Dr. Sherwin Nuland died this week at the age of 83. He became well-known for his first book, How We Die, which won the National Book Award in 1994. For him, pondering death was a way of wondering at life — and the infinite variety of processes that maintain human life moment to moment. He reflects on the meaning of life by way of scrupulous and elegant detail about human physiology:
“Wonder is something I share with people of deep faith. They wonder at the universe that God has created, and I wonder at the universe that nature has created. This is a sense of awe that motivates the faithful, motivates me. And when I say motivates, it provides an energy for seeking. Just as the faithful will always say, ‘We are seeking,’ I am seeking.”
We remixed this interview and present it in his honor.
We have the responsibility to be kind to one another, and that responsibility extends to celebrities, too. We’re the ones who placed them on their teetering pedestals. Justin didn’t ascend his without our help. So when they tumble off, the fact that we cheer and sneer is awful, hypocritical, and deeply, sometimes savagely unkind.
As for people of faith, we should be rushing to his aid in whatever way we can, which for the vast majority of us is prayer. Pray for Justin. Pray for Justin’s friends. Pray for God to send Justin his Anam Cara - soul friends, the rarest and most valuable and necessary kind for any of us to have as we navigate our lives on this side of the veil.
Don’t shame Justin. Instead, remind him of who he is: A beloved child of the Most High God whose love for Justin is the same as it was last week and last year and every moment since he took shape and form in his mother’s womb. There is nothing Justin can do to make God love him any less and there is nothing Justin can do to make God love him any more.
Grace isn’t a get-out-of-jail-free card, but it covers not just a multitude of sins - it covers them all. Even if you’re a celebrity. Even if you act like an entitled, spoiled brat. Even if you get drunk and pee in mop buckets, or swear like a sailor at the cop who’s arresting you. Even if you get behind the wheel of a car drunk or stoned and you drive it and you hit someone and you kill them. Grace is still there. Grace is the final word and we should remind Justin of that.
In the video "Lemonade", CocoRosie’s characters wear colorful mustaches and exquisite 19th century inspired gowns while strolling through footage of a hauntingly beautiful Victorian-style mansion. The interaction between light and dark themes resonates deeply in their work, as Sierra Casady notes:
“In general, light and dark are something to balance one another in life, and as children we have not yet decided and differentiated which things are light and dark so there is this murky experience of what’s happening, we haven’t decided what is good and bad yet.”
What the church does with its creeds and its doctrinal tradition, it flattens out all the images and metaphors to make it fit into a nice little formulation and then it’s deathly. So we have to communicate to people, if you want a God that is healthier than that, you’re going to have to take time to sit with these images and relish them and let them become a part of your prayer life and your vocabulary and your conceptual frame. Which, again, is why the poetry is so important because the poetry just keeps opening and opening and opening whereas the doctrinal practice of the church is always to close and close and close until you’re left with nothing that has any transformative power.
His entire conversation with Krista Tippett is riveting. "The Prophetic Imagination," a good episode to listen to this time of year.
Joseph Campbell. His writings on semiotics, comparative religion and mythology (in particular ‘The Power of Myth’ and ‘The Hero With a Thousand Faces’) helped inspire the framework on which I built my character Robert Langdon. The PBS interview series with Joseph Campbell and Bill Moyers was hands down the most thought-provoking conversation I’ve ever witnessed. Campbell’s breadth of knowledge about the origins of religious belief enabled him to respond with clarity and logic to some very challenging questions about contradictions inherent in faith, religion, and scripture. I remember admiring Campbell’s matter-of-fact responses and wanting my own character Langdon to project that same respectful understanding when faced with complex spiritual issues.
—Dan Brown, author of The Da Vinci Code, in response to being asked about the one writer he could meet, dead or alive, during an interview for The New York Times Sunday Book Review.
Of all the people he could meet, I must admit that I’m rather surprised to see it is JC.
~Trent Gilliss, senior editor
Aztlan, Anew: U.S. Latinos Leave Catholic Church to Seek Ancestral Heritage
"What we’re doing is praying with our feet, with our bodies."
