, to you.
Beginning a year ago in January, I declared 2020 to be the year of the body. There was no evidence in my world of a pandemic, and this theme had no virus or really health related aspect to it. For me, it was a desire to learn to hear what my body was telling me more clearly, how to do a better job of caring for it.
In January 2019, I was starting to get the loud message from eye strain headaches and weird shoulder and neck stuff that I was kind of overdoing it, and essentially ignoring the innate intelligence of my body. So I declared this past year, Year of the Body, and set about a new set of drawings, writing, and thinking about this theme.
I have for a long time understood that for me, a highly sensitive person, grounding in the body was the best way to be in balance. This is a long standing theme in my writing therefore, and there are many related posts listed below, if this sounds useful to you as well. I have found that being able to feel my legs and feet while having a social conversation or an argument was always helpful, and that a walk or a lie on the floor has always beens a fantastic way to clear the head.
Another reason for the body theme is that for years, figures have been lurking in my otherwise abstract artwork, and I've always wanted to push this away. It didn't fit my idea about the kind of art that I make, and so I didn't want to deal with that. So for 2020, I met this head on, and both went through older drawings, and then began a new series that was meant to explore the feeling of being embodied in the day to day. Here are some examples of drawings of mine over the years that clearly have some kind of a figure in them.
TANGLE PROJECT 2009
Toward the end of this year, I shared this whole project with my artist's group, and introduced it with several older projects that also have this body theme, as a connect the dots kind of presentation. So I share this again with you:
In 2009, I did Tangle - a performance and documentation which I showed in 2010 in Lancaster PA in a solo show there called Placeholders at the Ganser Gallery. I took eddies of my stuff, like the contents of a junk drawer or office closet bin, and wrapped these items around my head with twine. I photographed myself like this, and then filmed the process removing each item one at a time, and all of the leftover twine. It was a way of making visible and palpable the feeling of having tension or lots of thoughts in the head, and then clearing the head, using the objects that collect around me as metaphor.
I did this with about thirty piles of my stuff from various parts of my life, exhibiting the films and photographs.
BODY JOURNAL 2010
In 2010 I embarked on a Body Journal Series that has not been exhibited, which was another in this theme of chronic pain and tracking the energy flowing in the body.
In 2007 I had created Three Variables, a series of wrapped wall sculptures that is essentially a version of Tangle but with a bit more remove from the body. This was exhibited at Judy Goldman Fine Art on Newbury Street in Boston and versions have been in group shows since.
CONGLOMERATES / GEODES 2014
In 2014, I made several sculptural projects for a solo exhibition at the 555 Gallery in South Boston. These two were about considering the body as a collection of conditions, or patterns or tendencies, and considering these in a playful physical form.
These are the precursors to the drawings I made this year. I notice a theme of wrapping, lines of tension, and playful variety of things that make up a body. In my humble and non-objective opinion, these projects continue the theme of describing energy, in interaction that's fleeting, in how a body feels from the inside out, in emotion and experience without words. A translation into matter, color line and form of all the objects, the bodies that we appear to be and interact with, their funny jumble of parts and pieces, the ways that they are hard to keep together, have densities, expressions and characters each their own. And in some ways, the way that we are somewhat arbitrary and silly, when in fact it appears we are serious, permanent and somehow fixed.
Next, I'm going to show you the new drawings, as a little series. That blog post is called, Year of the Body 2: The new works on paper.
Last night I started organizing my closet, and before I knew it, I was trying on everything, and having a fashion show for one. Partly, this was inspired by the tiktok meme which had been running through my head for a couple of days: Love it, couldn't wear it.
And partly, by discovering that the pair of pants I'd thought I'd lost were carefully tucked away in an opaque drycleaner bag in the basement! This wide, high waisted pair of pants that i've had for over 20 years, both fit me like a glove and Lo, have come back into fashion!!
So, understandably, for the first time since I moved here, I began reevaluating the whole pants inventory, and the shirts, and the sweaters...in light of well, not even needing to get dressed at all for the amount of people I see.
But it was fun for the aesthete that I must admit to being, the one that loves a clean line and just the right color shades and contrasts. It's a lot like cooking, and it's a basic fun - the grown up version of dressing dolls, or, heck, even playing with army men. It's fun to try on these expressions, to swagger about, and to find a spot for the things that may eventually one day, have a role in my life again.
It reminded me that just caring for what's right here is the best I can be doing right now. That in the words of my friend Kristen, things are in the midst of change but not the kind we can really make plans around, and this may be a time for simply waiting and trusting.
