Tag Archives: Right Livelihood

When A Jew Speaks On How To Be Christian (Or Something Like That): Everyday Magic, Day 237

Last night, I was the speaker at the Ecumenical Christian Ministries’ Faith Forum: “A Liberating Take On Christianity.” Asked to speak about my vocation, avocation and spirituality, I had to admit that when I first saw the title, I wondered what the heck I got myself into. I mean, who am I as a Jew to give Christians my take on their religion? Then again, when we’re talking about KU’s ECM, we’re talking about the model for interfaith dialogue and ecumenical explorations, thanks especially to ECM’s fearless and visionary leader, Rev. Thad Holcomb.

I met Thad many years ago when his daughter Anna was our chief babysitter, bottlewasher and lifeline, particularly in the land of three young energetic children who hadn’t (and still haven’t) learned repression quite well enough. Anna’s humor and ease, not to mention her reliability and wonderfully vivid intelligence, saved the day for our family more than once, and eventually, her family and our family become close community.

So I’m up for whatever Thad might ask, although two days ago, running into Thad at breakfast with the soon-to-depart poets laureate, I gave him a deer in the headlights look when he reminded me about the forum, but then I leaned back luxuriously into this topic. You see, there’s little I would rather think and talk about then spirit, right livelihood, art as life practice, and work as extension of our callings. Here’s a nutshell lift of what I’m learning about the convergence of all of this:

  • Every moment has its own calling. If we can trust ourselves enough and get clear enough to hear that calling, we’ll know what to do in the light of the moment.
  • Dylan Thomas once said, “These poems, with all their crudities, doubts, and confusions, are written for the love of Man and in praise of God, and I’d be a damn’ fool if they weren’t.” I feel the same way about anything I write or try to write.
  • From the Buddhist Noble Eightfold path — a kind of wheel of how to live — I draw especially from the traditions of “Right Speech” — using our words to do good and not to harm (although I obviously fail at this often) and “Right Livelihood” — making a living for the good of all as much as possible, and in balance with our gifts, challenges, calling and community.
  • Art is a spiritual practice in my mind (even if you don’t believe in spirituality and might name it differently) You’re practicing at being alive by making something. I see little distinction between writing and dreaming, meditating, doing yoga, walking mindfully or being truly alive and bare in the moment I’m living.
  • Not-knowing, and dwelling in not-knowing, is the name of the game most of all for me as a writer and co-cobbler (with the universe) of my shifting career. This doesn’t mean I don’t try to control everythign some/most times, but at least I know the grasping for understanding too soon is a silly endeavor.
  • “Once you have gone so far, how can you not let others return?” is the last line of a poem I wrote about Jonah, and this guides me in my life. Although people do push my buttons at times, I know that a generosity of spirit — or to be more direct, kindness — is why we’re alive.
  • Making a living, making art (and writing) is a long conversation with what’s calling to me as mine (and not mine). “Is this the way to go?” I ask myself. “Do I turn into this project or that?” If I’m healthy enough to show up for the conversation, I usually find the right answer.
  • I don’t believe everything happens for a reason, and all is for the best, but I do believe, to paraphrase poet Adrienne Rich, that “There are the materials.” Whatever happens are our materials for making our lives with each other, our practice, our place, our souls.

Making a Living & Following an Artful Calling: Everyday Magic, Day 93

Yesterday, in the course of an hour, I saw three women who inspire me by how they’re making the path by walking it in terms of creating their own right livelihoods. Andrea Hoag not only delights me with her dazzle, splash of pink and a little bling and ecstatic spirit, but by how she supports herself and her two beautiful children by freelance writing, mostly book reviews.

Dancer Susan Regier followed a lifelong love of dance into being the artistic director for the 940 Dancers in Lawrence. She dances, choreographs, works with various populations on movement and dance, and brings up great questions for us to ponder, such as who gets to dance, and dance publicly, in this culture, and what can we do about that?

Kris Hermanson, a wonderful artist of many media (felting, painting, drawing, fiber arts and much more), is launching her own grant-writing, fundraising, strategic planning and organizational development company, Insight/Envision, which follows beautifully from her experience of helping organizations reach their fullest potential and grow the arts especially.

Let’s hear it for taking the leap and landing in your own calling!

The Brigadoon of Goddard

As many of you know, my day job is teaching in Goddard College’s low-residency Individualized MA Program. Because the college in Vermont, the students are all over the world, the faculty is in the U.S. and Canada, and I’m in Kansas, I often find myself having to convey the geographically-challenged workings of such a job. By the time I get through how students and faculty come together for a week-long residency twice a year, followed by a four-month semester we then do through students emailing packets and faculty emailing back letters, then detailing how students design their own studies, I’ve usually thoroughly confused my listener too much to bring up the time travel dimension of our residency, which is a little like the story of Brigadoon.

For those of you who haven’t seen the play/movie, Brigadoon is secret Scottish village that wakes up to once every hundred years, then disappears into the highland mist. Witness one lovely June 1 in Brigadoon in 2008, and then come back for June 2 in 2018. In the case of our residencies, we go from summer to winter seemingly overnight (never mind the three of snow replaced by nine varieties of green) when we leave in August and return in January.

What happens in that mist that swallows us back into our home communities is as mysterious at times as Brigadoon itself. People change. Through packet work, and the spaces in between, we start to articulate more of our life’s work, and what it means to craft lives that are more engaged with the local and the global, not to the mention the body and the mind.

To get a tad more specific, I’ve had the joy of witnessing student projects that include:
* Developing a new expressive writing model to help children use poetry to counter the trauma and stress in their lives. See Heather Mandall.

