Writer’s Block: A Brown Study in Haibun

I want to start a poem like this: I am brown, very brown. Then I get writer’s block. Because now it’s out there.

There’s a story to tell, but it’s not poetic. It’s definitional. I have to define wheatish, fair, tan, light-skinned, black, white, and all the colors that separate you and me, and beat us into submission, into bearing the crimes of our color, even though not once have I cried because I was dark brown. But I have cried because you spoke to my skin color and not to me.

And tears are wordless, colorless. Their salt shorts out syllables, keyboards, laptops. Already I taste it on my tongue. So I eat the heart of a dragon and listen to the gossip of birds.

A blackbird flies south
Its shadow falls on Mt. Fuji
Western sun descends

Katsushika Hokusai (1760-1849) “Tea house at Koishikawa. The morning after a snowfall”
Frank at dVerse asks us to write on Writer's Block for Haibun Monday. 
The haibun form "consists of one to a few paragraphs of prose
—usually written in the present tense—that evoke an experience and are 
often non-fictional/autobiographical. They may be preceded or followed 
by one or more haiku—nature-based, using a seasonal image—that complement without directly repeating what the prose stated. 
Click on Mr. Linky to join in!


Regrets, I’ve Had A Few

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I. Apartment Dwelling

I have been here many times, down this corridor

I have lived here year by year, seen this semaphore

People waving good-bye, disappearing out their door

Didn’t tell them the Way, the Truth of Christ the Savior

Will I see them again? I’ve been here before.

 

II. Career Climbing

I’ll sit in my niche

Pretending I’m a glitch

So you won’t pitch a fit

Because of Him.

 

Continue reading “Regrets, I’ve Had A Few”

Winter’s Wife

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He had married her on a dark winter’s morning when hope burned low

And his prospects were dim. Yet her piety to him like the gold of Araby

Shone in a heart ablaze with fire by which to warm cold thoughts

As in the grey light of day the months rolled past, then years,

And the bottom line translated meager rewards

And more mouths to feed though she sang what light was given her

Into a wondrous fount from which he drank greedily,

Shunning all but his own despairing gaze.

Continue reading “Winter’s Wife”

Our God Is Mighty To Save

Dr. Meriam Ibrahim with her son, Martin, and her newborn daughter, MayaI don’t know what thoughts of elation crossed your mind on hearing the news this morning that Dr. Meriam Ibrahim arrived in Italy today a free woman at last after she and her two children had been held in captivity in a Sudanese prison for her Christian faith. She had given birth to her daughter, Maya, while shackled after having been given a reprieve from a death sentence. Yet during her entire almost year-long ordeal she refused to renounce Christ and held fast to her God. Now she and her children, having already been reunited with her husband at the American embassy in Sudan, will soon be in his New Hampshire home.

Continue reading “Our God Is Mighty To Save”

Notes: “Writing from a Christian Worldview”

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Dr. Timothy Keller of Redeemer Presbyterian Church in Manhattan discussed his insights into “Writing from a Christian Worldview” during a Redeemer InterArts Fellowship in 2003. What was said then rings true today. As his website puts it, “You can’t make sense from facts without using them to create a story, and you can’t make sense of a story without putting it in context of a macro-level worldview. All the stories we tell as Christians fall into the gospel worldview of creational good, fallenness, and redemption.”

For me, the most helpful takeaway from this hour-long discussion revolved around “how Jesus resolves the plot lines” for these reasons:

1. Every story fits into the world’s story, an overarching narrative that you believe in: “You can’t tell facts without a story.”

2. Every story is a subplot of your macro-story. If the macro-story is the Christian storyline, then it will follow the creation-fall-redemption arc.

3. The Christian story co-opts or completes all the storylines of all cultures and worldviews. For example, is it a story of gaining power? wisdom? goodness? freedom? Only Jesus can resolve and satisfy these other worldviews.

In effect, the Gospel story is the story to which all good stories point.

Happy writing!

Where are the Gargoyles of Yesteryear?

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 Gargoyles and chimeras of Notre-Dame de Paris

Our culture glorifies man, not God. It has turned the Gospel to a social do-gooder’s tool so that we turn all our God-given creative energy to social tasks and neglect to glorify God with our offerings of beauty, not just in church architecture but also music, literature, drama and art. Secular educators and media have succeeded in making us feel guilty if we “waste” our money or time by spending it on buying or creating works that attempt to magnify the Father we love, to show forth His glory to the world in gratitude for all we have received. This manipulative guilt has crippled us, so that there is hardly a church on earth that will spend a penny on supporting their own artist, novelist, screenplay writer, classical musician, or architect, and if they do, I suspect they gut the work of its guts, so to speak, so that a Shakespeare (uses bad words), a Michelangelo (nudity) or a Bach (is that really praise music?) is shamed into submission or flight. So the truth we see in beauty belongs to another age, when a Notre Dame (with the gargolyles) was built, a place where people, when they walk in, gasp in astonishment at what man labored to make, only to glorify His maker!