If I get that much energy going again, in this case fueled by a two and a half hour nap earlier in the day, I may just start photographing the ensembles, but that seems like a lot of work! so for now, instead of the usual brazen planning and visioning for the new year, I am going to count the blessings, and the matching pairs of socks and pretty scarves, and care for what's here already.
We want a change of scenery, we are mostly not getting it. We'd like to eat in a restaurant or go to a movie, or sit with a good friend, seeing their whole face, carry on with traditions like any other year. We'd like to uncomplicatedly hug our parents or grandparents, or get away from them for just a little while. We'd like to have a "nice" christmas, holiday or break. We'd like to be with people who are sick when we can't be. Instead we're in these silos, acclimatized to this strange strange time to varying degrees on varying days, baking, zooming, miffing transitions, watching shows. Shopping and wondering if packages will arrive.
Things are weird.
There are two sides - at least - to every moment. The side our brains create, of feelings, events, time passing, things happening to us and our responses to those things.
And then there's the essence underneath that, in the way that the light hits something, the hum of the fridge, the sensations in your hands.
My neighbor has a big inflated snowman on his lawn. Sometimes the snowman is face down or beached on his side. Or in an S kind of contortion, like he's in the middle of the electric slide.
When the daytime comes, the snowman is sometimes flat, laying quietly on the lawn.
It's been such a shit year and so specifically a year of stuff coming to the surface - our fears, blindspots, addictions, interconnectedness, grief, and a bare simplicity too. I hope the next couple of weeks can be a zone of gentleness and allowing for you - allowing it all to be just the way it happens to be.
The wonky or sublime, or lopsided or dialed-in in way that the next few weeks unfold, can you allow for it, for the snowman to be on its side, or completely flat sometimes? For a broad margin? For a wide swathe of OK - this too, with a heart toward the even greater unknown of 2021?
I want to say helpful things - I'm not sure how. I'm planning on rolling with it all, the unexpected, the disappointing, the letting drop of any kind of force. Let's be gentle at the fulcrum of the year - enjoy its novelty and shed what isn't serving - not in a new year's resolution kind of *me* way, but like a sloughing of a skin you didn't even know was hanging off of you, or the opening of a hand. Let it drop. Let the sparkly underlayer come forward, just for you.
Whatever the particulars of your strange moment may look like, find a crisp edge or a brightness to something, in a sound or a shape, in what you've been so intimate with or wanted to avoid. Look into it, turn towards it, let it take you where you're headed - where you always are, into uncertain new light, basic aliveness, and the company of presence itself.
Lately, my lovely morning coffee has been tasting to me like an ashtray. It's funny in the peculiar sense, that I have this idea of 'loving' coffee, that it's so great, and I'm so pleased about my morning coffee. But the idea is not lately lining up with the experience. The idea has gone stale, and so has this coffee habit.
Years ago I stopped having caffeine. That was a good move for me, a highly sensitive individual with an enjoyment of extremes, and another and another cup of something caffeinated. I have been able to have just the one cup of coffee, decaffeinated, but nice and rich, americanos when I go out to a cafe, and it's been working.
But the experience and the story are not lining up these days. The experience involves a kind of a yucky after taste, a slight dull ache in the front of my head, and yes, a bit of an ashtray type of experience. Also a coated tongue. Like my tongue has a thin cashmere sweater on. Coffee breath. Even the nice hot temperature feels a little much, like it makes my eyes bulge a bit. Why do I think of this as good?
There's some fear of trusting my experience over the idea. What if I let go of a good thing and I'm wrong? Well there's not far to fall here, as I can always begin again, this coffee habit, and there is this kind of FOMO - what if I feel deprived of my treat? Initially there's a hurdle to letting something go when there's this kind of attachment - a little bit of withdrawal and perhaps a feeling of missing out - but then, I'm guessing, freedom. I can have a great day even if I am not slugging the brown stuff, and a lightness or freedom in knowing that I don't *have* to do a damn thing.
So, you're the first to know, I may be quitting even my decaf for a bit. Imagine! We shall see how it goes.
Is there a place where you have an idea of something being a 'good thing' or 'treat' where in fact it's kind of shitty feeling when you engage it? Just becoming aware of this, as this post has helped me do, creates a tiny opening to try or choose again, just to see what it's like.
Instead of the 'I have to XY or else' story, perhaps it's 'I can, but actually, I'm good, even without it.'
Now that I have this gorgeous space, I notice that - just as always - perhaps even more so, it's challenging to prioritize just *being* in there, just showing up to explore like a kid.
Now that there's this beautiful cathedral like space for valuing art practice and creative engagement, my job is to do just that. But as with so many people I've worked with as a coach, and so many other instances in my own life, it is not easy to actually do that apparently simple thing.