* Creating a community trance dance ritual that fosters joy and connectedness (Gary Meitrott’s Soul Bath Trance Dance).

* Traveling the world to take part in pilgrimages in Spain, France, Tibet and Peru, and from this walking, come to understand the psychological and spiritual stages of pilgrimage. See Angela Mullins.

* Building “a room of one’s own” for women in Trinidad/Tobago in which these women can read and write their way toward a greater sense of self (Sue-Ann Commissiong)

* Exploring and challenging beauty conventions, and unfolding a new way of claiming beauty through the arts and the natural world (Patricia Fontaine).

* Making a film about how to transform moments of competition into cooperation and community-building. See Ben Stumpf.

* Explore and reclaim what it means to be a body, particularly a body living with chronic illness, through writing, embodiment and photography practices. See Rhonda Patzia.

The mist that envelops the residencies sometimes makes it hard for us to see what we’re doing, but within that space of letting go of what we thought we knew to uncover new knowledge and new ways of knowing (and living), magic prevails. It’s the kind of magic that continually addresses that core question of how to live. Yet there’s also immense joy in the process of being together, going to too many workshops or staying up too late, hanging out with others following the work and studies that thrill them. To quote Gene Kelly in the movie version of Brigadoon, it’s almost like being in love.

Thanks to Cynthia Curley — who’s created a young adult novel that blends fantasy with overcoming racism for her Goddard work — for the great Goddard photos of some of us faculty (top photo: Francis Charet, Ruth Farmer — program director, Ralph Lutts, Ellie Epp, Katt Lissard, and me; bottom photo Janet Tallman and me).

How to Live?


A steady question has circled me for years like a song I can’t shake: “How to live?” When I was diagnosed with breast cancer over five years ago, it was as if someone turned up the volume of this question, and since then, I been regularly landing in moments when I felt paralyzed as to what to do with myself to live my life the way I should….or felt I should. I would stand in the middle of my living room, debating whether to put my feet up and read a book, or practice the cello (which I’m learning), work on poetry or teaching or something else that locks my eyes to my computer screen, do some yoga, take a walk, or clean out an obscure drawer. “What to do?” became the back beat behind “How to live?”

In the land of my mind, “How to live” is a number #1 hit, playing as gospel, rhythm and blues, hard-driving rock and roll (complete with those Bruce Springsteen-like howls), familiar Irish gigs, complex but haunting folk songs, and of course as blaring but sweet musicals (think “Oklahoma” meets “Rent”). While I’m learning the various tunes and hues of this question, I’m finding — to paraphrase the poet Rainer Maria Rilke — that I can only live my way into the answers (or, more likely, more questions).

For me, one of the clearest responses has been — ironically enough — trying to try less, and working to not work so hard, something almost impossible for my grasping mind to inhabit often, given my you’re-not-alive-unless-you’re-doing-something ways. Being my father’s daughter, I carry within me the legacy of working passionately, but also obsessively, springing into doing something related to my brilliant and exhausting career at any given moment (2 a.m.? No problem, I’ll just start up the computer; weekends? Oh, just this one thing and then… Vacation? Let me just answer a dozen emails first). Yet my father died relatively young after years of feeling sick and too busy to see straight. After my own list-carrying decades, delighting in crossing things off, and feeling generally compelled to immediately do whatever I think up, my very smart body refused to tolerate being dragged around like a pull toy from one overwhelm to the next.

To be honest, I’m didn’t just realize the obvious easily. I sailed under the skies of low-grade, but chronic, unidentifiable illness for about three years. After visiting my oncologist (repeatedly), various other doctors, energy healers, acupuncturists, massage therapists, psychics, dear friends, the self-subscribed-to myths of my past, and all manner of big pills that came in glass bottles (herbs, vitamins, amino acids, etc.), I had a breakdown of sorts. In a small hotel room on the 8th floor of a Boston Marriott, in the middle of a conference at which I was presenting, and doing many manner of other tasks, and in the middle of various health dodahs all descending on me simultaneously, I heard one clear sentence: If you want to heal your life, you need to change your life.

Since that Boston epiphany, I started giving up things I used to do: extra work outside of and inside of my teaching position, overfunctioning with friends and family (on the premise that if I couldn’t fix my own life, I could fix someone else’s), and activities, thought-mazes and habits that took me away from being here, with myself as I am, in the present whatever the weather. I’m a slow learner in the art of surrender. Give me an urgent task and high speed internet, and I’m easily tempted to go galloping in my mind toward whatever is asked. Give me an excuse, and I can convince myself it’s fine to take on yet another job (and rationalize how it’s not too much). But the imperative to live a life of meaning in a meaningful way has been a patient and persistent teacher. My health, which tends to go south easily and for prolonged periods if I don’t listen to my body, reinforces what I need to do….or not do.

Lately, though, I’ve been discovering something entirely thrilling and not so unexpected: Living with greater self-care, discipline and awareness makes me outrageously happy. I love watching the deer outside eying our bird feeder (which they empty out on a regular basis), sitting very still under the weight of the motor-purring kitten, and picking up the kids from school without feeling rushed. I love the open space and time that’s always been right here, like the sky — sometimes stripped in golden pinks and grays through the bare branches of the sycamore I watch while stopped at a light. I love having long stretches at home, and because I’m still hard-wired to keep doing things, using these stretches to re-organize the linen closet, make collages, or stare at old pictures I found of my parents and siblings. There is such a profound joy in the simple and constant art of cultivating space.

How to live is no longer such a rap-style mantra, complete with cross-blends of many stations playing at once, but more like a heart beat. Its rhythm is all around me. All I need to do is listen.