I’m in the middle of a conversation with a friend, who is a writer, about “good” and “bad.” Good and bad what, you ask? Good and bad writing. Good and bad singing. Good and bad cooking.
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The subject caught my attention because it evokes strong feelings, but I’ve been struggling for several days now to begin exploring it in writing with any kind of coherence. It seems ridiculously complicated, which is interesting and makes me even more determined to tackle it.
Sometimes the only thing I can do is start peeling the onion and see what happens, so here goes.
“Good” and “bad” are subjective descriptors. According to Oxford Online Dictionary, good is variously defined as “to be desired or approved of,” and “giving pleasure, enjoyable or satisfying.” Bad is “of poor quality or a low standard,” “not such as to be hoped for or desired; unpleasant or unwelcome.”
It seems to me “good” and “bad” are like “success.” Either we retain our power and define them for ourselves, in spite of external pressure, expectations, criticism or judgment, or we allow others to tell us what “good” and “bad” are. In the case of creative expression, like writing, singing and cooking, it’s impossible to please all the people all the time. Sometimes it’s impossible to please anyone.
Is that a goal of an artist, to please others? Certainly, up to a point. If I can’t interest an agent in my writing, it’s unlikely I’ll be published. If my writing is not deemed marketable, no agent will take me on.
Is marketable the same as “good?” Is popular the same as “good?”
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Emphatically, no. I’ve read bestsellers I thought were trash. I’m absolutely certain great writing exists that will never be discovered by the world. Some of my favorite authors are heavily criticized as being poor writers.
It seems to me “good” and “bad” boil down to opinion or preference. It might be an educated opinion, a well-respected opinion, or just a I-know-nothing-about-art-but-I-know-what-I-like opinion, but an opinion, even a majority opinion, is not a universal law.
Creative artists work from a mix of skills and inspiration. Some artists have the resources and access to become formally trained in the use of writing skills, musical skills or culinary skills, especially if they recognize their interest and/or aptitude for a particular artistic expression early in their lives.
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Many others, including myself, may lack the resources, access or interest in such formal education and training, or may come to their art later in life. These artists are frequently autodidacts (self-taught people) who simply practice their art, whatever it is, because they must. Their creations may or may not be as refined and elegant as those who obtain years of education and training, but they feel a passion or obsession for artistic expression that won’t be denied.
This mix of skill and inspiration is part of what makes the whole issue of “good” and “bad” so complicated. Skill is the ability to do something well. The definition implies someone decides what doing well means. Who decides that? Am I in charge of that, as the reader, concert-goer or diner, or are the writer, singer and chef the ones who define their artistic expression as well done?
As we create art, what are we focused on? Do we want to earn a living? Are we focused on competition — do we want to be number one? Are we determined to be famous? Rich? Successful? Influential? Professional? Validated? Perhaps, on the other hand, we have no expectation of living by our art, but artistic expression is a private joy, a sacred healing, an exercise in authenticity that keeps us rooted and grounded. Art is our prayer, our act of gratitude and hope, an expression of love for those around us, our love letter to life.
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As we consume art (read, listen, eat), what are we focused on? Perhaps we are collectors who are intent on investment and monetary value. Perhaps we love art because it inspires us; opens our hearts, minds and imaginations; or helps us manage our feelings. Maybe we’re avid readers, lovers of music, or lovers of fine cuisine. We may think of ourselves as “professional” or “successful” artists and thus feel qualified to judge and compare the work of others.
Calling a piece of writing, a song or a meal “good” or “bad” strictly in terms of a demonstration of skill, however, leaves out the heart and soul of creativity. Passion, inspiration and obsession cannot be taught. We might enjoy and admire the skill underpinning a technically perfect book or song or meal, but we’re not robots. Compelling art is not made from skill alone.
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Art, at its best, breaks us open. It haunts us. It companions us. It provokes, challenges, explores, dares, admits, stuns, shocks, amuses, comforts, excites and enlarges us. “Good” and “bad” are far too unsophisticated and limited to describe the central power of creative expression. The skill of the artist might add to that power, but skill without the animating spirit of passion is merely a well-learned series of maneuvers.
What is art worth? What is the value of joy, of authenticity, of artistic expression reflecting a piece of our soul? Art, for me, is about an expression of human experience, inherently valuable, even sacred, in its truth and vulnerability. I’m not qualified to judge another’s expression of experience. I wouldn’t presume to do so. I wouldn’t dare.
