The Act of Parenting Is Folding the Towels in a Sweet Way
by Krista Tippett, host
I picked up Sylvia Boorstein’s lovely book, That’s Funny, You Don’t Look Buddhist, years ago and loved it. Then, several years later, I found myself on a panel discussion with her and loved her in person.
I was struck in that discussion by one story she told, about a man who participated in one of her meditation and Metta or “lovingkindness” retreats; she conducts these for Buddhist practitioners but also for rabbis and clergy and lay people of many traditions. As this man prepared to pack up and go home, he described an unsettling sense of vulnerability, of openness to life which also meant that his defenses were down. He felt blessedly sheltered in the context of that retreat but far too exposed to take his newfound vulnerability out into the world.
This has its corollary in becoming a parent, I think. One’s sense of sovereignty and safety goes into freefall — and stays there. But no one tells you this in advance! As the French theologian Louis Evely beautifully put it:
"(W)hen one becomes a father, or a mother, one suddenly sees oneself as vulnerable, in the most sensitive part of one’s being; one is completely powerless to defend oneself, one is no longer free, one is tied up. To become a father is to experience an infinite dependency on an infinitely small, frail being, dependent on us and therefore omnipotent over our heart."
So how to live, how to love, how to know what we can do (and what we can’t) to raise children who will participate in the world’s beauty and its pain and be safe inside their skin. This too is a conundrum, a daunting challenge that we rarely name together. But it is always there if we are raising children not merely to be successful (and there’s lots of advice about that), but to be good and grounded and kind.
I went into this conversation with Sylvia Boorstein hoping for some practical wisdom about imparting such qualities of character. In the course of our time together, some of it in exchange with an audience of people with children in their lives, we circled back to the simplest and most daunting reality of all: our children are likely, in the end, to act and live as we act and live. Nurturing their inner lives means nurturing our inner lives, for their sakes.
I couldn’t have found a better conversation partner on this. Sylvia Boorstein has four grown children and seven grandchildren, and her spiritual practice is blessedly reality-based. Buddhism, of course, is at its core about embracing reality head on, about minimizing suffering in life by first acknowledging that suffering is a fact of life and resolving not to make it worse.
So, as she describes, this spiritual practice has helped her grasp that her lifelong tendency to worry is simply a quality she possesses, no more remarkable than the fact that, as she puts it, she is short and has brown hair. Others of us may have a tendency towards anger, or to reach for sensory comfort when life throws its curve balls. The trick for achieving balance and joy in our own lives — a trick made both harder and more important by the presence of children who exhaust as well as delight us — is first to know this about ourselves.
Spiritual parenting, as Sylvia Boorstein describes it, is not about adding work or effort to our overly busy lives. It is about self-knowledge and “wise effort” that helps us live gracefully moment by moment. It is manifest as much in how we fold the laundry as in how we discipline or praise our children. She offers this, for example, as a simple piece of effort that can reorient our attitudes and responses in all kinds of situations. Rather than asking, “Am I pleased?” in any given situation, we can ask instead, “In this moment, am I able to care?”
A Heightened Potential for Creativity Even While Our Brains Slow Down
by Krista Tippett, host
Few features of humanity are more fascinating than creativity; and few fields right now are more fascinating than neuroscience. Rex Jung puts the two together.
He spends half of his time working with people living with brain illness or injury. In this role, he says, he’s something like an “existential neuropsychologist.” And what he learns there informs the other half of his working life, in the laboratory applying the newest technologies of brain imaging to the interplay between creativity, intelligence, and personality.
What I like about this interview is the humanity Rex Jung brings to his science. This is a quality of all the scientists we bring on this program, I suppose — whether it’s James Gates on supersymmetry, Jean Berko Gleason on linguistics, or Mario Livio on astrophysics. I’m fascinated by the richness of this exchange between humanity and science when you simply shine a light on it. Rex Jung, for example, got interested in studying brains as a volunteer for the Special Olympics. He came to love and revere the participants with supposedly “imperfect” brains.
