Sermon as a Faith Story

I grew up Catholic.

I was baptized, confirmed and educated in the Church, but I learned what it meant to be Christian mostly by example.  When I was a child, my father resettled refugees for the YMCA, and then worked for many years as Vice President of Catholic Charities in the Houston-Galveston diocese, and my mother taught science at a troubled, inner-city high school.   We often had 3 or 4 people living with us while they were transitioning from one country to another, and my parents also welcomed several foster children and exchange students into our modest home. 

We were not a typical “parish” family—I was only required to attend CCE classes until I was confirmed, and even then, my parents did not require regular attendance at mass.  However, somehow my brother and I still intuited that we were to act within the walls of our home and in the larger world as loving followers of Christ’s example.  We were not told this in any explicit way; rather, we witnessed it.  Both of us can recite the Corporeal Works of Mercy faster than we can the Nicene Creed. 

In this way, Catholicism for me became a familial, cultural, and private aspect of my identity, a thing I was born into, a thing I could no more choose than I could my hair color or height or Southern accent.  I never felt the need to proclaim it or restore it in public—it was as deeply hidden and powerful in me as my chromosomes. 

 I did not recognize my Catholic upbringing as an influence on my behavior or my writing until recently.  In 2007, a man I loved asked me to marry him, and I said yes.  He was raised in the Baptist and then Presbyterian traditions and after our engagement began to push me about my spiritual life.  At the same time, I was experiencing a crisis in my writing life.  I spent three years in an MFA program swinging back and forth between writing fiction and nonfiction, having much difficulty discerning between the two and convinced one—fiction—was the higher form.  This crisis grew out of an earlier one.  When I decided to dedicate my energy and time toward writing by leaving my job at a human rights non-profit organization, I suffered a crisis of conscience.  After all, I had been heavily schooled in the idea of vocation and service—how could my writing serve the world in any real way?

 What saved me was my teaching obligation.  Teaching was certainly a form of service, as I knew from watching my mother.  I still believe that teaching is sacramental in that it is a kind of “anointment”—teachers anoint their students with knowledge and thought.  And teaching, of course, is a kind of communion, the classroom a sacred space.  

But at that time, as my fiancée began to push harder—our disagreements as political as they were religious—I found solace in reading and writing the personal essay.  As a friend of mine once described it to me, the personal essay is a space for provisional truth.  That is, the essayist never reaches her destination but is ever-arriving.    The personal essay, then, becomes a space for deep contemplation, a tool for the vital attempt we all make to transform the private and personal into meaning.  The essay form offered me a way to voice what I like to refer to as my “intellectual faith”, or what Marilynne Robinson refers to as “faithful doubt.” In my romantic relationship an expression of doubt was a touchstone of failure and in my academic community of writers an expression of sincere Christian struggle was laughable.   This paradox often left me feeling bound and voiceless.  The personal essay unshackled me.

I began to study and be moved by writers like St. Augustine, Robert ColesSimoneWeilThomas Merton, Marilynne Robinson, and Andre Dubus.  Formative books for me during this time were Dubus’ “Mediations from a Movable Chair” and Coles’ “The Harvard Diaries” as well as his biographies of Weil and Dorothy Day and his writings on the relationship between story-telling and moral imagination in children.   One particular passage of Coles’ rang true to me.   He writes:

…in the lecture halls and seminar rooms of our colleges and universities, where relativism and deconstructionist criticism make a mockery of any person’s struggle to find a faith that persuades, convinces, and even a mockery of the attempts that particular novelists, or poets or short story writers have made to find meaning in life, and render it through words, through images, through narration that bespeaks of, well, the utter essence of their humanity: we are the creature of language, and through it a moral awareness that gives us a sense of the ought, and naught.

For one thing, I felt protective of my fiancée.  His increasingly traditional and conservative religious practice and beliefs left him susceptible to ridicule by my university colleagues and contemporaries.  In my soul, I agreed with them.  But I also knew from my experience as an undergraduate student in the Northeast that liberals and academics, many of my closest friends, could be some of the most intolerant people on the planet.  I did not want to be intolerant—what kind of liberal would that make me?  How could that kind of intolerance inspire people to change?