In the end, I can only circle back around to my own power, my own intentions and integrity, and my own limitations. I’m not a formally trained writer. As a creator, I’m compelled to create. I know it’s part of what I’m here to do. It’s humbling and gratifying when others find value in my work, but even when I have no indication of that, I value it.
Writing provides me with a vehicle for managing feelings, deep healing, a bridge for connection, and an irresistible and fascinating personal challenge. How can I increase my skill? What can I learn? How can I become a better writer with every blog post and every page of my manuscript? How can I increase my confidence, courage and authenticity through writing? What’s the best I can contribute?
I don’t frame my creative work as “good” or “bad.” I do think about how to make it better. To that end, I gladly solicit and receive feedback from others, and several people in my life have made huge contributions to my skill, but at the end of the day I consider my own opinion of its value first, and I take neither praise nor criticism personally.
To create art is to be fully present. A piece of art is an invitation to be intimate with the artist and ourselves, an invitation to increase our empathy, respect and compassion, to reach out and clasp the experience of another human being.
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I’ve written before about the cultural pressure to make ourselves small in a myriad of ways. How many natural artists (every child) have been criticized, shamed, derided or otherwise amputated from their artistic expression, particularly if it’s in any way sensual? How many people walk around with soul hunger to create poetry; to dance, to make music and sing songs; to be artists, but deny themselves because they don’t think they’re good enough? How many people have made a creative offering or expression and been rejected, mocked or dismissed?
I believe if we want a better, healthier culture, those who want to play with words must play with words, those who want to play with paint must play with paint, every shower must have a singer, every piece of music a dancer, and every instrument an explorer.
Skill matters, depending on the artist’s intention and the audience’s perception. I suppose we can describe our perceptions of skills as “good” or “bad,” although I think we could come up with less subjective standards of measurement and recognize skill level as only a part of artistic expression.
Like so many clichés, “Oh, no, not another ‘growth’ opportunity!” is obnoxious, in large part because it’s true.
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Opportunity, or a set of circumstances that make it possible to do something (Oxford Online Dictionary), does not guarantee a positive outcome, and is most definitely a gift with strings attached.
I would go so far as to say the greatest opportunities are likely to be hidden under paralyzing layers of fear, dread, and pain.
Opportunity demands responsibility. No wonder we so often avoid it! It takes a determined effort to excavate opportunity, an effort requiring time, honesty, and dealing with our emotions, defenses, habits and denial.
“Opportunity is missed by most people because it is dressed in overalls and looks like work.” Thomas Edison
Hence, the cliché. Growth is frequently uncomfortable and expensive.
I suspect every one of us has a secret list in our heads of events and possibilities we simply cannot face. Usually, we feel that way because we’ve already lived through them and they were so traumatic we’re determined to never go there again. In essence, we’re afraid of ghosts. We think we’ll die if we have to face another loss, another attack, another rejection or another battle, forgetting we’ve obviously survived the first time(s), and thus are older and wiser.
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What to do when we fear we’ll have to revisit some traumatic setting or situation? Freeze? Fight? Flee?
Probably all of those, in one form or another. Yet there is another choice. It’s not an easy choice, but it’s an option.
Reframe. Reframe. Reframe.
Setting aside for a moment our history, our memories, our stories and scripts about what did happen and what will surely happen again, setting aside our fear, rage and pain, wiping the blood out of our eyes, taking a deep breath and searching for opportunity is the work of heroes. Such a choice feeds our power, rather than diminishing it.
If we can catch even a glimpse, a whisper, a rumor of opportunity, the next step is to identify what we might do with the circumstances we dread most. What is that dread about? What has not healed?
What, in fact, do we need, and how do we turn the circumstances we most fear and wish to avoid into an opportunity for hope, healing, closure, forgiveness, letting go, or whatever it is we need to do?
Now, there’s a mighty question.
Some things in life are inevitable. We can kick and scream, deny and avoid, distract and pretend, but we know some things are inevitable. I’d rather figure out how to think about inevitabilities before they occur. I can’t think when I’m shaking with dread. Dread is a dead end. It fills my mind with a dull roar, it overwhelms my senses, and it hangs out with despair, depression, powerlessness, futility and a lot of other bad actors I don’t want to have anything to do with.
Dread makes me want to run like a panicked rabbit. Opportunity embraces me like a mother.