Rex Jung first made a mark in the field of deciphering the brain networks involved in intelligence. But he was always aware that there is something more than intelligence involved in lives of beauty and integrity and vigor.
Now he’s working on the emerging frontier of the study of creativity — and how it is different from, as well as related to, intelligence. He and his colleagues have notably helped identify a phenomenon they’ve called “transient hypofrontality.” That’s a daunting name for an experience many of us will recognize. Simply put, Rex Jung says that intelligence works like a “superhighway,” with massive numbers of connections being made between the different parts of the brain with speed and directness. When we become more creative, our powerful, organizing frontal lobes downregulate a bit. The creative brain is a “meandering" brain. The superhighways give way to "side roads and dirt roads," making possible the new and unexpected connections we associate with artistry, discovery, and humor.
One of the most helpful things about this conversation is the commonsense way Rex Jung describes the implications of his research. He says to take those famous stories we have of moments of great creative discovery — like Archimedes wallowing in his bath when he had his eureka moment — and be attentive to how we all prime our brains to be less directed, more creative. Some of us take a bath, some take a walk, some take a drink.
This cutting-edge research is a resounding affirmation of something we know we need in the 21st century but struggle to create: downtime. It’s a call to make this possible for our children too. Again, I think we all know this. For science to demonstrate it as a necessary precondition for creativity is bracing and helpful.
I appreciate the way this research validates the creativity of the everyday: of humor, of relationships, of social as well as personal, scientific, or artistic innovation. Rex Jung is also part of an emerging discipline called “positive neuroscience” — studying what the brain does well and, by implication I think, how what we are learning about our brains can be of benefit to our common life. He even believes that while there is loss in an aging brain — the phase many of our baby boomer brains have now entered — there is also a potential for heightened creativity in that very slowing down.
There are intriguing echoes between this research and neuroscientist Richard Davidson’s discoveries at the University of Wisconsin about how it is possible through behaviors — and with practice — to keep changing our brains across the lifespan. After listening to Rex Jung, I’ve become more aware of how I sometimes get myself into agonizing moments, when I need to be creative (on deadline, of course) but haven’t made the space for my frontal lobes to downregulate and let it happen.
I like feeling more in touch with my frontal lobes. I also like the way Rex Jung questions whether there is a necessary connection between creativity and difficult personalities (e.g. Steve Jobs). From my vantage point, I also feel we may be on the cusp of realizing new creative potentials in ourselves — again, in the everyday. I’ll let my brain meander here awhile to consider that. Talk about having your cake and eating it too; I get to delight in the purposefulness of meandering.
Turning the Gifts of Our Experiences Into Story and Laughter
by Krista Tippett, host
Full disclosure: until I moved to Minnesota, I didn’t get the Midwestern accent/humor thing thing that the movie Fargo so iconically captured. But I remember hearing Kevin Kling on NPR and staying with him despite myself, always being touched as well as amused at where his stories took me.
Having only heard him on the radio, I wasn’t aware of the disability he was born with — his left arm much shorter than his right, with no wrist and no thumb. Then, about ten years ago, he was in a catastrophic motorcycle crash. The Associated Press and the local newspapers in Minneapolis and St. Paul reported the accident. Eyewitnesses thought he had died. The accident had paralyzed his healthy right arm, the one which had always done the bulk of the work.
Reading his stories from and about his childhood — they are legion — it is clear that Kevin Kling was always a natural humorist. And life has also made him wise.
Our losses make us human, he’s learned. They give us our richness and our wisdom. But wisdom doesn’t come cheap; it costs us. This is one of the endless things he says that makes you think hard just before or after he makes you smile.
We get the whole package of Kevin Kling in this conversation: funny guy, poet, wise man. As deeply down to earth as he is — in life as on stage — he also has an innate love of literature and philosophy, weaving Shakespeare and Dante into his stories as easily as Goofus and Gallant.
