Laurel Massé

All shall be well: Julian of Norwich

And in this vision, God showed me a little thing, the size of a hazel-nut, lying in the palm of my hand, and to my mind's eye it was as round as any ball. I looked at it and thought, 'What can this be?' And the answer came to me, 'It is all that is made.' I wondered how it could last, for it was so small I thought it might suddenly disappear. And the answer in my mind was, 'It lasts and will last forever because God loves it; and in this same way everything exists through the love of God.' In this little thing I saw three attributes: the first is that God made it, the second is that God loves it, the third is that God cares for it.  Julian of Norwich, Revelations of Divine Love

Julian was the first woman to publish a book in English (in what we now call "Middle English"). In it she tells of the visions she had in 1373. In it she describes Christ as a mother. In it she assures us that "sin is necessary, but all shall be well. All shall be well; and all manner of thing shall be well."

Today the Episcopal Church celebrates dear Julian's feast day. Eat something wondrously good, with gratitude. She would like that. Remember that C.S. Lewis said her book was dangerous. I think she would like that, too. Stories about her suggest she had a cat. I like that.

There is more information about Julian here , and here is the podcast of a talk (the transcript's there, too) given by Rev. Mimi Dixon, Presbyterian pastor, about her experiences of Julian.

This extraordinary icon was written by Mihai Cucu. This, and his other exquisite icons, can be seen here.

It was Madeleine L'Engle who introduced me to the writings of Julian; for that, and for so much more, I am always grateful.

And it is good

Happy Easter! Yes, still! Easter lasts fifty days in the church calendar, and will not end this year until (counts on fingers) June 8th! 

I re-enter the world of bloggery with this offering to you all. Draw sweet water from the well, make yourself a cup of tea, and settle in to listen to some extraordinary music. I want - I fervently desire! - to sing in a performance of this work. Watch the video, and you'll hear and see why.

 

Vespers for St. Hildegard was created by British composer Stevie Wishart, who wove in passages from Hildegard of Bingen's music. I especially love the groundedness - as in both feet firmly planted on God's green earth - of the singing. I long ago grew weary of celestial fluttering soprano renditions of Hildegard's music, even though they were often beautiful. Hildegard was a mystic, yes, a nun, a writer, and composer and painter... and an herbalist who had had her hands in the dirt caring for plants and soil. It is that side of her that I've been longing for. Here are highly skilled yet unmannered, low-pitched, strong voices of women with real bodies. I am in earthy bliss.

Thank you, Terri Windling, for introducing me to this music. If I could draw like you can, I would send you a picture of me with mud on my feet, and a smile on my face and musical notes swirling all around me.

 

Have a beer with St. Brigid and God!

 Brid agus Muire dhuit!

Today is the feast day of St. Brigid of Kildare, to whom I have a special devotion. Patron saint of poets and brewers, of healers and midwives (and, along with Patrick and Columba, of Ireland itself), she was strong and gentle, prayerful and practical. St. Brigid worked miracles: my favorite is the healing of a blind Sister so that she could see the beauty of a sunset. To ease the thirst of lepers, she once turned a tub of bathwater into a tub of excellent beer. She was called Mary's Nurse, meaning that she helped Mary with the infant Jesus (a Time Lord!). Like so many of the great saints, she was as earthy and real as soil and water, and as wild as fire and air.

The following 10th century poem has been attributed to her:

I'd like to give a lake of beer to God.
I'd love the heavenly
Host to be tippling there
For all eternity.

I'd love the men of Heaven to live with me,
To dance and sing.
If they wanted, I'd put at their disposal
Vats of suffering.

White cups of love I'd give them
With a heart and a half;
Sweet pitchers of mercy I'd offer
To every man.

I'd make Heaven a cheerful spot
Because the happy heart is true.
I'd make the men contented for their own sake.
I'd like Jesus to love me too.

I'd like the people of heaven to gather
From all the parishes around.
I'd give a special welcome to the women,
The three Marys of great renown.

I'd sit with the men, the women and God
There by the lake of beer.
We'd be drinking good health forever
And every drop would be a prayer.

 

In my mind's ear, I can hear this woman laughing, and singing, her voice husky, her eyes shining. How could I keep from loving her?

For my solo album, Feather and Bone, I adapted traditional prayers collected by Alexander Carmichael in Scotland in the 1800s and composed Radiant Flame of Gold, a prayer to Brigid. Here is the track, with the sorely-missed Layne Redmond, and Tommy B on frame drums. I pray it in my times of trouble, and for others in theirs: Download 09 Radiant Flame of Gold

I am under the shielding of good Brigid each day,

I am under the shielding of good Brigid each night.

I am under the keeping of the nurse of Mary

Each early and late, every dawn, every light.