What stands in the way is the shoulds from inside, about the outside and the others: Replying to emails, wiping down the counter, calling my mom back, folding the laundry, all of those things, plus paying bills or getting out that tax form, all loom with a seriousness and a subtle whiff of fear - what will they think of me? will they come after me? reject me? - those stories can loom so familiarly, that something as liminal and ethereal as 'studio time' gets shunted off to Later. Then there's that other should of 'you should be in the studio'.
Underneath all of this is a kind of unrelenting brain voice that is never satisfied with whatever choice is made, whatever effort is made. Underneath that voice is just what's always here, always available, when there's space to open to it.
I won't bore you with the details of my dream last night but the punchline is that I got this message: None of that outer stuff matters. None of it has any real substance: what people think, if someone noticed..., if they care. It has no real substance. Love matters. Love is attention. Love and attention, and intuition need some open space to reveal themselves, like a shy friend that can't be pressured to share efficiently. What matters is to be present for the present situation, to be in relationship to it, to be engaged with whatever and whomever is asking for attention, including parts of oneself, and that creative presence that is just waiting for the opportunity to take you on an adventure. Also that making space is not wasting time. It's living from the inside out with wide, forgiving margins.
In other words love is 'being with' not doing. Not 'knowing how' and not 'looking good' or getting it right. Somehow, in the middle of covid-19 times, there is an opportunity to explore this.
If I want something from outside, and it's not coming, how am I treating what's already here?
If you want something that's not yet here, and it feels like it should be, how are *you* treating what's already here?
In yet other words, everything is ok, even when it feels like it's all wrong or not good enough. That's what 'studio time' is a form of: studio time is no time. Out of time. You before time.
Look back, take stock, and celebrate.
While the first way: Stay in the Body is concrete and personal, the next two have a more contemplative and cerebral quality to them.
The question is then, how to do these things. There are a million ways. Right now what’s springing to mind is to suggest with a friend, or to set a date or two with yourself, to do these things intentionally. You might put on your calendar for a day of this weekend, or the one right before or after the bigger holiday events coming up, a two hour window at your favorite coffee shop or nook, to meet or factetime a copascetic friend or on your own, to come together write and share on the following.
A few guidelines:
Don’t force anyone to do this. Including yourself. No 14 year old kid is likely going to want to answer these questions. That’s ok.
If doing this in a group or with friends, let everyone be and respond as they want to. It’s not a time for advice giving or opining. This was everyone feels safe.
When I do this kind of thing with a friend, I find it helpful to share the questions and write on them, and then each person has time to share out loud what they wrote.
1. Stay in the body.
When manic holiday shopping or intensive socializing and activities are on constant offer, there is a tendency for my energy to go up and out. In the aisles of a store, the energy goes out through the eyes and the senses, or bores deeply into a list, and I can completely forget I have a body at all. At a holiday party or a tea with a friend in from out of town, I can feel a pull to match the bubbliness and superficiality that may be all anyone is capable of mustering as the weeks wear on. Another scenario that looks a little more like hibernation but also is a kind of disembodiment is binge-watching shows. Sometimes if holidays are lonelier, or there’s grief and loss as a part of this time of year, I can find myself wanting to manufacture good feelings by not one but a whole season of something, until I dream about the plot lines and characters, and my own life becomes of mash up of fiction and reality.
This is for most of us a norm at this time of year.
To stay in the body, here are some suggestions.
Happy belated Thanksgiving.
As the days get shorter and colder, I am now slowing down into this season of reflection, rest, and to the best of my ability, going inward. Someone recently pointed out to me that doing so poses a real challenge at this time of year because economic forces do not want us to do this, though for centuries it’s been a time for rest and falling fallow. At a grocery store three days before Thanksgiving, I felt and heard that constant jingle jingle jingle that spurs one to throw that extra holiday oddity into the cart, and just one more little gift. It’s fun sometimes, until it becomes a kind of manic autopilot. So, today, on the day after Thanksgiving, I’m going to start putting out some alternative points of focus to accompany all of that, or to do instead. I will do this in three parts.
We’ve got just over a month before the holidays are behind us. For myself, and for you if you choose, here are some ways to go slow and go in peace and stay healthier. I’ll outline these, and then go into more detail in the posts to follow.
1. Stay in the body.
3. Look forward.
Bring the insights of these practices to the more outward facing facets of this holiday time, and see how much richer an experience it can be!
Walt Whitman's writing arises itself from a very unified understanding of being, objects and the world.
On the eve of sharing my third book with all of you this September, I share this part of his epic poem Song of Myself.
17. Song of the Broad-Axe
The shapes arise!
