It is finally Saturday, and in the slow, I sit with these long-loved questions from Annie Dillard’s classic Holy the Firm:
What can any artist set on fire but his world? What can any people bring to the altar but all it has ever owned in the thin towns or over the desolate plains? What can an artist use but materials, such as they are? What can he light but the short string of his gut, and when that’s burnt out, any muck ready to hand?
I don’t feel much like an artist anymore – this quiet soul returning to the noise of the teenagers and desks and hallways and lunch periods. My feet feel like clay. My voice rasps. My back begs for relief.
Where is the art in the nitty-gritty day-to-day of the classroom? I wonder. The materials I’m working with are attitudes and hormones and distractedness and way-too-much-chatting. It feels reminiscent to the first time I threw clay on a wheel, feebly attempting to shape it into something useful. It had a mind of its own and my hands had no clue how to shape it. Returning to the adolescent classroom after a decade away feels much the same way.
I come back to sit again with Annie’s words:
[The artists’s] face is flame like a seraph’s, lighting the kingdom of God for the people to see; his life goes up in the works; his feet are waxen and salt. He is holy and he is firm, spanning all the long gap with the length of his love, in flawed imitation of Christ on the cross stretched both ways unbroken and thorned. So must the work be also, in touch with, in touch with, in touch with; spanning the gap, from here to eternity, home.
My life – it is aflame, I muse. It is certainly ‘up in the works’. This artist’s waxen and oh-so-flawed feet are on the move once again, stumbling over themselves as they learn a new way. I miss my kind and grateful immigrant-students. I do not yet understand these loud teenager-ones.
I breathe deep and slow, knowing that these steps, too, are holy and firm, spanning long gaps filled with depths of flawed, broken, but redeemed love. This, too, in all of its gritty mundane, is the kingdom of God, needing lit for the people to see. The raw material in this new phase is no less than any other path I have walked. It may, in fact, be even more given the nature of adolescents.
“You’re better than this,” I say to the boy-too-cool-for-school quietly in the hall. “I see so much more than what you let on. You’re a leader, talented and overflowing with potential. Don’t hide it just to impress others. That’s no way to live.”
I know he hears me. I don’t know if it will change him for today, but I can only hope it sinks in by tomorrow. I realize as I speak to him that he’s not the only raw material I’m working with.
The creativity needed to span the gap of my own flaws shows up far more than I’d like in times of transition. It calls me to be an artist with my own self, to bring my thin and desolate places to the altar and lay them down, trusting that even in the gaps, there is a holy and firm place to stand.