Unify

a watercolor from 2003, House On Fire

a watercolor from 2003, House On Fire

Stay with me. I actually have a point.

If ever I teach actors again, or coach people in any endeavor, or communities/businesses seeking betterment, I will only have two things to teach: 1) Grounded-ness and 2) Focus placement on the unifiers. These two concepts are really  one looping concept but for ease and the sake of being understood, I will offer them independent of one another.

As focus placement goes, an actor on the stage has two options and depending on the focus placement they choose, they will either create the play or destroy it. A focus on how they look or sound or feel destroys the play. It is a self-focus in an art form of relationship (all art forms are made vital in relationship). A self-focus breaks the relationships and effectively locks the audience out of participating in the story. It makes the actor giddy with fear, easily distracted, alone. Conversely, the actor can focus outside of themselves, on the other actors on the stage, on the energy between, on their pursuit. An outer-focus creates relationships and serves as a magnet that pulls audiences into the story. It facilitates participation, creates relationship, and shared experiences. It unifies. Literally.

The actor who listens to him/herself pulls up their root. They unground themselves. The actor whose focus is outward, who is actively pursuing relationship, creates grounding. In fact, they must be grounded to create vital relationships. It is a first principle. Grounded-ness begets grounded-ness; it unifies. It strengthens. It invites. It clarifies truth.

The same principles apply off the stage or out of the studio. It is, however, more complex off the stage. It is much, much, more sticky.

And here’s the point: It has been said that nothing is better at uniting a community than having an enemy. It’s true. A common enemy provides an outer focus. It provides another team to defeat. It works so well that leaders across the ages, leaders who would otherwise look insipid, leaders who, like a bad actor, have a self-focus, a control need, have concocted all manner of enemies. It is a deflection. It works for a short while but what starts as false unity strips a community of its true binder. It separates and splits. It diminishes. It destroys.

Here’s the sticky part. One of the oldest tricks in the book for controlling a community is to split them, to locate the enemy within the community. And then, for good measure, magnify the split. In the early colonies – that ultimately became The United States of America – it was a strategy known as The Giddy Masses (see Ronald Takaki’s excellent book A Different Mirror). Make the people giddy with a false enemy. Uproot them. Deflect them so they cannot join in relationship and be strong as a community. Self-focused leaders cannot survive a unified, healthy populace. It is a strategy: separate the people so they cannot see the movement of power.

Today I started to read the news but stopped after only a minute. Building walls. Expelling Muslims. Enemy creation everywhere! Fox news and MSNBC are great giddy creators. It’s a bad story poorly told. It weakens all players. The primary actors do harm to their audience. Grounded-ness, a first principle, can only come to all when the actors choose to focus on the relationships, see the unifiers, to create rather than destroy. Groundedness comes when the audience engages, questions what they are being told and open (rather than close) their minds.

Grounded-ness. Focus placement on the unity. The principles that make great art also make great society. Fear, the province of the bad actor, the lot of a passive audience, although temporarily effective, can only destroy the play.

Save

Save

Stand In It

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a detail from a recent painting

A surprise package came in the mail. It was a gift from David, my artist’s artist. He sends me things to feed my artist soul, to stir my pot or help me sort out my dilemmas. This gift is more timely than most; it is especially relevant for me now. It is a book of photographs and essays by Walter Kaufmann called Time Is An Artist. I’ve barely cracked the cover and already know it carries the wind that will fill my becalmed life-ship.

This is a quote from the first essay: We always live at the limits, but we are rarely aware of it.

I woke up this morning awash with gratitude for a man who stood in line behind me at an airport ticket counter over 30 years ago. I was returning from Europe. I had a hundred dollars and some lose change in my pocket. I was exhausted. I’d flown from London and landed in a blizzard. My connecting flight from D.C. to Denver was cancelled. Because I was traveling on a cheap open-ended student ticket, the cancelled flight meant I was stuck with no way home. I didn’t know what to do and was too tired to sort it out. I was desperate and lost in my desperation. That’s when the man tapped me on the shoulder. He was a guy in a rumpled business suit. That’s all I remember about him. He was also trying to get home. He’d just heard someone mention an airline offering a cheap flight to Denver. It was $89.00 ($100 with tax). I ran for the ticket counter and snagged one of the few remaining tickets.