He describes himself as touched by Dante’s underworld. It’s a reality he feels he landed in, and wrested himself back from, after his accident. He also plays with Dante’s language about the underworld as he considers his very being and presence in the world. Dis, he says, is “the place of shadow and reflection where you round off the rough edges of torment and desire. You go to this world of Dis. And it’s the prefix for ‘disability,’ which doesn’t mean ‘unability.’ It means able through the world of shadow and reflection. And so it’s just another way of doing things… it is literally having a foot in two worlds.” This is how Kevin Kling experiences the “dis” in the disability he was born with, as well as the one he acquired in midlife.
And being able-bodied, he helpfully points out, is always only a temporary condition.
Sit back, relax, and prepare to reflect and to laugh. It’s a rare, lovely gift of Kevin Kling to make us do both. He helps us remember what he knows so well — that our sense of self and our sense of humor are great gifts in facing whatever life throws at us. Once we turn our experiences into stories and laughter, they no longer control us. The challenge is in not merely resting with the stories that help us sleep at night, but claiming the stories we want to grow into.
Imagination Is More Important Than Knowledge
by Krista Tippett, host
I interviewed James Gates once before, a few years ago, when we were creating our show on Einstein’s ethics. We talked then about Einstein’s little-remembered passion for racial equality. James Gates spent part of his childhood in segregated schools — experiences he does not take for granted now that he is a preeminent, African-American physicist. But what I was so taken by in that conversation years ago was how he explained Einstein’s social activism in terms of the values and virtues of scientific pursuit. He spoke of empathy as a potential byproduct of the process of discovery. A scientist’s “What if…” questions can evolve into human “What if…” questions.
James Gates’ capacity to share both from his humanity and his life in science strikes me again, and comes through even more forcefully during our more recent conversation in “Uncovering the Codes for Reality.” This time, I spoke with him about his particular passions. He is a string theorist, with a special emphasis on supersymmetry — a quality in the universe which, if demonstrated, might help support string theory as a way to reconcile the greatest puzzle modern physics has tried to solve since Einstein. Simply put, the universe seems to follow different rules at the highest and the smallest levels of reality. String theory imagines that deeper than atoms, deeper than electrons, behind quarks, all of reality is brought into being by filaments of energy. These “strings” might span the whole of reality, and possibly explain why gravity behaves so differently from varying vantage points. Some leading string theorists posit that there are at least eleven dimensions — far more than the three or four dimensions we are equipped to experience.
That is about how far I comprehend the idea behind string theory. The lovely thing about a conversation with James Gates is that my incomprehension does not matter. He gives me much to chew on, and be enriched by.
For starters, he is just the latest voice — others include the astrophysicist Mario Livio, and the astronomers Guy Consolmagno and George Coyne — to let me in to the secrets and power of science’s language of mathematics. He calls mathematics a kind of sixth sense — an organ of “extrasensory perception” — for scientists. By way of mathematics, scientists perceived and described the atom years before microscopes sophisticated enough to view them could be invented. Now, with mathematics, he and his colleagues are tracing clues and cosmic hints that may never be provable with our five senses — but that may shift our very sense of the nature of reality.
One of the things James Gates and some of his colleagues have “seen,” for example, are underlying codes embedded in the cosmos — error-correcting codes, like those that drive computer programs. (Full disclosure: he’s a fan of The Matrix — so am I — and we hear a little bit of that iconic movie in our one-hour podcast.) This is just one of many observations he makes that raises questions, he says, that physics alone can neither answer nor probe.
He is also working on an interesting frontier of expanding science’s own imagination about mathematical equations in describing reality. He and his colleagues have recently employed something called adinkras, visual symbols that may be able to unlock truths that equations alone cannot capture, just as there are truths that only poetry can convey.
There’s also a lot of fodder for one of my fascinations with the realm of science — the creative, playful, even spiritual act of naming things, especially in physics: beauty quarks and anti-beauty quarks, sizzling black holes, and superstrings, for example. The term adinkras, which comes from West Africa tradition and connotes pictures having hidden meaning, carries on this tradition.