It is possible to insist our emotions, like fear and dread, sit quietly on a bench (with beer, bubble gum and baseball cards to keep them occupied) while we interview Opportunity. It takes some practice and self-discipline, but we can succeed in feeling our feelings and setting overwhelming emotion to the side unless we’re being actively hurt in real time.
Here are some interview questions for Opportunity:
I’m currently reading The Intuitive Way by Penney Peirce. Various notes and bookmarks remind me I’ve started it before, but I didn’t finish it. I picked it up again because I’m also reading The Gift of Fear by Gavin de Becker (for the second time), and he talks about how important intuition is in our ability to avoid danger.
I’ve always been interested in intuition. What is it? How does it work? I know from personal experience it’s a real kind of perception or knowing, but I also know many people view it as “woo” and scientifically unprovable. I’ve frequently been met with fury and denial when I voiced an intuition about someone’s state of mind or behavior. Certainly I might be wrong, but then why all the fuss?
As I began writing this post I explored Peirce’s website for a few minutes. I listened to an interview and read a couple of her posts. Yes, it looks rather New Age and “woo” to me.
On the other hand, that doesn’t mean she’s wrong!
As a matter of fact, science is catching up to what we call intuition. Scientists and researchers like Paul Ekman, who recognized how important fleeting micro expressions and body language are, have begun to assemble the neurological pieces of the process of intuition. Experts in their own fields like de Becker are revisiting the importance of intuition to our resilience and survival.
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In any event, I picked up The Intuitive Way again to see if it was something I wanted to work with and explore or pass on to the library for donation. I’m glad I did. I’m uninterested in debating whether intuition is real or a worthy subject for study, but I’m very much interested in any tools which might assist me in healing and living a more joyful life and/or shaping my creativity. The book is filled with provocative writing exercises. I remember now it takes me ten minutes to read a chapter and ten days to play with all the exercises.
When I learned emotional intelligence I was introduced to the work of Byron Katie. Her great question is: Who are you without your story? Peirce’s book asks the same question in a slightly different way, providing exercises challenging the reader to replace fearful, limiting beliefs with those that are loving and life-enhancing.
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Who am I without my story? What a wonderful, important question. What a game changer. It’s like asking ourselves who we are if we stand bodiless in some infinite but undefined space with no memories, no objects around us, and no other context. If we’re not a name; an age; a family member; a job; an ethnicity and tribe; a set of beliefs, experiences, memories and stories, then who the hell are we?
My mind boggles, and the artist in me salivates. So much of my self-identity is bound up with stories about my life and experience, and many of those stories are small, hard, stony things about breaking, severing, smashing, exile and futility.
I have fantasies about who I’d like to be and how I’d like to feel, of course. They’re fantasies, though, not the real story. I know the difference.
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But do I?
We write our stories from our feelings and experiences, many of which occurred in childhood. Do children necessarily see a wide picture? Are they able to understand all the behavior and choices of the adults around them? Are they able to process their feelings and separate them from their thoughts about their feelings?
I doubt it. I certainly wasn’t able to.
As we grow up, we have opportunities to compare our stories with those of our siblings, or others who inhabited our childish world, and we notice our stories aren’t the only ones in the mix. Everyone has a story, and they aren’t the same one. A word or event burned in my brain might be something no one else even remembers.
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Stories are slippery things, powerful as an anaconda and just as hard to pin down.
All that being so, how would it be to simply erase the limiting parts of my story ,to find the file, open it, hit “delete” and then empty the trash of all the feelings, conclusions and thoughts my story carried? No more story. Just a clean space …
… In which to write a new story!
As a storyteller, I’m fascinated by all the creation stories from around the globe. As a writer, I’ve even written a couple of my own. I’ve never considered writing a story about my own creation before, though. After all, I already know all about the story of my first ten years. I’ve been telling it to myself for decades. It’s shaped me profoundly.
But would a different story have shaped me differently?
Would a different story shape me differently now?
I don’t suggest we deny or bury our feelings and memories. I’ve never found that particularly useful. I think of my story as an old-fashioned quilt, carefully pieced together out of all kinds of scraps of feelings, memories and experiences from which I formed conclusions and beliefs over my lifetime.
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I can lift that quilt out of the cedar chest of my psyche, unfold it, hang it on a clothesline in the sun and spring breeze and examine it. Which pieces make me feel stained, frayed, torn or damaged? Which pieces are vibrant, vivid, gorgeously colored and textured?