That’s it. That’s what I remember about this man who tapped me on the shoulder. To him it was probably a little thing. To me it was enormous. I needed hope beyond desperation. I was investing in a story of limitless problems and was met with a moment of generosity.

It seems that I am in a life course, a graduate school for detachment. Last night P-Tom shared a quote that was important to him when he was doing his chaplaincy in a hospital: Don’t’ just do something, stand there (a reversal of the known quote). Stand there. Amidst the grief and the loss and the mess, sometimes it is essential to do nothing but offer presence. The man at the airport gave me his presence. Beyond his situation he was listening to my struggle.

Detach from your story and the gift will be gratitude. What rolls through our minds is nothing more or less than a story. Eckhart Tolle tells us the story is a force that pulls us out of the Now. Carlos Castaneda writes that Don Juan taught him 3 steps on the warrior’s path: Detach. Make a choice. Own the choice. One of the primary reasons people meditate is to quiet the mind. In the quiet it is possible to see the story as just that, a story. Detachment, in this sense, is not disengagement from life or cold aloofness from reality. It is the doorway to life. Stand in it and not the story of it.

Gratitude lives in the Now. Where else?

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another detail from another painting. kerri says this one looks like gratitude

The man at the airport was on my mind because I have learned in this life-course that gratitude is best served in thimbles: the taste of the pear, the sun on your face. The man tapping your shoulder, “Hey, I just heard….” I thanked him before running but the real gratitude came later. Gratitude came again this morning because I was telling stories of the good angels who’ve populated my path.

Real gratitude for this life lived perpetually on the edge is often lost when the expectation-bar is set too high. To be grateful for your life – your whole life – is… an abstraction. It requires a story that pulls you away from this bite. It is a bucket too big. Savoring is a slow affair, available in the smallest taste, right now.

 

 

Love What You Do

a detail from my painting, May You Be

a detail from my painting, May You Be

It is cold and the lake is very still. It’s one of the things I love about living next to the lake: one day it is glassy stillness, the next it is an angry torrent. It is alive and has many, many faces.

Quinn used to say, “There are 5 billion people on this planet and you’re the only one who gives a damn about what you are doing or how you are doing it.” That was some time ago. There are now 7 billion people on the planet but I’m certain the equation remains the same. If you stop your forward motion because of what others might think, you are indulging in a delusion. The other 7 billion people are primarily concerned with themselves, not you. The deep water lesson: do what you love because you love to do it. There aren’t nearly as many limits as you pretend.

I thought of Quinn the other night because I have a new hero. His name is Dan Navarro. He’s a troubadour, a singer songwriter, and was performing at Cafe Carpe in Fort Atkinson, about an hour and a half drive from home. Kerri has long been a fan and introduced me to the music of Lowen & Navarro. For many decades, Dan Navarro wrote and performed with his friend and creative partner, Eric Lowen. They were brilliant together. A rare fit, a true creative team, Eric Lowen died of ALS in 2012. He and Dan wrote and performed as long as humanly possible after Eric’s diagnosis. They loved to write. They loved to perform.

A few months ago Kerri and I were listening to a Lowen & Navarro album and wondered what had become of Dan Navarro so we googled him. To our great surprise we discovered the impending Fort Atkinson stop on his latest mini tour.

Cafe Carpe is a smallish place and Dan Navarro is an accessible guy so I wasn’t surprised when, before the concert, he came over for a chat. He and Kerri talked about the pain of disappearing royalties and the radical changes technology has brought to music making and music selling. I wondered how many times he’s been asked about the loss of Eric and how it must be the white elephant in every performance as well as every conversation; the people coming to see Dan Navarro are fans of Lowen & Navarro. When it came up in our conversation he was gracious and spoke openly of missing his friend everyday.

He is putting the final touches on a solo album due out in March. “Who knows how it will be received.” he said. “And who cares. You do what you love to do and put it out into the world. That’s the best you can do.”

He took the stage, a troubadour in his power and his prime with the ease that can only come from doing with his life what he was meant to do. “People ask me about retiring…,” he spoke into the mic, “…and I will never retire. I don’t know what that means. I love what I do and will always do it.” he said, sliding into a song that left us no alternative but to follow.

 

Be Clumsy

a detail of my painting, May You Be.

a detail of my painting, May You Be.

Clumsy (klum’ ze) adj. 1. lacking dexterity, grace or skill; awkward. 2. ungracefully shaped or made; unwieldy. 3. awkwardly or unskillfully said or done, ill-contrived.