Centzi Millia, a 31-year-old Aztec dance instructor prepares for an afternoon class, wrapping her long blonde dreads into a bun and gathering small children into a circle. “We honor the Mother Earth with our bare feet, and the vibrations we create — the Mother Earth as a living being feels those vibrations.”
The dance starts in a flurry of drum beats and the bass jangling of Ms. Millia’s chachayotl, the thick anklets of Aztec danzantes made of rattling seed pods.
"It was actually at Knott’s Berry Farm, of all places, that I discovered the danza,” Ms. Millia says after class, sitting in the sunlight of Kuruvunga Springs, a remnant site of the ancient Tongva people nestled between Santa Monica Boulevard and Wilshire. “My parents would say those were the dances our people used to do, but that’s as far as they would tell me.”
Eighteen years later, Ms. Millia is one of several Aztec dance teachers in Southern California. A child of Mexican immigrants, she represents part of a trend among Latinos in the U.S. who are shifting away from the Roman Catholic Church. Though the Church still holds sway among new immigrants from Latin America, the children of these immigrants have been turning toward forms of Protestantism or are choosing not to affiliate with any type of religion.
However, Ms. Millia and some of her second- and third-generation peers raised in traditional Catholic households have left the Church not to follow any alternate form of Christianity or atheism, but to pursue the spiritual paths of their pre-Christian ancestors. As she pursued dance, Ms. Millia’s elders taught her how it was reshaped and used as a tool by Spanish conquerors to lure the local people away from their native, or indigenous, beliefs and toward Catholicism.
Instead of dancing for Mother Earth, Ms. Millia says that dances became offerings to the Virgin Mary. The special days of celebration for the native people became Catholic holidays. These kinds of revelations pushed her away from the church.
All this journalistic analysis around the ‘Nones’ as the demise of religion. But so many of them are ethically and spiritually passionate. The new non-religious represent the evolution of faith, not its demise. They will restore the great traditions to their own deepest truths.
There is something very comforting about ritual. I have friends who go to church or sit at the Zen center. I respect that. The ritual of writing fills that need for me. Writing has been a kind of spiritual devotion for me. Listening to language, feeling stories unfold and poems arrive, being present to the page – I do not think of it as a career, I think of it as a devotion. That is a big difference to me.
Seane Corn Demonstrates “Body Prayer”
by Trent Gilliss, senior editor
For Seane Corn, yoga is much more than a practice in flexibility. It’s a way of applying spiritual lessons to real-world problems and personal issues. One way she channels her energy and love is through a practice she calls “body prayer,” as she shares in this video from Yoga from the Heart.
She shared this perspective about “body prayer” with Krista Tippett in our show, "Yoga, Meditation in Action":
"I trust that if I do my yoga practice, I’m going to get stronger and more flexible. If I stay in alignment, if I don’t push, if I don’t force, then my body will organically open in time. I know that if I breathe deeply, I’ll oxygenate my body. It has an influence on my nervous system. These things are fixed and I know to be true.
But I also recognize that it’s a mystical practice, and you can use your body as an expression of your devotion. So the way that you place your hands, the ways that you step a foot forward or back, everything is done as an offering. I offer the movements to someone I love or to the healing of the planet. And so if I’m moving from a state of love and my heart is open to that connection between myself and another person or myself and the universe, it becomes an active form of prayer, of meditation, of grace.
And when you’re offering your practice as a gift, as I was in that particular DVD, as I do often, I was offering to my dad who’s very ill. And so when I have an intention behind what I’m doing, then it becomes so fluid. Because if I fall out of a pose I’m not going to swear, I’m not going to get disappointed or frustrated. I’m going to realize that this is my offering, and I don’t want to offer that energy to my father. I only want to offer him my love. And so I let my body reflect that. And when you link the body with the breath, when my focus is solely on getting the pose to embrace the breath that I’m actualizing, then the practice, it’s almost in slow motion.
It has a sense of effortlessness. When people can connect to that, it takes the pressure off of trying to do it perfectly. It just becomes a real expression of their own heart. Sometimes it’s graceful and elegant, other times it’s kind of funky and abstract, but it’s authentic to who the person is. It’s their own poetry.”