James Gates’ own delight is infectious and illuminating, as much when he is letting us in on mysteries of the cosmos as when he shares the human lessons of his life in science. I’ll leave you with this, for example, as an enticement. When I asked him what he thought of Einstein’s statement that “imagination is more important than knowledge,” he said he had puzzled over this for many years:
"For a long time in my life, imagination was the world of play. It was reading about astronauts, and monsters, and traveling in galaxies, all of that kind of stuff, invaders from outer space on earth. That was all in the world of the imagination. On the other hand, reality is all about us. And it’s constraining, and it can be painful. But the knowledge we gain is critical for our species to survive.
So how could it be that play is more important than knowledge? It took me years to figure out an answer. And the answer turns out [to be] rather strange… Imagination is more important than knowledge because imagination turns out to be the vehicle by which we increase knowledge. And so, if you don’t have imagination, you’re not going to get more knowledgeable.”
Desmond Tutu, the Embodiment of the Qualities of the God He Preaches: Compassion, Justice, Patience, Surprise, and Humor
by Krista Tippett, host
Desmond Tutu had long been at the top of my list of people I wanted to interview. I met him in the woods of southern Michigan in 2010, where he was beginning a few days of retreat. He was visibly tired, yet utterly delightful and larger than life. And passion overtook his tiredness as soon as we began to speak about the history he has helped to shape and how he has found meaning within it.
Desmond Tutu’s intellectual intensity and spiritual gravity are tempered by a mischievous wit and a raucous laugh. All of these qualities are abundant in conversation with him, and they infused one of the first stories he told me about his path to political resistance — his realization at some point that “if these white people had intended keeping us under, they shouldn’t have given us the Bible.”
He tells me of preaching and speaking with mature women who were generically called “Annie” by their white employers and grown men forever called “boy” — and handing them the “dynamite” of the Bible as they headed out of church and back into the world. When someone asks you who you are, he recalls telling them, you can say, “I am a God-carrier.” This kind of inner liberation, one life at a time, yielded eventually to an outer upheaval of one of the most entrenched governments of social brutality in modern memory.
As I finally approached this opportunity to speak with Desmond Tutu, I was also deeply aware that South Africa’s transformation, like its previous status quo — like life itself — has been dynamic, not static. The extraordinary accomplishment of a peaceful transition from apartheid to democracy has not led to the easy eradication of social and racial inequity.
Violent crime has assumed epic proportions. And, as Desmond Tutu puts it, he has been reminded that original sin doesn’t discriminate on a racial basis — South Africa’s new generations of black leadership are not immune from corruption both personal and political. As he has watched the aftermath of the Truth and Reconciliation Commission, he has realized ever more deeply that this was not a closed effort in time, but the origination of a national project that will be the work of generations.
One of his most sobering learnings in that light has been, he says, how “damaged” non-white South Africans were as they entered a new era — and damaged not merely by 50 years of apartheid, but by 300 years of colonialism, which distorted their very sense of themselves. He shares a stunning, saddening story of getting on a plane to Nigeria and seeing, to his great pride, that it was being flown by two black pilots — a first in his lifetime. When awful turbulence hit, he found himself reflexively wishing there were white men in that cockpit to lead them to safety. From such self-knowledge and personal suffering, Desmond Tutu has created a life of deep wisdom and healing, which he extends to all he meets.
At one and the same time, this is a human being overflowing with delight and a kind of infectious spiritual glee. I have never heard anything quite so joyful, or so moving, as the description Desmond Tutu gives me of voting for the first time at the age of 63, comparing it to falling in love — of being transformed from a cipher to a person. And just as vulnerably and powerfully, he reflects on the limits of politics, which turn out to be even more exacting than the decades of struggle that political freedom entailed.
He describes this in theological terms as a movement from being “free from” to being “free for.” He continues to long for a South African society defined not merely by equality under law but by true human flourishing. And the last few centuries of Europe’s history of world war, tyranny, and the Jewish Holocaust, he says — breaking into his raucous laughter even as he makes a deadly serious point — give him great hope for Africa’s eventual progress.
This same long, indeed biblical view of time animates Desmond Tutu’s lifelong insistence that “God is in charge.” He believes as passionately now as he did decades ago that evil, injustice, and suffering will not have the last word. Though he does, he jokes, often ask God if he would please make it a little more obvious that He is in charge.