 

To learn more about St. Brigid, start here. To purchase Feather and Bone, send me a Facebook message here.

 

Swordswoman

                       Rey Alabastro Photography

This is Samantha Catto-Mott, aka Samantha Swords, Champion of Longsword, Harcourt Park International Jousting Tournament, 2013.

If, like me, you looked at this picture and your heart leaped, hail sister! If you are thinking, "oh, playacting", or just wondering what this is all about, let me recommend the documentary Reclaiming the Blade, which is about retrieving the lost traditions of Western martial arts.

I offer my congratulations to Samantha, and a tip of the hat to fight choreographer Normand Beauregard, whose Swashbucking 101 class was a brightness in the gloomy sky of my time in New York city in the 80s. And a deep, deep reverence to legendary sword master Ralph Faulkner, with whom I had a few lessons in the late 1970s in Hollywood, without quite realizing how very lucky I was to do so. "Ah. Left-handed," he said. "That can be an advantage. Take this sword."

Still Jo's girl

So many years ago that this is almost a story that could start with "once upon a time", my family lived in a very big house, a legacy of the days of grand families and grand architects. The realtor called it a mansion. My family still calls it The Big House.

The first floor was indeed very grand. There was a parlor for company, and a library with built-in shelves. A dining room that overlooked a formal rose garden. A ballroom. The second floor had the good bedrooms, big as New York City studio apartments, with much nicer baths than I have ever had since.

My spirit's home, though, was up one more flight, in the small third floor servants' quarters. There, in a little monk's cell of a room with one window, I had a desk, a chair, a box of onion skin paper, my Sheaffer fountain pen, and a box of ink cartridges. And my companion, Jo March. I wanted to be just like Jo March, and to that end I scribbled page after page of - what? stories, probably, and perhaps some poems. I don't remember, and as my family moved a lot, nothing remains of all that ink except the memory of the texture of the paper, and the sound the pen nib made as I wrote line after line after blotted line. Oh, I wanted to be a writer.

Singing turned out to be easier, and my dear Lord is aware that I rather enjoy the spotlight. But this "words thing" never went away. I care about lyrics, I read aloud to people whenever I can, I do inspirational speaking, Shakespeare's King Lear leaves me sobbing on the floor, for Jo's spell has never worn off. And particularly at this time of year, the connection I feel to this fictitious character and to the extraordinary woman who created - or released - her is especially strong. It has long been my Christmas season practice to read Little Women again. Every year, somehow, it seems a better book.

My pretty little red leather-bound copy is currently in storage with the rest of my things, so I went to the local library. Their copy is for in-library use only - can you imagine? I'd have to wear shoes! But I found another treasure that I could take home: Marmee and Louisa by Eve LaPlante (2012). As far as I know LaPlante is the first author to explore the relationship between Lou and her mother, Abigail. Ever since her death in 1888, conventional wisdom has held that Louisa was her daddy's girl through and through, educated by him, inheritor of his gifts, beneficiary of his attention. That never set quite right with me. If the Alcott family was the model for the March family, why was the father absent for most of the book? Well, as it turns out, Bronson Alcott was also much absent in real life, and he never made a living. His mind on higher things, he seems to have been content to let his wife and daughters do all the work for the lowlier purposes of rent and food. Unlike his wife, Alcott did not particularly believe in the equality of women, and he came late to the abolitionist's cause. It was Abigail (Marmee) who encouraged her daughters to live full, good lives and to work to utilize their gifts, Marmee who wrote volumes of journals. And it was Marmee who worked until her health was ruined, as did Louisa, whose writing supported the family until she died at 56 (her royalties did so thereafter). The relationship between mother and daughter was deep, and necessary for both women. LaPlante's is a beautiful and calmly fierce book, well-researched and well-written, sad in many ways, but ultimately inspiring. Abigail was left out of history; Eve has fixed that.

You can buy the book through LaPlante's website, to which I have inserted a link above. Amazon has it, of course, but if you possibly can, please get it from an independent bookseller.

 

 

 

Jesus and the woman

I had a chance to give a talk based on scripture a few days ago. Here is the gist of it, minus the vocal inflections and occasional waving about of hands (not to be confused with laying on of hands).

Jesus and the Woman: John 7:53, 8:1 - 11                  

One more week, and one more day, and the election ads will cease, the polls will trail off, the pundits will... well, they’ll keep spouting, I guess, but the volume level might come down a bit. for as long as 10 minutes. I hope so. I am tired of being yelled at, especially tired of hearing about myself and other women as a specific slice of female torso, with no other body, no mind, no life, and not even a wallet to consider. And most especially tired of being told (mostly by men) what God’s will is for me, my sister, and my nieces.