“We don’t allow ourselves to be clumsy,” Kerri said. “Life is clumsy.”

Many years ago I read a commentary that suggested we moderns have a harder time of feeling good about ourselves than people of ages past. The argument went something like this: we have an impossibly high standard to meet and it is mostly illusory. For instance, our predecessors compared themselves and their successes against a relatively small village populace. We are swimming in pool that stretches around the earth. The athletes in our ancestral villages ran against their neighbors, the artists created for a specific purpose that served a tangible need in their community. Our young runners know to the hundreth-of-a-second what greatness requires. They run against the world. Our artists rarely know outside of their own inner imperative why they are creating. With no outer limit they spend a great deal of time wondering if their work has any impact or greater significance. With no outer limit it has no defined audience or community. Stephen, a gifted and prolific artist, used to ask, “Why don’t people recognize the value of art?”

The argument is largely a question of access. Our predecessors had limited and very abstract access to the news of the day, to the happenings beyond their region. We have a 24-hour global news cycle that comes to us on multiple devices that are designed to grab and keep our attention. It is not passive. On our multiple devices we are bombarded with images and messages of what we should look and feel like. Yet, almost all of the images populating our personal measuring stick are constructed. They are manipulated, retouched, powdered and Photoshopped. Legs are stretched. Wrinkles are removed. Sunsets are filtered. We measure ourselves against illusions.

Thus, intermediaries are everywhere. Interpreters abound. I rarely go into a gallery without a curator telling me why the work on the walls is important. The news of the day makes us the rope in a tug-of-war of interpretation.

Art, like life, like deep spirituality, requires direct engagement. It is made rich in the rough draft and the mistake. The broken road is interesting, vital. Learning is a process that takes time. It is messy. It is clumsy. It is not straight, paved, and has no road signs. And, it cannot be walked alone.

There is no forgiveness (of self or other) on the path of perfection; forgiveness is in short supply when the standard is both impossible to attain and an illusion. On the clumsy path, on the messy and muddy road, lives grace, generosity of spirit and deep forgiveness.

Clumsy (klum’ ze) adj. 1. Human

May You Be

May You Be

 

Taste It Fully

ice circles on the lake

ice circles on the lake

We heard the angry barking of crows before we saw them. They were haranguing an owl. It flew into a tree only a few yards in front of us. For several moments, through the ruckus of the crows, we stared at the owl and it stared at us. Time stopped. Nothing else existed. The owl’s eyes, our breathing, the crow’s chorus.

For our wedding gift, H and Teru sent several collections of poetry, “Manuals on marriage,” they wrote in the note that came with the poems. Kerri and I are savoring the poems, reading one or two aloud to each other every day. They are a source of warmth and inspiration during these cold dark winter months. A poem cannot be rushed or read merely. It must be slowly tasted. It is meant to be entered like a meadow; to be experienced. Try to make sense of a poem and you will miss it. Just like life.

She said, “inner quiet is low maintenance,” and I laughed. Yes it is. The trick is in getting quiet. It is not something that can be found or achieved. It is not a place or a state-of-being. It is what happens when you stop looking for it. Like the hermit says to Parcival when the Grail Castle suddenly reappears, “Boy, it’s been there all along.”

For years Sam the poet was afraid of his poems. Like all great art, his poems, his art, revealed the artist, and so he kept them locked up, un-tasted. He came alive and supremely dissatisfied when he finally unleashed his poetry. He let himself want more but also refused to let himself experience more; one foot on the gas, one foot on the brakes. To taste fully one must be willing to be tasted.

A snippet of a poem (a koan imbedded in a poem), RELAX by Ellen Bass:

The Buddha tells a story of a woman chased by a tiger.
When she comes to a cliff, she sees a sturdy vine
and climbs halfway down. But, there’s also a tiger below.
And two mice – one white, one black – scurry out
and begin to gnaw at the vine. At this point
she notices a wild strawberry growing from a crevice.
She looks up, down, at the mice.
Then she eats the strawberry.

Taste your moment. Taste it fully.

I wrote in my black and red notebook a simple recognition. The field of possibilities cuts both ways: in your despair you must remember that anything is possible. In your joy you must remember that anything is possible. Tiger above (the past), tiger below (imagined future). Do not reject your moment or attempt to hold on to it – both are methods of missing the moment. Taste it regardless of the circumstance. Taste it fully.