In the end, Desmond Tutu is the embodiment of the qualities of God he preaches: compassion, a fierce love of justice, divine patience, a capacity to surprise, and a wicked sense of humor. His 21st-century stature as one of the leading clerics of the Anglican church born in England — which was implicated in every one of the 300 years of South Africa’s collective trauma — is another divine irony.
"At the center of this existence is a heart beating with love," says Desmond Tutu. "You and I, and all of us, are incredible… We are, as a matter of fact, made for goodness." Such statements fly in the face of reality as defined by newspaper headlines. But we can only wonder at them, ponder them, and honor them from the mouth of this man, who knows evil and injustice as intimately as he seems to know the mind and heart of God.
Meredith Monk’s Voice: A Sensory Experience That Reaches Beyond Anything in Print
by Krista Tippett, host
The singer and composer Meredith Monk is a kind of archeologist of the human voice. She’s also an archeologist of the human soul, with a long-time Buddhist practice. Through music and meditation, she reaches to places in human experience where words get in the way — and she shared with me what she has learned about mercy and meaning, about spirit and play.
For years we here at On Being have meant to, planned to, interview more musicians. Then in the last months, for varying reasons, conversations with Bobby McFerrin, Rosanne Cash, and now Meredith Monk fell into place. What joy.
After this experience with Meredith Monk, I’m shying away from describing her with the label “performance artist.” Her music is avant-garde, but it also feels primal, ancient. She’s called herself an archeologist of the human voice. The woman we meet in this conversation is also an archeologist of the human spirit. She has a long-time Buddhist practice. Playfully, and reflectively, she mines life and art for meaning.
As listeners to On Being know, I begin every conversation, however accomplished or erudite my guest, by learning something about his or her childhood. We can all trace interesting and substantive lines between our origins and our essence, wherever we are in life. These can be joyful. They can painful. But they are raw materials that have formed us. In Meredith Monk’s case, a life in music was almost inevitable; three generations of musicians preceded her. She struggled with eyesight problems and issues with bodily coordination. Her mother — a singer in the golden age of radio — found a program called Dalcroze Eurhythmics, which uses music to create physical alignment. Later on, as a young artist, Meredith Monk describes a moment of “revelation” that the voice could be flexible like the body — fluid like the spine — something that could dance and not merely sing.
She sang before she could speak in any case, as she tells it, and after experimenting with classical musical education in college, she gave herself over to her own distinctive voice, her own art, which is rich with songs that use words sparingly or not at all. As our show with her opens, you hear her singing a hauntingly beautiful piece, “Gotham Lullaby.” It is a demonstration of one of the things she talks about, eloquently, in this conversation — the power of music to reach where words can get in the way. This can be unfamiliar, even uncomfortable for the listener, as for the performer. But it is a deeply human experience, essentially contemplative and yet infused with the emotion that music can convey like no other form of human expression.
There is so much I carry with me out of this interview. It simply enlivens the world, and deepens its hues a bit. “The human voice is the original instrument,” she says, “so you’re going back to the very beginnings of utterance. In a way it’s like the memory of being a human being.”My teenagers stretch me to appreciate that this is the redemptive effect even of music that is strange and unfamiliar to my ears and my body. Meredith Monk brings this home to me as well, but differently.
I’m also challenged by her insistence that in our media-saturated world, we must, for the sake of our souls, continue to seek out direct experiences like live artistic performance. The very point of art, she says, like the very goal of spiritual life as the Buddha saw it, is to wake us up. The sense of transcendence we sometimes feel in these settings is not a separate experience but an effect of being awake, of being fully alive.
But this is too many words. Meredith Monk’s voice, and the radio we’ve crafted from it, is a sensory experience that reaches beyond anything I could print on this page. Listen. And enjoy.
And, if you have some time, I highly recommend listening to our playlist of Meredith Monk’s most meaningful songs from across the years, which she personally selected for us while doing research for my interview. Stream all eleven tracks and listen at your leisure.