Telling me about contraception. Abortion. And rape. Legitimate rape, forcible rape, emergency rape, false rape, God-intended rape and easy rape, with never any comment on the responsibility of the man, and, in the case of rape, the rapist (the actual criminal).

“There is nothing new under the sun”, says The Preacher in Ecclesiastes.

When the Pharisees haul a woman over to Jesus - one woman, no man - claiming “she was caught in adultery and Moses said we should stone her, and what do you say?”, something’s a little suspect. a little off.

The gospel writer says the scribes and Pharisees were testing Jesus, and hoping to be able to bring charges against him should he say the wrong thing. “Moses said to stone her. What do you say?” Since under Roman law, they had no power to execute anyone for anything, they must have thought they had him, coming or going. Yes to Moses equals no to Rome, Yes to Rome, no to Moses. Either way, that trap is sprung.

But that’s not the whole of it.  The law of Moses says both parties are to be put to death, adulteress and adulterer. Not only that, it says so twice, once in Leviticus, and once in Deuteronomy. It’s very clear. So why are the Pharisees showing up with only the woman? Was she really caught in adultery? Perhaps she was innocent. Perhaps she was an “easy rape”. They wait for Jesus to say something in response.

But he doesn’t. He doesn't say anything. They didn’t see that coming. He leans over and writes in the dirt. When they fuss at him, he says “Let whichever one of you who is without sin throw the first stone,” and writes again. They obviously didn’t expect that, either, and to give them credit, they knew they did not meet that standard. Or they knew their colleagues knew they didn’t, and one by one, they slip away. With them gone, she has no accusers. There is only Jesus,  only love, only forgiveness; there is only Jesus and the woman.

How many times in the gospels do we see this same picture, Jesus and a woman, speaking as equals? At the well in Samaria, in the nard-scented dining room of a house in Bethany, in the crush of a crowd near Capernaum, outside Lazarus’ tomb, and certainly in the garden on Easter morning - even though there may be men around, they often recede into the background as Jesus speaks directly to women, and women answer him with equal directness in speech and gesture. It is not to his female followers that Jesus has to explain and explain and explain himself. They get it. First to proclaim the gospel - the Samaritan woman at the well, first to see and proclaim the risen Lord - the Magdalene - the women get it. There is no gender inequality when the man in the room is Jesus.  When Jesus is present, there is no inequality of any kind.

If, as Christians, we reach back to Leviticus for our guiding principles, forswearing haircuts, wearing only one type of fabric at a time, insisting that women submit to their fathers, their husbands, because the Bible tells us so.... Well, yes, it does, because before Jesus, that’s how things were. Women did not own property, they were property, and breeding stock. And centuries later, when the Church took some parts of Paul’s letters as the absolute last word on how women should behave - be quiet in church, and do not teach, for instance - women again had to submit, submit, submit.

But that’s not the only thing Paul said.  In his letter to community at Galatia, he wrote:

... for in Christ Jesus you are all children of God through faith.  As many of you as were baptized into Christ have clothed yourselves with Christ. There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female [social structure]; for all of you are one in Christ Jesus. (Gal 3:26-28).

Throughout Jesus’ brief and intense three-year ministry, and for a while after the resurrection, the poor, the sick, the grieving, and yes, the women, were seen, and heard, and honored, and equal, just as we were in the first chapter of Genesis, in the Garden, made in God’s image.

Nowadays, when people talk about “biblical womanhood”, that’s the part they leave out. When I hear them use the words “biblical womanhood”, I wonder why they omit the good news of the gospel? Who edited out all the red words?  Some very vocal Christians seem to believe and proclaim a lot of wacky things about women, things that include some very bad science, and none of the words and actions of Jesus. You’d think Jesus never lived.

But he did, oh yes, he did. And he does. And in him we are one, and we are free.

Amen. Alleluia.

Steed and Mrs. Peel

We don't always know where our strongest influences and deepest dreams are sourced. Nor do we know what event might reveal the man - or woman - behind the curtain. I enjoyed, last night, the first good night's sleep since Mrs. Peel (feline) took up residence here, so I can say, with great assurance, that the arrival of a kitten, however small that kitten may be, can qualify as an Event. My memory gates are being pulled open by a little white-tipped paw.

As I mentioned in an earlier post, I saw The Avengers when my family was living in Europe, in the 1960s. The first episodes were in black and white. I think the series went to color when it started showing in the States. Perhaps there was an infusion of dollars into the production budget. But the feel of the show was already firmly established. A little zany, a little camp, very chic, and much more wry and understated than anything else I remember watching. And much much more sexy. Mrs. Emma Peel (and my teacher in Paris, Mlle.Thériot), gave me the first clue about what a sensuous, sexy woman is.