Still, a fierce loyalty to my family’s variety of Catholicism made it impossible to abide my fiancée’s shifting beliefs about homosexuality and abortion.  My own relationship to God, while cultivated and real was less literal than his, and occasionally his language and the language of his church alarmed me.  We both worried about raising children together.  Most of all, both of us wanted to be loved for who we were and not in spite of it.  Our friends and family members, at best, were good skeptics.   Every day we endeavored to avoid name-calling and blaming, to praise each other’s sincere efforts, and to hold each other accountable for our actions and beliefs so that we could live together peacefully.  At that time the country was in the thick of the 2008 election season; the political and religious climate heightened our awareness of discrepancies in our worldviews.  I was all in for Obama.  To my dismay, my fiancée was not.  In many ways we became a microscopic reflection of the painful reconciliation required at much higher levels in the nation.

In the end, while the nation found the common ground to say, “We can,” my fiancée and I failed to say, “We do.”  I left him.  In one of the saddest and more pathetic moments of our demise, I cried and screamed at him, “I don’t want to marry a Republican,” and he whispered back, “I know you don’t.”  At that point neither of us could tell the difference between “Republican” and “Christian” and “conservative” much like the rest of the country.  I threw myself into writing essays in the wake of our dissolved engagement.  While my pain was personal and private and real, in my writing I did not want so much to vent or confess as to relate and work through what I recognized as an essentially American story—a Red State story, a Christian story.  I also began to see my nonfiction writing as a form of service and vocation that harkened back to my spiritual upbringing.  I recognized what I thought of as a failure of liberal Christians in the face of rising Christian fundamentalism.  We had lost our voice, or at least our willingness to use it. The ascension of fundamentalism and its hold on vulnerable young people like my ex-fiancée was, as Marilynne Robinson writes, “the fault of the liberals in large part, because they have neglected their own tradition, or have abandoned it in fear that distinctiveness might scuttle ecumenism.”

I think what I have been trying to achieve in all my essays is a return to the beautiful “story” of Jesus, because as I writer I know the metaphor moves people, the symbol.  This is because when an artist uses a metaphor she is reaching toward something God-like that is unreachable.  The metaphor is the artist’s confession: the best I can do is approximate.  There is no symbol, no representation that will suffice, there will never be a symbol that will suffice, and so those symbols must be graceful, thoughtful, and sacred. I think the writers of the Gospels instruct us to read their words metaphorically, and encourage us to use our own metaphors.  Each book of the New Testament is replete with similes, sentences that begin, “God’s Kingdom is like…” or “God’s love is like…” We cannot know God, we see, as Peter reminds us, “through a glass darkly”.  Our imagination brings us closer to God—to be a Christian (or religious in any way at all) is to have a wealth of imagination.  St. Paul says in is a hard life, Kierkegaard says it is a foolish life precisely because it requires a faith in the improvable thing. (I cribbed that line from my father.)

It is not important that I write my life from a doubtless and fixed place, and therefore reduce God to a concept that fits neatly into my narrow vision, and then live a rigid life according to that vision.  No, what is important is that I seek in the direction to which those symbols point—that I look unflinchingly toward redemption, forgiveness, and hope even when I suspect these things might elude me in my work and in my life.  The artist’s job is to open new avenues of hope, widen the space for definition and representation, and welcome others into grace.

 Or, as Thomas Merton advises in his New Seeds of Contemplation, “Let no one hope to find in contemplation an escape from conflict, from anguish, or from doubt.”

 I will always be “catholic.”  But when I go to church now, I attend the Episcopal church—close enough to Catholic that I feel comfortable (I don’t want my grandmother rolling over in her grave), but the Episcopalians have demonstrated great foresight by moving with the tide of history in terms of gender and sexuality issues.  I am most recently inspired by the writings of Henri NouwenAlain de BottonRebecca Solnit, and Bishop John Shelby Spong.  My (new) fiancée finds the ritual and serenity of the Episcopal Church inspiring, having grown up, like my first fiancée, in more spartan churches.  We live inside our doubts; they form the walls of our home and church.  Inside these walls we observe our own unique brand of shared faith.  We will both vote for Obama in large part because his story more closely resembles our own faith story.

 Architects build skyscrapers to withstand wind load by making them bendable at the top, much like nature’s trees.  A tall building’s ability to lean in strong wind protects it from falling.  I think the long tradition of intellectual debate, contemplation, and personal writing in more progressive Christian sects—as in Judaism and other faiths—acts in a similar manner.  Moreover, this tradition matters a great deal in a culture where ego-driven confession is sold on television and in bestselling books as entertainment and our politicians and religious leaders engage in nuanced debate less and less frequently. Our doubts and fears, thoughtfully considered and expressed, are the wind-bearing architecture of a kind God, given to us so that we may bolster ourselves and construct meaningful lives.  