 

 

 

Unfetter Kindness

Tripper Dog-Dog-Dog on a roadtrip

Tripper Dog-Dog-Dog on a road trip

Tripper Dog-Dog-Dog has no problem communicating his needs. I know without doubt when he wants to go out. I know when he wants his belly scratched or have his ears rubbed. He lets me know where he expects to be scratched. He is abundantly clear when food is his need. He does not second-guess his needs. He does not doubt his desires or confuse himself with obsessing over his reasons why.

Love is one of his needs. To give it and to receive it, exuberantly or tenderly, he does not invest in how I receive or return his love. He is not vulnerable because he has no need to hide or color his love-need. He has no brakes on his exuberance because it is pure, innate, and without story.

One of my favorite exercises to assign during my teacher/consultant phase was the Angel exercise. The assignment was simple: For three hours be an angel to someone. The only requirement was that the recipient could not know. Be an angel with no expectation of recognition; write about what you discover. The assignment was always greeted by a flurry of protests and questions (“I don’t know how…,” or “What does it mean to be….”). Angel-ing is scary business!

Once, to experiment, I assigned the opposite: be a devil/trickster. Instead of protests there were gales of laughter and excitement! No one asked “how.” In midst of their exuberant, fearless plotting and scheming, I reversed the design. Before they went into the world to demonize, I required them to flip their plan and do the opposite to their intended target: be an angel. Their sudden fear was palpable. “Now that you know how to torture this person, do the opposite,” I said. “Be their angel.”

Regardless of how we entered the assignment, the students/clients would return the following week exultant. Their experiences of Angel-ing, of unfettered kindness had profound blowback. They talked of their pre-Angel terror and the unexpected thrill that came with unfettered secret service to another person. They talked of the clarity that came with Angel-ing. They had fun. They felt good. They felt alive. Everything became simple. The greatest surprise of all – something that in this season we see on posters, holiday advertisements, Hallmark cards and screen-savers, something that is a cliché when proffered but rarely experienced: kindness begot kindness. Kindness begets kindness. Kindness clarifies life when it comes with no expectation of reciprocity. Kindness simplifies inner debates when it is wielded without need of reward.

Dog-Dog loves unconditionally. Love may be his only need. For Dog-Dog there is, I suspect, no distinction between giving and receiving. His exuberant love is not meant to gain access to heaven or to change the world in any way. It is without agenda. Angel-ing is like that…

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Let’s Be Us

a detail from my painting, May You Be

a detail from my painting, May You Be

[continued from Put Down The Hammer]

It is night and I am sitting alone in the sanctuary. I’ve been setting up chairs for a performance and now that the job is complete I’m taking a moment to savor the silence and review this day.

The temperatures have been unseasonably warm and when I opened the back door this morning for Tripper Dog-Dog-Dog I was greeted by the sound of birds singing. It was an April sound in the middle of December. I was so taken by the sound that I called Kerri, “Come and listen to this!” We stood in the doorway for many minutes. It was beautiful as well as a little disconcerting. “El Niño or global warming?” I asked.

Arnie wrote a comment to my last post. He asked: Can it be that we don’t want the ‘we’ in our society – we aren’t comfortable with the ‘we’ and only feel our identity by living out the “us and them”? I am an idealist but, of course, he is right. David Berreby wrote a terrific book called, Us and Them. We are hardwired to perceive the world through a lens of Us and Them. It’s a survival imperative to distinguish between friend and foe. However, a point that is most salient to me: the delineation of Us is mutable. It is not a fixed state but largely circumstantial. That is especially true in this modern age. There is an out of fashion phrase used to describe these United States: a melting pot. There could not be a better metaphor for an ever fluid definition of US. We need not melt but we do need to acknowledge that we are in the same pot. “Give us your tired, your hungry, your poor,…” is central to our national identity (not always central to our national rhetoric) and is a sacred, central statement of an ever-changing US.

We are among the first humans in history to have the pleasure of seeing our planet Earth from space and, as it has been said, from space there are no visible borders. The definition of US depends upon how far out we pull the camera. From space WE are the human race. There are a bevy of alien invasion movies that carry a common theme: when attacked WE inhabitants of Earth will pull together. Or, said another way, until there is a THEM that invades from another planet, WE will be incapable of recognizing full inclusion in the Earth pot.

