The Buddha taught that attachment to anyone or anything or any place is futile because nothing ever stays the same. Change is the only constant. All is impermanent.
—Suzanne Kelsey, Skipping Church: Notes from an Accidental Minister's Wife
The Buddha taught that attachment to anyone or anything or any place is futile because nothing ever stays the same. Change is the only constant. All is impermanent.
—Suzanne Kelsey, Skipping Church: Notes from an Accidental Minister's Wife
Hadrian’s Wall is fake in that sense, a reconstruction of the Roman wall that is a tourist destination rather than a border; there is England on both sides of the wall wherever it crops up. I was participating in a ritual of sorts, a faux ritual, perhaps, walking the wall from Wallsend to Bowness-on-Solway. . . Ritual is part of the many social constructions of religion, just as Clayton’s Wall is part of the many constructions of Hadrian’s Wall, since all of it has been rebuilt at one point, either by emperors after Hadrian or by archaeologists. None of these different functions, for the wall or for religion, are bad. They just are. As a scholar of religion, I try to peel back the layers of meaning to see the different ways religion is formed and how it functions over time and within a society. In many ways I work as an archaeologist works on the wall, looking for layers, dating objects and repairs, describing the function in different times and places, trying to decide what was and what might have been, peeling back the appearances and the practices for the origins. Since I work on living religions, in particular Christianity, this often bothers people. Religion as a rule has not wanted this story told or its origins revealed. . . Religion wants the past as a beautiful image, not a messy reality.
—Bob Royalty, Walking Hadrian’s Wall
But is there a silver lining for the world in this Covid pandemic? Or, to put it differently, in the language of logotherapy, what is the meaning of this time?
At any moment in time, all sorts of futures are possible—an uncountably infinite number of possible futures. Which future happens is only partly outside our control. To a great extent, it’s up to us.
And just as in research, when certain ideas are so ripe that multiple groups can simultaneously invent a novel approach (often leading to battles over patents and Nobel Prizes), the meaning of certain points in history is not only what ends up happening, but what could have happened. It’s the choice, the branch-point, the fork in the road, and the decision made. It’s not just the inn you find by accident after many hours on the road and the person you meet there who becomes the mother or the father of your children, and the stories you tell for years later about how lucky you were that you didn’t turn left instead of right; or the person next to you at the bar who puts something in your drink when your back is turned so that you wake up hours later in a room, alone, with your wallet and your dignity gone, and the stories you will tell then. When all of that is in the future, the meaning of a moment is in all the possible paths forward. Some lead to justice and a healthier planet, but some do not.
The meaning of this moment in time, of these Corona times, is in what path we choose to take. That is the meaning of this time . . .
Wisdom and the will to change: this would be the greatest silver lining.
—Kimmen Sjölander, “The Art of Isolation: Amsterdam in Corona Times,” Still Point Arts Quarterly, Summer 2021
It is not the way of leaves
to care about how they fall.
It doesn’t matter
whether there are heavy, thunder-filled
clouds overhead
or miles of bright blue and sunshine.
A leaf doesn’t
cry out in pain if a harsh wind
tugs it from its twig
nor does it giggle with mischief if it
manages to break free on its own.
A leaf doesn’t
fret over which is better —
to swoop down in a wild, swirling canopy,
a rustling riot of yellow magic with hundreds of others,
or to flutter demurely to the ground
in a quiet, private moment.
No leaf even considers holding on,
resisting its destiny,
its part in the inevitable pattern.
For the leaf, simply letting go
is the thing.
—Stacey Murphy, Old Stones Understand
—Mary Dian Molton, About Franz: Remembering C. G. Jung—A Son's Story
—Jeri Ann Griffith, “In the Waters,” Still Point Arts Quarterly, Spring 2021: My Deep Love of Place
The first time I saw New Mexico, before I owned a cell phone or computer, I wrote a story about a woman who walked through the desert as the wind peeled the flesh from her bones. Her bones turned to dust and blew away. I meant it as a story of transmutation, dust returning to dust. That story foretold my own, how once in my lifetime a place grabbed hold of my soul. But it was never my land to own. I could only borrow it for an infinitesimal speck of time.
—Suzanne Finney, “Red Dust Suspended,” Still Point Arts Quarterly, Num. 41, Spring 2021
Now, in our own global pandemic, I consider how easily our familiar institutions can be disrupted and our sense of continuity shaken to the core. Yet everything on the Outer Cape is in a state of perpetual and reassuring impermanence; nothing ever stays quite the same. All you can do is be vividly awake to the living continuum.
—William Bless, “Outer Shores,” Still Point Arts Quarterly, Num. 41, Spring 2021
image credit: m01229, Cape Cod National Seashore, 2014. Wikimedia Commons