Amen.

Sermon for the First Sunday in Ordinary Time

A friend said to me recently, “I’m just dealing with the fact that I’m not a rock star.  I’m a high school teacher.”

I laughed.  I also felt a tsunami of compassion swell in my veins.  I knew exactly what my friend meant.

Let me begin by saying I have the highest respect for teachers, especially high school teachers.  My grandmother taught high school history, my mother taught high school science, and my partner teaches high school English.  These beloved people, and all other great teachers, do difficult, honorable, often thankless work.  God’s work.  It is no easy feat to steer a soul out of darkness and into light.

Still, I understood my friend perfectly.   The older I get, the more my youthful aspirations elude me.  Even five years ago, I was wide-eyed with artistic expectation.  Ten years before that I wouldn’t have believed that I wouldn’t always be one of the prettiest, one of the brightest, one of the most talented or most successful.  I didn’t think I deserved those things, necessarily, but I thought I could earn them.  Vanity may be the bane of my generation and tribe, and the crippling misdirection from purpose that society uses to seduce all pretty girls.  Vanity is certainly my Achilles’ heel.  For some people like me to say “I’m a teacher,” to a stranger at a dinner party requires a humility and strength that “I’m a novelist” does not.  In her own way my friend is facing the same realization I’m facing: I may or may not become a writer with a capital W.  I may not become famous or semi-famous or even singled out.  I might not save the world.  My metabolism will slow down.  My muscles will atrophy.  My hair will turn gray.  Many of my students will graduate and forget my name.  I might be ordinary.

As with any trial, I turn to literature.  Or rather, literature finds me like a fairy godmother or talisman. The word talisman comes from the Greek, teleo–to consecrate.  In my case, this August I received a talisman charged with sacred power from Lucille Clifton in the form of this poem:

the thirty-eighth year 

of my life,

plain as bread

round as a cake

an ordinary woman


an ordinary woman


i had expected to be

smaller than this,

more beautiful,

wiser in Afrikan ways,

more confident,

i had expected

more than this


i will be forty soon.

my mother was once forty.


my mother died at forty-four,

a woman of sad countenance

leaving behind a girl

awkward as a stork.


my mother was thick,

her hair was a jungle and

she was very wise

and beautiful

and sad.


i have dreamed dreams

for you mama

more than once.

i have wrapped me in your skin

and made you live again

more than once.

i have taken the bones you hardened

and built daughters

and they blossom and promise fruit

like afrikan trees.


i am a woman now

an ordinary woman.


in the thirty-eighth

year of my life,

surrounded by life,

a perfect picture of

blackness blessed,

i had not expected this

loneliness.


if it is western

if it is the final europe

in my mind,

if in the middle of my life

i am turning the final turn

into the shining dark

let me come to it whole

and holy

not afraid

not lonely

out of my mother’s life

into my own.

into my own.


i had expected more than this.

i had not expected to be

an ordinary woman.

When I first read the poem, I was in the bathtub at a hotel in Farmington, Connecticut.  I ran naked out into the room and said to my fiancee, “Here.  Read this.  This is what’s wrong with me and what I haven’t been able to articulate to you.”  That same warm night at an outdoor poetry reading, I sat next to him, a rich glass of full red wine balanced delicately on the grass between us.  The emcee chose from an entire anthology of poems to read Clifton’s “An Ordinary Woman” to the crowd.  For a split second, I believed in signs.

I also recalled a song I love by Tracy Chapman, First Try, a song she croons in an older, more wistful voice than any song about fast cars.  She sings, “Can’t run fast enough, can’t hide, I can’t fly.  Struggling with the limits of this ordinary life.”

That word again.  Ordinary.

In the Catholic Church, we have what’s called “ordinary” time.  As a child I didn’t understand what the priest meant when he welcomed us into mass on the “Third Sunday in Ordinary Time,” for example.  What was the difference, I wondered, between ordinary time and other time?  In the Roman Catholic Church there are two periods of ordinary time on the liturgical calendar.  The exact timing becomes complicated, but suffice to say that Ordinary Time exists between Christmas and the Lenten (Easter) season, and then between Easter and the next Advent Season.  The time between birth and death.

