Sometimes you hit a wall

beach tideWhen the ocean is warm, I like to wade toward the waves from the shallow edge of the beach, my feet scratching a hold into the sandy bottom, feeling the water slide around my ankles, then shins, then knees. About the point when it gets really sensitive, I have to decide whether to keep walking toward London, or jump in headfirst and get soaked all at once.

If I dive in, I come up sputtering and shaking the water from my eyes. If I decide to keep walking, I lift my shoulders as if I can tiptoe past the sensitive and somehow get soaked without getting wet.

When I’ve reached water about waist depth, I can pause and enjoy, feeling the ebb and flow of the ocean, rolling to the beach to fill the little sand castle moats built by kids with red plastic shovels, and then drag them flat. When I turn to do a little body surfing, or at least to challenge the waves a little further out, I fight the water’s resistance, plodding resolutely forward where the surf breaks.

That is where the short walls of water curl up, spitting little white caps, and burst over me, whacking me backward and I have to retrace a couple steps just to get back to where I was.

In a windy spring season like this one, cycling sometimes feels like those days in the waves. Invisible walls of wind roll out from the horizon and buffet me. Side winds are most dangerous as they can make me wobble and lean the wrong direction at a most inopportune time.

Leaning over the handlebars, trying to carve a lane through the curtain of steady wind, a sudden burst hits me with every bit the force of a wave of water. It doesn’t knock me backward, but it feels like my wheels suddenly rolled into a vat of mush and I have to grind on the pedals to regain momentum.

Sometimes my daily news feed hits me like that.

Learning this week about the suicides of two young people who had survived the Stoneman Douglas High School massacre in February 2018 hit me like that blast of wind. In the same day, I learned the father of a child who had been slaughtered at Newtown had taken his own life after six years of dealing with his awful pain. Combine that with news of a dear friend whose life is suddenly upside down and my typically stoic countenance flipped onto its back, as well.

How much can we feel? How wide an opening should we tear in our hearts to absorb the world’s pain, in the vain belief that by doing so, we can somehow soothe it?

Much, if not most, of the information that hurts, enrages, mystifies, baffles and saddens would have passed unknown to us a half generation ago. But now, we know. With how much of what we know, can we engage? I don’t have the capacity to empathize with all the sadness of which I’m aware.

Yet, I want to share the pain of those I love because sharing is a salve that hurries the healing of open wounds. I want my ears to absorb their sorrows and my shoulders to offer pillows of comfort.

But, a hurting world is too much. Its pain is a flood. If I allow each swell of sorrow to whack me like a wave of wind or water, I’ll never move forward.

Each of us has capacity to care. None of us can carry the burdens of the world. Nor should we feel we must.

Because social media and news outlets pour into our senses a steady stream of pain, theologian and ethicist Stanley Hauerwas, says too many pastors –those called to care –are “a quivering mass of availability.”

What to do? I’ll not cloak myself in a curtain of despair because I know that God loves His creation – so much so that He took on the form of man to help us understand the depth of that love.

Rather than be paralyzed by any tide of tears, I will try to let myself be moved only by those things about which I can do something.

And then, I will do something.

 

 

 

 

Play the music, not the notes

classical-music-1838390_960_720 (2)We enjoyed an orchestra at church Sunday, to accompany our choir and lift our spirits with the resounding crescendo that instruments provide. I noticed that orchestra members get involved with the music at different levels.

The first chair violinist sat on the edge of his seat, one foot behind him, leaning toward the music stand. Every stroke of his bow pulled his body left and right. His head moved up and down, his mouth close to the instrument as if whispering, coaxing it to produce glory like a jockey leaning over a horse’s neck, urging it to go faster, harder.

Fingers on his left hand pressed the strings in various combinations against the instrument’s neck and his hand shimmied to draw forth a plaintive vibrato.

Two rows behind him another violinist played, a young man not yet as accomplished, not yet as sure. He sat stiffly in his chair, leaning toward the music stand as if he couldn’t quite make out the notes. The bow was more an implement in his hand, rather than an extension of his own fingers. Nothing moved as he played except his arm and the bow.

He was just playing the notes. The first violinist played the music.

When I played baritone in the high school band I practiced hard for the annual competition at which a judge would listen, grade us and grant an appropriately colored ribbon – blue for A, red for B, white for C. White was kind of a “thanks for coming” award.

Eager and ready when my time came to play, I pressed the mouthpiece to my lips and ran through those notes perfectly. Didn’t skip or misplay a single note. Hit them all in tune and on time. And got a white ribbon for the effort.

Shocked, I looked at the judge, my face begging a reason. “Anyone who practices can play the notes,” she said. “I’m looking for someone to interpret the music.”

I just played the notes. I missed the music.

An old story tells of a curious lad coming to the site of an enormous construction project in his medieval village. He wandered from workman to workman, each busy with his various tasks, and asked them what they were doing.

The first wiped his brow, grunted impatiently and said, “I’m sawing timbers for cross beams.”

The second didn’t pause from his work pouring mud into forms, scraping off the excess and lifting heavy weights onto a trailer. “I’m making bricks,” he said with a scowl.

The third, when asked, paused, looked over the construction site with exposed beams and holes for windows and the nascent beginnings of a spire reaching into the sky and told the boy, “I’m building a cathedral.”

Our Bible study class was in Romans 7. There, the Apostle Paul encourages the new church in Rome to realize the law is no longer their standard for living. They have died to the law, as Jesus died to free them from it. Instead, they are to live in freedom, under grace.

That is our charge, to live under grace. To live in freedom. Ours is not a check box religion: Don’t smoke. Check. Don’t lust. Check. Don’t cheat on your taxes. Check. And on and on and on, each box a note, each check mark a note played.

The goal of Christian living is not to check the boxes, to just play the notes.

To live under grace is to play the music.