Dame Diana Rigg, at 72, is a stunningly beautiful woman; when she joined the cast of The Avengers, she was 27, and simply gorgeous. Auburn hair, long legs, a lovely figure, a supple voice, and a light in her eyes. Wow. The boys I knew were thinking "that's what I want!", but the girls were thinking, "that's what I want to be", a big difference, as life would repeatedly reveal. She was lovely, very smart (a certified genius, as I recall), quite independent, and self-assured. This suggested that - perhaps - one could get away with being intelligent, and thinking well of oneself. Somewhere, someone would be delighted by exactly that. Confirmation of that radical idea? John Steed.

Steed was a government agent, a Bond but not as young, probably not as promiscuous, and not as gadgety. He was the professional to Peel's "talented amateur", and clearly adored and respected her. Played by Patrick Macnee, Steed was urbane, unflappable, witty, and deadly when necessary.  There was a tremendous mutual appreciation and sexual sizzle between the two characters, even though (or perhaps because) the nature of their relationship off-hours was never clearly spelled out to the viewer. There was also an obvious age difference: Macnee was 43 when the Steed-and-Emma episodes began.

To a certain extent, that kind of age difference is the Hollywood standard, even today. The parts seem to keep coming for aging male actors in a way that they do not for women. In fact, the parts for older women are so few that Meryl Streep can almost play them all and still have days off.

I don't know whether that thinking was in play when Mrs. Peel hit the small screen, and I didn't much care. The sparkling relationship entranced me. In it, I saw (subconsciously) that it takes a very confident man to give a smart woman the kind of acceptance that allows her to reveal how just how smart she really is. That kind of confidence has many roots; one of them is having lived a lot of life. So, perhaps from henceforth, the older and wiser man for me.

John Steed, preferably. But, you say, he is only a fictional character. Yeah, well, that there would be a problem, maybe. Or maybe not. Because to a certain extent, maybe we all are fictional characters. Really, how often do we look at someone and see them as they really are? Or as God sees them? Not very often, I think. We tend to see projections of what we want and need superimposed on the persons upon whom we're focused. When they turn out to be just themselves, and not our fantasy about them, disappointment ensues. Friendships shatter. Marriages fail. Who knew that Lassie would turn out to be a dog with shedding issues, and really big teeth?

I think it is safe to say that I still have not met my John Steed. If I have, I have not recognized him, perhaps because he is already partnered, or because he is only five years old so far in this lifetime. It's OK. I still have a fair amount of work and play to do in the living of this life, and I pray I will keep going, and going strong, until the day I die. At which time I hope that sweet five-year old, aged forty-five or so by then, will think, "Oh, how sad. She always reminded me of Emma Peel."

 

 

 

Phoebe Snow 1952 - 2011

 

 

 Blessed are the pure of heart, for they shall see God.

Do not cling to me, but go

The stone has been rolled away.

The grave is empty.

And Mary Magdalene has seen the living Christ.

In the gospels, Jesus appears first to the women who have been his followers. All four evangelists specifically mention Mary Magdalene; in John's account, Jesus calls her by name, asks her not to hold on to him, and sends her to tell the men what she has seen. She goes, and does so.

The men don't believe her.

I've been thinking about this a lot as I've gazed at paintings, icons, and frescoes of Jesus' appearance to Mary, and listened to and sung music written for Easter. So many visionaries over the centuries have tried to catch the Uncatchable in paint, in stone, words, music. Then we have framed the pictures, roped off the statues, cleaned up the language, pinned the music to paper. We think we might contain the Holy Spirit like a unicorn in a tapestry.

How hard we work to keep a fence around it! "Come, Holy Spirit," we pray in church, and gesture toward the gate. But do we whole-heartedly open it, welcome her, and offer her a chair? Heavens! Let her sit, and the next thing you know, she'll be taking over! No, we sit, straight-backed and decorously still, while wild songs whisper and clamor in the very stones under our feet.

I have become convinced that some people see and hear differently. They can't help it. They are compelled to track the Wild. Some are saints. The rest of us are artists, and art is how we share what we've seen and heard, in the medium to which we have an affinity. That's our job. We are tour guides, we are reporters, and we do our best to tell the stories. Sometimes it's frightening: some stories are too big.

As the Virgin Mary said "yes" to God, and bore Jesus, the Magdalene said "yes" to Jesus, and bore the too-big story of his resurrection. "Do not cling to me," Jesus said, "but go and tell." Would there have been any gospel according to anyone else had she not run to tell? Was she afraid, giving voice to this impossibly wild song? Was she angered by not being believed? We can't know. We only know that she did it. She did it. She did it. And now it's our turn.

Christ is risen, alleluia, alleluia. The Lord is risen indeed, alleluia, alleluia. 

 

Turn the radio on

I had a lovely time this afternoon being interviewed by Sandra Lee Schubert of Wild Woman Network. You can listen here.