More people attend mass on Christmas and Easter; these are holy days of obligation and Catholics love them some obligation.  As I get older, I do the opposite: some years I attend Christmas mass, and rarely attend Easter mass.  I show up tempus per annum, the latin phrase for “times of the year”, translated in English as “ordinary time.”   I need lifting when I feel most lowly and alone, most human.

Perhaps that makes sense.  The Catholic writer Henri Nouwen said, “I realized that healing begins with our taking our pain out of its diabolic isolation and seeing that whatever we suffer, we suffer it in communion with all of humanity, and yes all of creation.”  We can display vanity in our suffering too. We must learn ordinariness.  We have to be common to find communion.

In ordinary time we will arrive at the most holy of our life’s work.  In ordinary time we will be asked to recognize the everyday-miraculous: sunrise, schoolroom, sentence, spoon, soap, sleep.  It is not the high drama of midnight mass with its trumpets and Halleluia’s, nor is it the dusky hours of an Easter vigil.  But it may be the time between birth and death–ordinary time–when life demands from us the most humbling and extraordinary task of coming out of our mother’s lives and into our own.

Amen.

 

Newfoundland Sermon 1: Midrash with Whales

My family spends summers in Newfoundland, Canada.  If you’ve ever traveled to Newfoundland, you know its natural beauty and the oddness and kindness of its people, but you also know there isn’t much to do there.  When I say my family spends summers there, I really mean that my family communes with whales.   Everyday we travel the 5.2 km from our house to Cape Bonavista—by foot or car—and wait for a puff of breath from some majestic creature feeding on the North Atlantic’s bounty.  We gasp each time one graces us with her presence, every single time.  My partner describes it this way, “You think you know what whale watching is—some tourist activity people do once in their life and think, ‘Cool.’—and then you see the Fleming family whale watch.  Whole different beast.”  It’s true.  We’re like whale connoisseurs; sometimes we visit the cape two, three, four times a day to avoid ever going what my dad calls, “0 for whales.”  Ben has even perfected a whale call-song, which sounds suspiciously like Ellen Degeneres’ Dory from Finding Nemo.

The last whale I saw this year gave my father and I quite a show, slapping his fluke on the water’s surface, spinning his speckled body around so that the fluorescent green algae swirled, and flashing the underside of his white tailfin.  We watched him for a long time, during which I felt my heart race and then calm, race and then calm.

As we watched, I was thinking: I am so often afraid. 

I was thinking: remember in May, Casey, how you had an anxiety attack in Whole Foods.  Swear to Christ.  It started in front of the Honeycrisp apples, reached its apex in the prepared food section, and subsided in the parking lot where I only started to cry once inside the warm cocoon of my car.  I never had an anxiety attack before that, not a real, physical one, and I suspect it had to do with turning 35, which for whatever reason has really thrown me for a few loops.  It scared me. My body went numb, my ears clogged, like being under water except louder.  I almost lay down and curled into a fetal position next to the organic steel-cut oats. 

 Fear and anxiety seem to be a lodestone for modern people.  But they aren’t new.  And certainly I had no real reason to feel afraid in Whole Foods: I mean, talk about a bougie crisis.  Still, the anxiety wasn’t fun.

 What do we do when we’re afraid?  We go to the cliffs and oceans.  We roam the deserts or trek up mountains.  We watch for whales.

 For example, my grandmother requested her deathbed in the sunlight.  Or, after my first, failed engagement, I sought out the ocean day after day, driving to Galveston even when I should have been teaching or writing.  Or, not long before my grandmother’s death, my family gathered in Provincetown, MA where we also watched whales (well, they watched, I puked over the side of the boat).  And after my grandmother’s death, my father, mother, brother and I traveled to the mother country.  In Ireland, we visited the Cliffs of Moher. Ben and I crawled to the edge and peeked our heads over to see the sea 390 feet below us. Even the photograph of this event—our bodies tiny specks against nature’s majesty—induces in me a severe vertigo.  My mother can’t look at the photo. What in the world, she says now, what was I thinking letting my children do something so dangerous?

But something in us seeks out the sublimity of nature in the face of grief, uncertainty, and fear. Alain deBotton writes in his superb essay, “On the Sublime”, that he traveled to the desert of Sinai, “to be made to feel small.”  He brings as his guides the writings of Edmund Burke and the Book of Job.  But I’ll get back to Job.