To Arnie’s point, there is a lot of responsibility that comes with WE. A few months ago, Kerri and I were in Chicago for the day and passed a homeless man, holding a filthy cardboard sign asking for help. He was young, in his early 20’s, and more filthy than his sign. He was suffering. We walked by him. On the train home we had a long conversation about our responsibility to that young man or to any member of our community that is suffering. Many years ago I was with a student group in Bali. We were invited to Udayana University and one member of our group gave a talk about homelessness in America. Our Balinese hosts were shocked. “How could a member of your community be without a home?” they asked. The concept was abhorrent to them, unthinkable. “You are the wealthiest people on Earth…,” they stammered. Later, a Balinese professor said to me, “When you came here today, we wanted to be like you Americans. As you leave, we are proud to be Balinese.”

Us. Them. We. Like me. Not like me. Me. Little words with far-reaching impact. I am not the same person I was only a few years ago. I find it infinitely hopeful – especially now – that, just like me, the delineation of US is mutable, ever changing. It begs the question, Who are WE? And, to another of Arnie’s points, the answer to the question depends upon where we decide to place our focus.

Put Down The Hammer

photo-3[continued from BE WE]

The woman behind the counter at Starbucks, someone I’d never seen before, leaned forward, and chirped, “David! I loved your wedding!” She laughed at the look of confusion that must have crossed my face and added, “No, you don’t know me.” One of our invited guests brought her as a date. “Best wedding ever!” she exclaimed as Kerri joined us. Because the day is a blur, Kerri and I enjoy hearing people’s accounts of our wedding day and she enthusiastically told us of her experiences. It was nice. It was personal.

We took our coffee to a table and joined some friends. After a few moments, the woman behind the counter came to our table. She brought some samples, some health supplements and cosmetic products, “I only do this Starbucks job for the health insurance,” she said, “This is really my business,” she said, sliding the tiny packages in front of Kerri. “You never know who might be interested,” she chirped and blushed before making an exit. It was awkward. It felt awful. We went from personal to prospect in one inelegant step.

There is an old saying that came to mind: When the only tool you have in your box is a hammer, everything looks like a nail.

Many years ago, in a time of great financial desperation, I worked with some financial folks who recruited me to sell their stuff. I learned their processes, got my licenses in record time, and for a few horrid months, tried to sell their wares. I hated it. The work was highly profitable but the cost was highly destructive. Everyone looked like a prospect. To every social encounter, every friendship, every casual meeting, I brought an agenda. For a few months I looked through a lens that made every person, every circumstance, a commodity-opportunity. It reduced life (my life) to an ugly basic. It was toxic. Anna taught me the very appropriate word for what I felt: vampiring. It was a great lesson. It made me pay attention to the intention I bring to my life.

It’s what the woman at Starbucks felt, too. She was desperate. She, like a former version of me, sold the greater need to satisfy the lesser. Vampires are insatiable and stuck in an untenable lifeless-lens: everyone looks like a food source. Desperation is like that. It is easy when desperate to sacrifice friendships for prospecting. No one likes to be a food source.

As I perused this years bountiful crop of ugly images of Americans fighting and crushing each other for cheap toys and electronics, the annual product-stampede/people-crush-and-fist-fight on Black Friday (formerly known as Thanksgiving), I couldn’t help but think about the Starbucks lady. Desperation wears many masks but always makes others look less-than-human. Communities thrive when they feed each other and die when they feed on each other. This is not a mystery.

Commodity is supposed to service community, not the other way around. Vampiring is the only visible path when community loses itself to commodity; it inadvertently tosses away its many tools and leaves itself with only a hammer. It’s a question of order as much as a question of values. There is nothing wrong with commodity when the order of value is respected. Without a WE there can only be a very confused, desperate, and lonely I. It should not come as a surprise that desperate and lonely people do desperate and lonely things.

This is the season of the return of the light. We need do nothing more to create the miracle than put down the hammer and look at others as if they are more than nails.

[to be continued]

Make Art So.

at one time even this was considered a new technology

at one time even this was considered new technology. numbers, too!

Chet said, “But where’s the human in all of it?” His question took me by surprise. It is a question that often puzzles me. I was telling him about my recent inner earthquake, the moment that the train of technology jumped the tracks and collided with my art engine. Both exploded.