After the quilt has aired, I can unpick stitches and remove the pieces that hurt, distort or limit me, replacing them with scraps that make me feel happy, confident and loving. I can rewrite some of those childhood monsters and villains, understanding now people are complex and we don’t always know their motives or secrets. I can consider painful pieces of my story from the view of another character in it instead of from my own narrow perspective. As I unpick stitches and loosen up my old story quilt, I can think about forgiveness, gratitude and being wrong, and revel in stitching new patterns and colors into it.
Rewriting our story, like reworking a quilt, takes time. Writing our original story took time. Events happened in our lives. We had feelings and experiences. We had thoughts about our feelings and experiences. We came to certain conclusions about who we are, who others are and how life works. We wove a story and told it to ourselves over and over again, until we believed it completely and it became unconscious. We carry our story with us into the world and it influences every choice and action.
The thing about story is it’s limited and limiting. It can never catch all of reality, even in a single moment. If we understand this and work to bring our personal stories back into consciousness, we become aware of all the ways our stories hurt and/or help us. They can limit and paralyze us or inspire us with courage and confidence. It’s all up to us, because we are the authors of our own stories. We have the power to rewrite.
Many cling to their stories as though they were a matter of life and death, not to mention identity. I’ve noticed some people with miserable stories cling the hardest. I can only conclude for some, even the most wretched and harrowing story provides some kind of a payoff for the one holding it. Such a person doesn’t want to rewrite their story, in spite of how ineffective or painful it may seem to be.
I choose not to be run by my story. I can do, be and contribute more than parts of my old story say I can. I don’t want to validate and reinforce outdated conclusions that made me fearful and small. I don’t want to continually irritate and open up old wounds.
I refuse to be a victim, especially not a victim of myself!
So I’m rewriting and revising my own creation story from before the beginning, when two cells joined and created the miracle of my life. From those two cells came the complex human being I am, and a complex human being contains and creates many different kinds of stories with many different feelings, experiences and thoughts.
I was recently introduced to Havening. I’d never heard the term before, but I was intrigued by a brief explanation that Havening is a neuroscientific tool to assist in repairing emotional trauma. I looked at a couple of links and was so interested I tried the technique myself, just to see what would happen.
The human brain’s structure, function and capability are still a mystery to us in many ways. The brain does appear to be highly plastic; that is, we learn, we unlearn and we can develop new neural pathways and rehabilitate, to a greater or lesser degree, some kinds of physical traumatic brain injury as well as emotional trauma. We obviously treat some brain-based dysfunctions by pharmacological means, in the form of prescription drugs or self-medication via alcohol, nicotine and illicit substances.
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In our current culture of emotional illiteracy, sometimes the only way we know to mitigate our emotional pain is to numb out or distract. Relieving our symptoms, however, doesn’t address the root cause of our difficulty, it only covers it up for a time. Havening is a tool that allows us to address the source of our trauma and pain without chemical substances or the need for specialized (and expensive) treatment. It empowers us, the experts on our wounds and broken places, to become our own healers.
Nowhere on the Havening website or in the video is there mention of us giving our consent to the possibility that we can change, grow and heal. However, that is in fact the first step. I have observed, in myself and others, that sometimes we become so deeply invested in our pain and limiting beliefs we’re really not willing to heal and change. We say we are. We say we want to feel better, but when it’s time to do the work of exploration, excavation and learning to make different choices in managing our thoughts and feelings, we don’t. We’re not willing to be wrong, let go of our grievances and stories, practice forgiveness and give up the satisfaction of shaming and blaming others.
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I suspect Havening is a waste of time for those who approach it unwillingly, just as more traditional therapies are a waste of time (and money) if we’re only going through the motions.
Assuming we consent to give Havening a chance, the technique requires us to sit with ourselves in a quiet, safe place and deliberately bring to mind a single difficult memory or event. Rather than running away from our feelings, we intentionally recreate and recall them in all their vivid intensity, and as we do so we notice how our bodies process and express our difficult feelings. When we have re-experienced, as fully as possible, the feelings around our memory or event, we begin to lightly stroke or rub our arms, self-soothing with our own touch and presence. Still stroking our arms, we close our eyes and visualize walking along a beach, counting slowly to 20. Still stroking our arms, we open our eyes and, without moving our heads, look to the left, then the right, then the left. We don’t have to do this quickly or with strain. We practice this lateral gaze, combined with stroking our arms, for a minute or two, then close our eyes and visualize walking through a summer meadow, counting slowly to 20 again. We follow that with the lateral gaze for a couple of minutes, all the while still stroking our arms. The third and last visualization is of walking down a staircase, combined with arm stroking and counting slowly to 20. We follow that with practicing the lateral gaze for a couple more minutes.