 Let me start here.  The Gospel of Mark has two different endings—a shorter ending and a longer ending.  The King James Bible includes both endings.  Ancient Greek authorities bring the book to a close at 16:8.  Others include verses 9-20, but mark them as doubtful—the second ending mixes motifs from other gospels, and most likely a later theologian or scholar with some kind of agenda added those last lines in after the fact, a benign or malignant agenda, I cannot say.  The shorter version ends this way:

So they went out and

fled from the tomb, for terror and amaze-

ment had seized them; and they said

nothing to anyone, for they were afraid. 

I like this version.  I like that the story of Jesus’ resurrection ends with the word, afraid.  I like that the “they” in the story refers to three women: Mary Magdalene, Mary mother of James, and Salome, who arrived at the empty tomb first.  To women first, God revealed his foremost miracle.

They were afraid.

But I don’t think the author of Mark uses the word afraid in the way we typically define the word, and to prove my theory I’m going to refer to the Hebrew Bible and engage in a modified form of Jewish study called midrash, a method by which one may take seemingly unrelated sentences in the Bible and compare them to find deeper meaning.

I’m going to go back to Israel’s wisdom literature, specifically Proverbs and the Book of Job.  (Who is afraid if not Job?)

Proverbs begins with this sentence, “The fear of the LORD is the beginning of knowledge; fools despise wisdom and instruction.”  One could misinterpret this line as a warning against education or secularism, but that would be careless.  The theologian, Marcus J. Borg offers us a better reading of that line.  He says:

 The phrase “fear of the LORD” does not mean “fright”, as one might be frightened of a tyrannical ruler or parent.  Rather, it refers to awe, wonder, and reverence…

If we apply Borg’s definition of “fright” to the last line of the Gospel of Mark, we might read the women’s reaction to Jesus’ empty tomb not as fear so much as a feeling of smallness; like all of us they shuddered a bit to feel their own frailty in the face of the unexplainable.  But Mark states that the women felt both terror and amazement. Inside that final word, afraid, might actually live the cure to fear and anxiety.   The “bigness” of a resurrection, or any witnessed miracle, might relieve us from the error of thinking we have total control over our lives. This strikes me as an important realization for the religious and non-religious alike, a realization that de Botton affirms in “On the Sublime” by explaining that fear make us feel insignificant in a way that shuts us down, while awe makes us feel insignificant in a way that opens us up.

And when Job finally asks God that painful and universal question, “Where were you while I suffered?” God replies by pointing to the sublime, those mysterious creations that beguile us: the stars, the clouds, the desert, the plumage of the ostrich, the wild mane of the horse, the mountains and rivers, and yes, the Leviathan, which some scholars interpret as the “great whale.”

 Anyone in my immediate family will tell you that the first emotion you experience upon spotting a humpback whale 50 yards from the cliffs’ edge or 50 yards from your one-man kayak resembles fear—the enormity of the animal and the shock of its presence stuns you; you want to step or paddle quickly backwards—but if you sit with that feeling, moving outside yourself as you observe the other, bigger creature simply live its life, that first feeling swells in your chest, spreads and diffuses until your blood slows and endorphins rush.  You won’t feel fear at all, but awe and amazement.  You will think you witnessed a miracle.  You will feel small, and you will receive that smallness as a consolation, a momentary remedy to the rows and rows of canned goods and beauty products and baby food and the rainbow array of Tom’s shoes hanging accusingly from their hooks with all their implied restrictions and responsibilities.

 Amen.

Sermon in which I Ordain Myself

Because some things require a pulpit.  


Because some things scream, say me.  Teach me.   I have something to say.  I have something to teach you.  Yes, little ol’ me.  Yes, you.  There in the front row.  Upright and early.  And you in the back row too.  Reluctant and late.  Especially you folks sheltered snugly in the middle rows—noncommittal, passive doubters, the whole lot of you.  Thinking you’ll slip by on the sly.  For a long time I hid too.


Because I want my words to sniff you out.


Because I want my words to redirect their paths like tiny Doppler radars toward your heartstorms.


Because I want a pulpit.  (I say that as though it is an easy thing for a woman to say.)


Because I want a flock: with wings not wool.  