For weeks I’d been looking forward to a full day of exploration at the Chicago Art Expo. Hundreds of contemporary galleries from around the world assembled in one place, each showing their premiere work. As an artist these events have always fed my soul. This time, with the exception of a few older masters (a Chagall, a Picasso), a Hockney that made me smile, and few pieces from The San Francisco Figurative painters, I was unmoved. Worse, I was uninterested. As I wandered through the exhibits I listened to curators over and over again working hard to give context to the art. The viewers had no immediate access to it. They (like me) needed an explanation to access its relevance. I felt as if I was watching art-priests interpreting god for parishioners who had no expectation of direct access to the divine. The art needed a middleman. It required an explanation.

Just before going to the Expo, Skip shared a link with me. It was a video of animator Glen Keane drawing in virtual space. He was literally drawing from within the image. It took my breath away. Glen Keane called the technology a new tool but, like many new tools – so many new technologies, this one has the capacity to change our relationship with life and, therefore, with art because it could change our relationship with time and space. At one point in time, electric light was a new technology. The automobile, the airplane, the telephone, the camera and the phonograph were once new technologies. Each changed our relationship with sound, light, distance, the planet…each other. They changed how we see and experience possibilities. And, at the time of their invention, the community, at first, did not understand the power being introduced into their lives. They, like we, were stepping into the future with their eyes in the rearview mirror. What we know as art changed with the introduction of each of these technologies.

I couldn’t help but see the work at the Expo through the lens of this most contemporary tool. My eyes, for a moment, were wrenched from the rearview mirror and forced to look straight ahead through the windshield. Relative to the tool, the work at the Expo seemed abstract to the point of inaccessibility. It felt academic and I felt distant from it (lots of head, little heart). The tool although incomprehensible, was exhilarating, approachable, and inspiring. It made me want to play. It made me want to create. With this tool, Jackson Pollock would have danced and splashed in 3-D space. Picasso would have explored Cubism from within the cube. And, with this tool, I could see them doing it; I could sit in the same space and get paint on my face. In the video, Glen Keane says, “When an artist makes a line, it is a seismograph to their soul.” This tool, this technology, is a 4 dimensional seismograph.

Eve Ensler wrote, “Art has the power to explode the heart and open up other energetic capacities to re-perceive it. It defies boundaries and leaps tall buildings. It transports, it translates, it transcends. Transcendence is so important right now because our lives are so mechanized, controlled, and commodified; art has the capacity to open our souls and could be our revolutionary, evolutionary salvation.”

Yes. And, yes again. I can draw in the dirt with a stick. I can draw in virtual space. The verb remains the same. The access to others – the reach of the art – changes.

To Chet I wanted to say that humans create technology. And, in turn, technology informs humans and, therefore, art. Our very short attention spans are the result of our relationship with technology –  800 word blog posts are now too long, and 140 character tweets are desirable. Much of the Expo was digital photography or digitally altered images. It was mental and cold and abstract – certainly expressions of our time – expediency allows for little depth of experience. The technology did not make it cold; the way it is wielded by human beings makes it so.

Chase The Butterflies

a detail from my painting, John's Secret

a detail from my painting, John’s Secret

Wisdom butterflies that have recently fluttered across my path:

Soaking up the morning sun and drinking coffee from the deck of Common Grounds, 20 said, “You’ve heard this one, right? There are three sides to every story.”

Standing on the side of the road peering into Judy’s car, she gave us some sage relationship advice. She said, “That’s the secret to life, you know: listen before you talk.”

Kerri was composing a song. I asked her how she starts, how she knows where to start. She said, “I don’t know. Sometimes you just need to put your fingers on the keys and follow the music.”

There is an aging pink post-it note stuck (permanently) to the desk. It reads, “Make The Adventure.”

On a recent phone call, Skip offered wise counsel about how I see my role in a new business, “Find your own metaphor,” he said. ”What is the metaphor that will keep you energized, that taps into your 10,000 hours?”

Sitting behind his drum set, waiting for rehearsal to begin, John said, “Our job is to make the art, not to determine its reception.” And then he said, “What do you think?” and laughed.

Josh took a belly punch from the universe yesterday. He said, “I want to be angry but anger does me no good. I have better things to do with my life than get angry.”

A detail from my painting, An Instrument of Peace

A detail from my painting, An Instrument of Peace

P-Tom weighed in with this: “Faith is scandalous,” he said, “It pushes back against everything we experience.”

Dog-Dog raced across the yard in hot pursuit of a butterfly. I’m wagering that he knew he would never catch it, but the chase was glorious.