Transforming Journalism by Moving and Mobilizing Readers
by Krista Tippett, host
Two girls walk through the market in the Abushouk Internally Displaced Persons (IDP) camp, home to nearly 55,000 people, near the North Darfur capital El Fasher. (photo: Ian Timberlake/AFP/Getty Images)
I wasn’t always a fan of Nicholas Kristof’s columns in The New York Times. I’d found them at times simplistic — seeming to reduce the dramas of entire nations to individual stories of despair and/or hope. But I’ve discovered that there is an art and science to this approach. It was fascinating — and quite inspiring — to sit down and get inside his head on all of this.
Nicholas Kristof has lived on four, and reported on six continents, including spending formative years based in China and Japan, before he took his place on the Op-Ed pages of the Times in the cathartic year of 2001. And as he tells us, he soon realized that opining, however brilliantly, left him preaching to the choir. People who already shared his perspective would cheer him on; those who didn’t would not take in what he had to say. The true power of his editorial platform, he realized, was its capacity to bring lesser-publicized events and ideas into the light.
He is credited, most famously perhaps, for bringing the unfolding genocide in Darfur to the world’s attention. But even that “success,” which brought him a second Pulitzer Prize, left Nicholas Kristof wondering and wanting. The world’s reaction to Darfur, in his mind, did not match the tragedy at hand or the moral responsibility it should have engendered. He wanted to understand the fact — as I’ve pondered with many guests on this program across the years — that horrific images and facts are as likely to paralyze and overwhelm as to mobilize us.
And so he started reading research on brain science and the biological basis for compassion, to explore what makes the difference between moral paralysis and compassionate mobilization. We are hard-wired as humans, it seems, to respond powerfully to a single individual’s story and face. But add a second face, and that response diminishes. Add facts, and multiply that story by hundreds or millions, and empathy withers altogether.
Nicholas Kristof reframed his journalistic approach accordingly. It is fascinating to hear him talk about this, and about his own enduring worries about its manipulative connotations. He works to balance the riveting story with the big picture. An empathetic response to a single human story, he’s also learned by way of science and his own experience, can become a portal to a larger awareness. Facts and context can then begin to play a meaningful supporting role.
In the early 2000s, I felt that Nicholas Kristof was simplistic about religion too. Granted, most Western journalists were on a new kind of learning curve with regard to religion. Over the years, I have been deeply impressed by his unusual willingness to learn in public — to admit that he did not understand something, to publish his surprise and self-reversals. He’s gained a very complex and contradictory view of religion as a force in the world — capable of nurturing the worst of violence and the best of care.
He also offers a penetrating view of the self-defeating liberal-conservative/secular-religious divide on global issues as in our domestic political life. He is one of the voices waking up the world to the global scourge of sex trafficking. He believes that this will ultimately galvanize the moral consciousness of this century as slavery galvanized the 19th century. But he is watching with dismay as, for now, the two most effective activists on this issue — liberal feminists and conservative Christians — cannot agree on a shared vocabulary for describing the problem, much less join their energies.
We spend a lot of words these days on the way journalism is changing — usually with an eye to the technological and financial pressures that are changing it. Nicholas Kristof embodies deep cultural shifts that are also transforming journalism as we have known it. His journalism is a new paradigm, I think, one I’m now grateful for. I’ll call it journalism as a humanitarian art. And I look forward to seeing how it continues to evolve.
The Wide Lens of History and the Conjoined Realities of Our Past
by Krista Tippett, host
I always read the MacArthur “genius” grant lists with great interest. They uncover people who are making great marks on the world in their chosen fields, but are usually out of the spotlight. This year the name that jumped out at me was Tiya Miles. I was intrigued with the description of her as a "public historian" illuminating the meaning of “ancestry and citizenship.” There was a personal connection for me, too, as the particular history she’s unearthed has resonance with the world of my childhood in Oklahoma, the former Indian Territory.