Shapes of factories, arsenals, foundries, markets,
Shapes of two-threaded tracks of railroads,
Shapes of the sleepers of bridges, vast frameworks, girders, arches,
Shapes of the fleets of barges, tows, lake and canal craft, river craft,
Ship-yards and dry-rocks along the Eastern and Western seas, and in many a bay and by-place,
The live-oak kelsons, the pine planks, the spars, the hackmatack-roots for knees,
The ships themselves on their ways, the tiers of scaffolds, the workmen busy outside and inside,
The tools lying around, the great auger and little auger, the adze, bolt, line, square, gouge, and bead-plane...
I love about it that it's a list of things, that it's about the mundane, observing what's here, and just letting it awe one. The full title of the upcoming book is Elements: a love letter to all things everywhere. As you can see here, this poem is clearly a love letter to all things everywhere. And it is a song of Walt Whitman's Self. In this new book you will find lists of objects, arranged around each of the 118 known chemical elements that make all the stuff, all the shapes arising.
This part of Whitman's poem is not in the upcoming book, but there are other words of his included:
Every atom belonging to me as good belongs to you.
I was intrigued by Whitman's use of the word 'atom' because the atom as we understand it today in scientific terms, was not actually discovered during Whitman's time. It turns out that the word 'atom' is an ancient greek word meaning 'indivisible.' The smallest unit possible. Now for us, an atom is made up of smaller parts: protons, neutrons and electrons, and smaller particles including quarks. And we keep discovering that an 'indivisible' thing is made of other things, defying/expanding our understanding again and again. The concept and word 'atom' is ancient, and used by Whitman in his writing and poems, in sum.
An element, by the way, is a uniquely structured atom, with a set number of protons, and electrons, and its own atomic weight (based on these). There are 118 known such elements, or unique atoms, that bind and react (steam, smoke, fire, farts, fireworks, rust, yogurt and so on) and make all the things we are, eat, have, and see. The lightest one has one proton and electron and the atomic weight of 1 (Hydrogen H). The heaviest has 118 protons and electrons, and the atomic weight of 118 (Oganesson Og -recently discovered and named if you haven't heard of it).
Here are a couple of other Walt Whitman snippets that I considered including in the book because they hit upon these themes of awe, union, and inseparability that inspired my book:
15. To be in any form, what is that?…
I have instant conductors all over me whether I pass or stop,
They seize every object and lead it harmlessly through me.
14. My tongue, every atom of my blood, form’d from this soil, this air,
Born here of parents born here from parents the same, and their parents the same…
18. Songs of the Open Road
The earth never tires,
The earth is rude, silent, incomprehensible at first, Nature is rude, silent, incomprehensible at first,
Be not discouraged, keep on, there are divine things well envelop’d,
I swear to you there are divine things more beautiful than words can tell.
I can't wait to share this book with you. Thanks for tuning in.
UPDATE! The Elements book is now for sale here.
[Originally posted in Spring of 2013]
A few weeks ago I was driving home at night through Brookline. In one of the town's many rotaries was a simple mound with many, many daffodils in bloom. It was raining and I noticed them on my left.
Normally, I'd cluck over their beauty with a heightened sense of goodwill. But in this instance, I was surprised by what I saw there instead. I had a similar sensation once while looking at stars in Maine. I saw depth in the night sky, where before I'd seen more of a blanket or curved plane of stars like in the planetarium. Seeing the flowers in the rotary gave me a similar feeling of vastness, or vertigo.
I saw while passing the flowers that the whole mess of them, the entire mound of hundreds, was actually one conscious presence or force, like a collective brain. Something far less diminutive or poetic than what I'd previously percieved. The green shoots, threading roots filtering the dirt, meet as a single mind under there.
Our lives are lived at times with the leaden feeling of no-one-gives-a-shit/sees me/understands. As a woman living alone turning 40 in a month, the daffodil revelation is important. The cars circling the rotary, people on a train platform, a group listening to a concert is the same. We get so caught in the mire of being individuals. The tangle of speculation, obligation, association, doubt and doom - Doing and aiming for a high perch on the hill, or we fear mediocrity and failure. I want to be a success, don't you?
When I can feel the ground underneath, or the weather as it mixes with the tiny hairs on my arm, use my senses to reconnect to the situation I find myself in at any given moment, just as it is and just as I am, recollected.
Those flowers don't have long. They get a few weeks if they're lucky to kappow in yellow. That depth and connection is also available to me and you, as is the profound beauty of our vulnerable, short lives.
Hannah Burr is a contemporary artist and author. Originally from Boston, she lives in Ann Arbor MI.