Because every good woman has a story.  She understands her story as part of a community story.  Her story is intimate, private, and also shared.  Her story is a small circle inside rings of concentric circles: family, neighborhood, city, state, nation, world, out and out like that into the universal.  A story needs a beginning, but not necessarily an end.  The beginning of my story will always be: I loved my grandmother.


Because I loved my grandmother.  When my younger brother and I stayed with her in the house in Richardson, Texas, we looked forward most to the off-white bedspreads on our matching twin sleepers in the small room that faced the front yard.  During the day we built mansions out of playing cards and watched them crumble onto the lush carpet in the den.  Or we counted the beads inside a smoky red blown-glass bowl on the side table and touched every pretty thing twice.  Because she let us. She never stooped so low as to speak a don’t touch that or be careful.  Somehow we intuited that in her eyes we reigned as Most Precious Objects in the house. 


At night, we knelt at one twin bed, the three of us—me, Ben, Grandma—in a semi-pious line, our elbows atop the mattress. 


“Which do you want to say?” Grandma asked me.  “The Lord’s Prayer or the Hail Mary?”


The Hail Mary was shorter, but more obscure, and I wanted to please her. 


We’d get part way through, Hail Mary, full of grace, the Lord is with thee, and then–


A stifled laugh, a squirm fest, her unruffled voice. 


“Ben, say the words with us.”


Ben never knew the words.  To this day, I’m not sure why.  He could handle The Lord’s Prayer, although for a long time he misheard hallowed for Harold, as in “Harold be thy name.”  I still like to imagine God as such an everyman: Harold.  


When I ask him about the Hail Mary now, in our thirties, he says, “I don’t know.  It’s weird stuff, really, to make children say.  Fruit of thy womb?   All that tortured syntax.”


I liked the Hail Mary.  I liked the line he always forgot, blessed art thou amongst women.  Perhaps at that age I needed to believe the world might single me out from my kind: more beautiful, more talented, more sacred


My grandmother died of ovarian cancer the year before I began confirmation classes at St. Thomas More Catholic Church.  My reverence for that process betrayed less about my faith in God than my nostalgia for her voice in my little ear, “Which prayer do you want to say?”  Mr. Nelson, my confirmation teacher, wrote me a note that I kept for many years afterward.  It read:


I have this idea that some people have the Holy Spirit in them only after confirmation, and some have the Holy Spirit in them always.  You, Casey, are of the latter type.


Because if I have anything resembling the Holy Spirit in me, it will reveal itself as the breath of women past moving through my lungs, down the long hallway of my throat toward the light, their exhalations a mist that loosens the corners of my rust-red lips.


Because I hear voices.


Because I have a voice.


Because vocation means a “summons” or “spiritual calling,” from the Latin vocationem (nom. vocatio), “a calling,” from vocatus “called,” pp. of vocare “to call.”


Sing to me of the girl, Grandma, the girl of twists and turns.


Because a man I loved once complained that he felt I was lecturing him when really I wanted to talk out some big ideas.


Because if I’m going to be perceived as lecturing, I might as well have a pulpit, a little authority.


Because my grandmother’s memory authorizes me.


Because the word author lives inside the word author-ity the way I live inside my memory of her.  The way I wear her cool blue beads on my hot chest or push my nail beds into the soft bristles of her silver brush.


Because I respect form.  Because I need a new form, something novel that is not a novel.

Because things change.


Because some things never change.


Because she raised me Catholic, and even now I tend to respect authority when it implies a learned-ness, when that authority has been rightly earned and rightly employed.  I don’t want Joe-Schmoe down the street interpreting anything for me, especially any bible.


Because many Joe Schmoes preach.  Because many people abuse the church-pulpit, the chalkboard-pulpit, the page-pulpit too.


Because I have no idea what I’m doing (which is still such an easy thing for a woman to say).


Because I row out and out to drift on the fickle waters of the blank page and I wait and wait for the words to spawn and swim up so I may offer something of myself to the people I love. 


Because I am like a fisherman or sea-shepherd.  I am trawling for words; I am corralling them, I am searching for her.


Because my story is our story.   


Because we do not know when we are young that the body is an archive. That after years of amnesia, the body, without warning, will kneel down.  The body will remember and repeat its earliest prayers, and that those fledgling prayers do not change much over time, but only reach higher and higher toward heaven from their stubborn roots.


Blessed art thou amongst women. 


Amen.