Salmon Lake
It doesn’t interest me what you do for a living. I want to know what you ache for and if you dare to dream of meeting your heart’s longing.
It doesn’t interest me how old you are. I want to know if you will risk looking like a fool for love, for your dreams, for the adventures of being alive.
It doesn’t interest me what planets are squaring your moon. I want to know if you have touched the center of your own sorrow. If you have been opened by life’s betrayals or have become shriveled and closed from fear of further pain.
I want to know if you can sit with pain, mine or your own, without moving to hide it or fade it or fix it.
I want to know if you can be with joy, mine or your own, if you can dance with wildness and let the ecstasy fill you to the tips of your fingers and toes without cautioning you to be careful, be realistic, or to remember the limitations of being human.
It doesn’t interest me if the story you’re telling me is true. I want to know if you can disappoint another to be true to yourself; if you can bear the accusation of betrayal and not betray your own soul.
I want to know if you can be faithful and therefore be trustworthy.
I want to know if you can see beauty even when it is not pretty every day.
I want to know if you can live with failure, yours and mine and still stand on the edge of a lake and shout to the silver of the full moon “Yes!”
It doesn’t interest me to know where you live or how much money you have. I want to know if you can get up after the night of grief and despair, weary and bruised to the bone, and do what needs to be done for the children.
It doesn’t interest me who you know or how you came to be here; I want to know if you will stand in the center of the fire with me and not shrink back.
It doesn’t interest me where or what or with whom you have studied. I want to know what sustains you from the inside when all else falls away.
I want to know if you can be alone with yourself, and if you truly like the company you keep in the empty moments.
- Oriah Mountain Dreamer. Native American Elder
Sometimes its as if I am knowing you anew… I see you, I know you, I know the way you feel, but I look upon you and learn more of who you are, another layer of yourself. I glimpse who you might be in old age, who you were as a boy. I learn anew the way your mind works. I wonder if you know it like I do, if I see you as you see yourself, or if I see a different version, one you already knew, or one you have yet to meet.
- June 20, 2009
I am too alone in the world, and yet not alone enough
to make every hour holy.
I am too small in the world, and yet not tiny enough
just to stand before you like a thing, dark and shrewd,
I want my will, and I want to be with my will
as it moves towards deed;
and in those quiet, somehow hesitating times,
when something is approaching,
I want to be with those who are wise
or else alone.
I want always to be a mirror that reflects your whole being,
and never be too blind or too old
to hold your heavy swaying image.
I want to unfold.
Nowhere do I want to remain folded,
because where I am bent and folded, there I am lie.
And I want my meaning
true for you. I want to describe myself
like a painting that I studied
closely for a long, long time,
like a word I finally understood,
like the pitcher of water I use every day,
like the face of my mother,
like a ship
that carried me
through the deadliest storm of all.
-Rainer Maria Rilke
“
‘In prison, lights were out by eight o’clock. We’d each tell a story. That was our entertainment. I told stories from the books we read to you in this room. One of my cell mates, a merchant, Tawfiq - he would tell the Abu Kassem story.
It was a tale well known to children all over Africa: Abu Kassem, a miserly Baghdad merchant, had held on to his battered, much repaired pair of slippers even though they were objects of derision. At last, even he couldn’t stomach the sight of them. But his every attempt to get rid of his slippers ended in disaster: when he tossed them out of his window they landed on the head of a pregnant woman who miscarried, and Abu Kassem was thrown in jail; when he dropped them in the canal, the slippers choked off the main drain and caused flooding, and off Abu Kassem went to jail…
One night when Tawfiq finished, another prisoner, a quiet, dignified old man, said, ‘Abu Kassem might as well build a special room for his slippers. Why try to lose them? He’ll never escape.’ The old man laughed, and he seemed happy when he said that. That night the old man died in his sleep.
The next night, out of respect for the old man, we lay in silence. No story. I could hear men crying in the dark. This was always the low point for me. Ah, boys… I’d pretend you both were against me, just like this, and I would imagine Hema’s face before me.
The following night, we couldn’t wait to talk about Abu Kassem. We all saw it the same way. The old man was right. The slippers in the story mean that everything you see and do and touch, every seed you sow, or don’t sow, becomes part of your destiny… I met Hema in the septic ward at Government General Hospital in India, in Madras, and that brought me to this continent. Because of that, I got the biggest gift of my life - to be a father to you two. Because of that, I operated on General Mebratu, who became my friend. Because he was my friend, I went to prison. Because I was a doctor, I helped to save him, and they let me out. Because I saved him, they could hang him… You see what I am saying?’
I didn’t but he spoke with such passion I wasn’t about to stop him.
‘I never knew my father, and so I thought he was irrelevant to me. My sister felt his absence so strongly that it made her sour, and so no matter what she has, or will ever have, it won’t be enough.’ He sighed. ‘I made up for his absence by hoarding knowledge, skills, seeking praise. What I finally understood in Kerchele is that neither my sister nor I realized that my father’s absence is our slippers. In order to start to get rid of your slippers, you have to admit they are yours, and if you do, then they will get rid of themselves.’
All these years I hadn’t known this about Ghosh, about his father dying when he was young. He was like us, fatherless, but at least we had him. Perhaps he’d been worse off than we were.
Ghosh sighed. ‘I hope one day you see this as clearly as I did in Kerchele. The key to your happiness is to own your slippers, own who you are, own how you look, own your family, own the talents you have, and own the ones you don’t. If you keep saying your slippers aren’t yours, then you’ll die searching, you’ll die bitter, always feeling you were promised more. Not only our actions, but also our omissions, become our destiny.’
” — from Cutting for Stone by Abraham Verghese
Detroit Industry, South Wall mural in the Detroit Institute of Arts, Diego Rivera, 1932-33
“A man who tells secrets or stories must think of who is hearing or reading, for a story has as many versions as it has readers. Everyone takes what he wants or can from it and thus changes it to his measure. Some pick out parts and reject the rest, some strain the story through their mesh of prejudice, some paint it with their own delight. A story must have some points of contact with the reader to make him feel at home in it. Only then can he accept wonders.” — from The Winter of Our Discontent by John Steinbeck
Mural in union hall, Cananea, Sonora, Mexico
“I have always felt that the action most worth watching is not at the center of things but where edges meet. I like shorelines, weather fronts, international borders. There are interesting frictions and incongruities in these places, and often, if you stand at the point of tangency, you can see both sides better than if you were in the middle of either one. This is especially true, I think, when the opposition is cultural.” — from The Spirit Catches You and You Fall Down by Anne Fadiman