Cultivating Creative Community
All in Place
I reach the tracks and look both ways, like the sign says, just in case, though it’s difficult to imagine a train without a decent amount of noise to warn its approach.
I take my time crossing the tracks.
I look down the east line and imagine what’s beyond the horizon, imagine myself on the Amtrak, one station away from the New Mexico border. Red lights flash, the bell ding ding dings, and my pace quickens.
There is a tension here that my husband and I find important as parents. As our life on a farm begins to mirror the lives of some of our ancestors who had closer connections to death, food, seasons, and the rhythm of days, our family has been given many opportunities to experience both a spiritual and a literal darkness that cannot be eliminated. We try not to shield our children from every hurt and pain. But we also encourage them in their imaginations, giving them a framework for hope and allowing them to “escape into” the longing for the not-yet that literature can bring.
yet we have in our soil
an inexhaustible mine
of true wealth,
the foundation of a nation’s
greatness,
With all of this in our hearts, we got in the car and left the hotel, returning home to what we love. Before long, the acute stages of family emergency had passed and everyone moved on to more permanent situations. As things returned to a more normal state, I found myself feeling more placed than ever, letting go of questions about the future and digging in to life as I know it right now.
It all seemed almost like my own, that was true. But as early romance gave way to marriage, I realized that it is one thing to be from somewhere, to know it by heart, and another to adopt a place or have it chosen for you. My marriage chose Atlanta for me, and I was then adopted by my husband’s many circles of friends. Yet until our last year or so there, though, I had an indistinct feeling of being on the outside looking in — someone who belonged more by association than creed.
I glanced behind me and ached for the desert — a landscape in which things and maybe people, too, thrust deeper roots into the rocky earth in order to survive. It is a land teeming with earth-toned life, as though wildness found just enough water to scratch color onto the earth’s skin only to have the sun bleach it out again. Struggle is its tradition, baked under the scorching sun in a massive sky, seasoned with diverse cultures in providential collision. The history of the land unfurls into the present like the deep fuchsia blossoms of a White Sands cactus. I didn’t like this arid landscape much until after I left.
When I wash the dishes or grade the multiple choice quizzes, then, I try to cultivate my understanding of how those tasks fit into(yes!) the redemptive arc of history. Maybe I'm joining in God’s creative nature by creating babies and veggie stir-fry and quilts, by telling stories and painting with watercolors and making up silly songs and dances. Maybe I am making all things new by doing loads of laundry and getting dirty dishes to sparkle again. In each of these tasks, I am — hopefully — participating in God's plan to bring restoration to a broken world.
The romance of snow-dusted rooftops and tree branches limned with white becomes much less lovely when bitter winds whip down your street, or clumps of grime-encrusted slush collect at the corners of city streets. For those of us who have to live through winter, going to work and the gym and the grocery store as usual, “a mind for winter” must be developed when we’re outside as well as inside.
Artists and gardeners aren't the only ones who should be creating or coaxing life. I've started six urban gardens in three different cities and I can't stress how essential it is to co-create with those whom you want to build bonds. It is incarnational and it is transformational. It works across languages and ages. Three sunflower seeds can be enough. A tomato plant is even better. A public art project is outstanding.
There, floating with these beautiful newfound sisters in the cool, emerald green water of the Frio River, amongst the tiny flickering fish and the long blades of grass, I felt my heart settle into the deep quiet. I didn’t have an ongoing grocery list running through my mind. I wasn’t worried about the kids and whether or not my husband had remembered the sunscreen. I did not even have to fight the insecurities that normally gnaw at me about my body in a swimsuit. No, for the first time in a great long while, I let go.
The irony of conversing with a stranger is that your individual lives always look very different and personal, but then you strip away the nuances to find a common likeness buried inside of diversity. Take away money and geography and we’re all just flesh and blood and soul. We’re all dealing with sin and forgiveness, love and hate, glory and shame. The big ideas remain. Life creates another day of history and the babies keep on coming. People dream their dreams. The young grasp at reinventing the wheel and the maturing masses learn to let go of such reinventions one breath at a time.
I study the stuff of my inheritance accidentally in every mirror and in every setting of the table, but I call them heirlooms because I inherit them from women I know and love. I cannot help but bear the silver hair of my grandmother, and by some indiscernible mix of nature and nurture, I love the game of bridge. Most likely, even in an open adoption, my non-biological children will not so easily see themselves growing into the people whose genetics made them. Spliced into us, they will stand to inherit much more — both the biological nature of their first family and the adopted nurture of their forever family — but through a sharp loss.
Sorting the clothes on the floor of our bedroom, piling them into the hamper, measuring out the detergent and tossing the pieces one by one into our washing machine: this is how I know I’m home. The jerks and thumps of the washing machine, the pause just before the spin cycle, even the obnoxious beep of the dryer: these noises sound like home to me. Doing laundry means I am back in the place where my soul rests, the place where I can marshal my forces, and also lie down and sleep in peace.
In one weekend, we virtually erased it all. We peeled back all of the layers and tossed them away to start fresh. It was the right thing to do, but I couldn’t help feeling a little sad. For every renovation and remodel we do to this house, we erase some of its story. This house has been through a lot — more than even the previous owner knows — and when we change it, we take something away.
I am a token here, an altar to mark the space where a dream was dreamed, a forest cleared, land reclaimed, a foundation laid, a hope hoped, a desire met. I sit upright on two front columns, regal, and alert, a king keeping watch over kingdom. My sides show their age, remorselessly and violently pierced by windblown shrapnel, by swirling apathy. Layers of cream-colored paint chip and peel revealing ever older storied layers. Sinewy mortar deteriorates in the space between bricks, and my lit soul wavers between the colorful future and the black-and-white past. Though riddled with exhaustion, I remain.
I did want to tell my story kindly. I love my family. It delights me that that is how it has come across. I see no benefit for myself or others if I tell a story filled with anger and bitterness. Frankly, I think if I am unable to extend mercy to the people in my story, and receive the gifts they have given, even ones that have caused suffering, then I should wait until I am able to process, to heal more deeply.
But this is merely an anniversary, a pause along the path. We are no longer at the beginning, nor are we quite at the end. We are in the middle, the place where everything happens before you know why it does.
I took a photo after all, of the one thing of hers that I have asked for: her pencil cup, made of rolled magazine pages, pencils included. It came out blurry. Once I pulled the car up the drive and loaded my bags, she was ready for the customary parting hug on the front stoop. But I had one more task, to be completed indoors, so we returned to the kitchen.
Name is related to identity, and identity comes in part from story. When I learned more of our stories, I could see my family and myself in a new, larger context; I could enter into relationship — into community — with both the quick and the dead; I could inhabit a richer understanding of what community means. I could even “burst into poetry” and celebrate my heritage, my name.
So we enter the swim of people, words, laughter, a table laden with desserts, the dusky scent of coffee steaming from the cup in my hand as familiar faces sift through the crowd. And amid the lovely clamor, I’m reminded that what we’re experiencing is something artists desperately need — this coming together, this connection. All art is a conversation. The artist of faith negotiates a rich and multifaceted dialogue with God, the work, and community.
