THE CHURCH

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The visible church is all the people who get together from time to time in God's name. Anybody can find out who they are by going to church to look.

The invisible church is all the people God uses for his hands and feet in this world. Nobody can find out who they are except God.

Think of them as two circles. The optimist says they are concentric. The cynic says they don't even touch. The realist says they occasionally overlap.

Frederick Buechner

YOU DO NOT HAVE TO SIT OUTSIDE IN THE DARK

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You do not have to do these things; not at all. God does not, I regret to report, give a hoot. You do not have to do these things - unless you want to know God. They work on you, not on him. You do not have to sit outside in the dark. If, however, you want to look at the stars, you will find that darkness is necessary. But the stars neither require it nor demand it.

Annie Dillard

THE CALLING VOICE

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The voice we should listen to most as we choose a vocation is the voice that we might think we should listen to least, and that's the voice of our own gladness.

What can we do that makes us the gladdest, what can we do that leaves us with the strongest sense of sailing true north and of peace, which is much of what gladness is?

Is it making things with our hands out of wood or stone or paint or canvas? Or is it making something we hope like truth out of words? Or is it making people laugh or weep in a way that cleanses their spirit?

I believe that if it is a thing that makes us truly glad, then it is a good thing and it is our thing and it is the calling voice that we were made to answer with our lives.

Frederick Buechner

SINE QUA NON OF ART AND RELIGION

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An old silent pond.
Into the pond a frog jumps.
Splash!
Silence again.

It is perhaps the best known of all Japanese haiku. No subject could be more humdrum. No language could be more pedestrian. Basho, the poet, makes no comment on what he is describing. He implies no meaning, message, or metaphor. He simply invites our attention to no more and no less than just this: the old pond in its watery stillness, the kerplunk of the frog, the gradual return of the stillness. 

In effect he is putting a frame around the moment, and what the frame does is enable us to see not just something about the moment, but the moment itself in all its ineffable ordinariness and particularity. The chances are that if we had been passing by when the frog jumped, we wouldn't have noticed a thing or, noticing it, wouldn't have given it a second thought. But the frame sets it off from everything else that distracts us. That is the nature and purpose of frames. The frame does not change the moment, but it changes our way of perceiving the moment. It makes us notice the moment, and that is what Basho wants above all else. It is what literature in general wants above all else too. 

From the simplest lyric to the most complex novel and densest drama, literature is asking us to pay attention. Pay attention to the frog. Pay attention to the west wind. Pay attention to the boy on the raft, the lady in the tower, the old man on the train. In sum, pay attention to the world and all that dwells therein and thereby learn at last to pay attention to yourself and all that dwells therein. 

The painter does the same thing, of course. Rembrandt puts a frame around an old woman's face. It is seamed with wrinkles. The upper lip is sunken in, the skin waxy and pale. It is not a remarkable face. You would not look twice at the old woman if you found her sitting across the aisle from you on a bus. But it is a face so remarkably seen that it forces you to see it remarkably, just as Cezanne makes you see a bowl of apples or Andrew Wyeth a muslin curtain blowing in at an open window. It is a face unlike any other face in all the world. All the faces in the world are in this one old face. 

Unlike painters, who work with space, musicians work with time, with note following note as second follows second. Listen! say Vivaldi, Brahms, Stravinsky. Listen to this time that I have framed between the first note and the last and to these sounds in time. Listen to the way the silence is broken into uneven lengths between the sounds and to the silences themselves. Listen to the scrape of bow against gut, the rap of stick against drumhead, the rush of breath through reed and wood. The sounds of the earth are like music, the old song goes, and the sounds of music are also like the sounds of the earth, which is of course where music comes from. Listen to the voices outside the window, the rumble of the furnace, the creak of your chair, the water running in the kitchen sink. Learn to listen to the music of your own lengths of time, your own silences. 

Literature, painting, music—the most basic lesson that all art teaches us is to stop, look, and listen to life on this planet, including our own lives, as a vastly richer, deeper, more mysterious business than most of the time it ever occurs to us to suspect as we bumble along from day to day on automatic pilot. In a world that for the most part steers clear of the whole idea of holiness, art is one of the few places left where we can speak to each other of holy things. 

Is it too much to say that to stop, look, and listen is also the most basic lesson that the Judeo-Christian tradition teaches us? Listen to history, is the cry of the ancient prophets of Israel. Listen to social injustice, says Amos; to head-in-the-sand religiosity, says Jeremiah; to international treacheries and power plays, says Isaiah; because it is precisely through them that God speaks his word of judgment and command. 

And when Jesus comes along saying that the greatest command of all is to love God and to love our neighbor, he too is asking us to pay attention. If we are to love God, we must first stop, look, and listen for him in what is happening around us and inside us. If we are to love our neighbors, before doing anything else we must see our neighbors. With our imagination as well as our eyes, that is to say like artists, we must see not just their faces, but the life behind and within their faces. Here it is love that is the frame we see them in. 

In a letter to a friend Emily Dickinson wrote that "Consider the lilies of the field" was the only commandment she never broke. She could have done a lot worse. Consider the lilies. It is the sine qua non of art and religion both.  

Frederick Buechner
Whistling in the Dark