I grew up hearing a family legend about a Cherokee ancestor, though it was transmitted with little detail or enthusiasm. Tiya Miles’ African-American grandmother also had such a story, and she told it with pride. She had endless stories, and the vital link she made between past and present inspired her granddaughter. Tiya Miles took up the study of history. Then, as a graduate student, she stumbled upon the little-remembered history of some Native Americans, Cherokee landowners who held African-American slaves.
This is of course not merely a story about Cherokee people and black people but about all of us, all of our ancestors. The Cherokee were deemed one of the “Five Civilized Tribes” by the American government of that era. Growing up on land first given to, then taken away from, these indigenous peoples, I never questioned the backhanded presumption in this label they were given. Now, in conversation with Tiya Miles, I learn that their honored status was earned and conferred in part because of their “civilized” behavior of holding slaves.
This memory is as tragically nonsensical as any in the institution of slavery — so hard to reckon with and make sense of, it seems, that it literally fell away. Tiya Miles’ curiosity was first captured by a footnote about what was described as the first Afro-Cherokee marriage. She doggedly pursued a nearly non-existent trail to discover that this “marriage” was between a middle-class Cherokee landowner in his 40s and a teenage slave girl he had bought or procured by force. He had five children by her. He later won their freedom, but he never made her free. In arguing for their children, in fact, he proclaimed publicly that he had “debased” himself by bringing them into the world through union with her.
Tiya Miles’ other ground-breaking research has unfolded across a number of years at the Chief Vann House in Georgia — a grand antebellum plantation owned by a wealthy Cherokee chief. She is a lover of old houses. She knew that slaves worked this plantation as every other. But when she went for a tour of the house and its history in the 1990s, no mention was made of these hundreds of human beings who yielded the abundance of that land. They had been forgotten, nearly erased from memory. Tiya Miles vowed to create a more ethical telling of their story.
She is keenly aware of the complexity, indeed the multitudinous slippery slopes, of setting out to tell a story — any story — more ethically. As an historian, she is nearly haunted by her knowledge that every story can be told differently from many different angles. Her approach is fresh and innovative — and the emerging field of public history is distinctive — in its insistence on setting stories this painful in a context that can hold both the hardest truths and the seeds of their own healing.
I love the idea of looking more deeply at history to find vital openings, new possibilities, for starting fresh in the present. In the history of this radio program, my conversations have revealed this possibility over and over again — from looking more closely at Charles Darwin in order to reframe the “science-religion” divide or how Kwame Anthony Appiah has looked at history to see the surprising ingredients that allow profound societal and moral change to happen. I take heart in Tiya Miles’ learned insistence that even the most painful and divisive history is about “conjoined realities” — and that a wide historical lens will always reveal human beings’ connections to each other as something more generous than the darkest moments of our past.
Bringing Ancient Celtic Wisdom to Modern Confusions and Longings
by Krista Tippet, host
"It’s strange to be here," John O’Donohue wrote, referring to life. "The mystery never leaves you." And creating "The Inner Landscape of Beauty" was a lovely, if strange and mysterious, experience.
O’Donohue was an Irish poet and philosopher beloved for his books, including Anam Ċara — Gaelic for “soul friend” — and for his insistence on beauty as a human calling and a defining aspect of God. I sat down with him in the fall of 2007 for a wide-ranging, two-hour conversation. Then just a few months later, before it could go to air, he died in his sleep, suddenly, at the age of 52. And so this hour of conversation has become a remembrance of him.
He would surely see this as a serendipitous continuation of his life’s work — of bringing ancient Celtic wisdom to modern confusions and longings.
We ended the show with his reading of “Beannacht,” a poem of blessing he wrote for his mother upon the death of his father. A number of listeners who read and loved John O’Donohue’s work wrote to us after we posted this and other poems he read to me during our interview:
And when your eyes
The gray window
And the ghost of loss
Gets in to you,
May a flock of colors,
Indigo, red, green
And azure blue
Come to awaken in you
A meadow of delight.
And we’ve posted a pair of informative blog entries about our research into the beautiful, essential music for this show — including the style of Gaelic singing called sean-nos and the helpful contributions of an Irish listener from Belfast.
"Music," John O’Donohue said to me, "is what language would love to be if it could."