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At the end of this series of steps, we relax and intentionally probe the memory we started with. We notice how our bodies feel and what our feelings are compared to when we started.
I know from emotional intelligence training experiencing our feelings fully and completely is the best way to allow them to move through us and dissipate, but I frequently feel so overwhelmed by the intensity of my emotions that I’m afraid to do that. Sometimes I think if I start crying, or expressing rage, I’ll never be able to stop; I’ll fall over some invisible edge of self-control into permanent madness and chaos. Havening is enormously useful for me because it gives me a safety net to fall into. No matter how strong my feelings are about a specific memory or event, I know I’m going to be able to successfully help myself calm down and feel better immediately. I don’t need to wince away or try to minimize my feeling experience.
I’ve spent much of my life starved for loving touch. I’m not talking about sex here. I’m talking about skin to skin touch that says “I’m here. I care about you. You’re safe with me.” In times of high stress and upset, I frequently wrap my arms around myself, the closest I can get to getting a hug. Havening provides the physical comfort of touch, which we know can calm stress and produces serotonin, a natural chemical our brains make that gives us a feeling of well-being.
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Anyone who meditates or has done Lamaze breathing for childbirth knows when we focus on breathing or a mantra our minds learn to be quiet. The three visualizations used in Havening, combined with self-touch and counting, immediately distract from the intensity of our emotional pain, as does practicing the lateral gaze. We rarely use our eyes to look laterally without moving our heads, and to intentionally and repetitively do so takes focus.
The purpose of this specific set of steps is to “rewire” a neural pathway caused by emotional damage or trauma. The links in the first paragraph explain the science and neurology behind this better than I can, so I won’t reiterate. What I will say is, somewhat to my astonishment, I noticed a sharp decrease in the emotional pain surrounding a memory the very first time I tried Havening. I didn’t lose the memory, but it was no longer attached to such an intense emotional reaction. I could think of it and remain physically relaxed and centered. I could see it more objectively. I could say, “Yes, that happened. It hurt me, but now it’s over.” Overwhelming unpleasant feelings were no longer connected to the memory.
As I practice Havening, I notice a couple of interesting things. The first is that the memories that give me the most trouble are small. A single phrase that broke my heart and irrevocably changed everything. A memory of no words at all, just someone else’s strong emotion. I use Havening to address my most private mental slideshow, where each slide is a single small period of time; a single scene, rich in sensory detail; a single moment of terrible clarity and revelation. I marvel at the power of these small pieces to shape our lives so profoundly. I never think of Havening around divorce and break-ups or even deaths. Those obvious upheavals are not the events in my life that have had the most power.
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The second thing I notice is how my visualizations are changing. The first time I did Havening, I followed the cues in the video exactly. I had no plan to elaborate on the three visualizations. As I’ve made a practice of the technique, though, my visualizations are becoming more and more vivid and sensual. I imagine walking hand-in-hand with someone. I imagine the feel of the sun, the sound of the sea, the grand sweep of a lovely curving staircase and a crowd of people waiting for me at the bottom. I also note that the unintended elaboration of the visualizations is all positive. I feel safe, protected, loved and joyous. There’s no lingering feeling of pain or discomfort from the memory or event I recalled just a minute before.
Havening is, above all, a flexible tool. Anyone can use it and fit it into his or her particular spiritual, religious or philosophical framework. It’s completely private and open-ended. Havening can be done once a week or three times a day. I can work with a single memory for a week if I need to, or tackle a new one each time I practice. It works equally well with old memories or new upsets.
Havening provides a kind of emotional detox. Since I’ve been doing it I feel lighter, more peaceful and as though I can think more clearly. I’m less easily triggered and hijacked and I respond more and react less. My head and heart are less cluttered. My feelings seem more like allies and less like enemies.
The biggest gift of Havening is the way it supports my intention to be authentic. It seems to me we all suffer some degree of shame about the things that really hurt us. It’s hard to explain, even to ourselves, why a few words or a gesture hurt so much. We tell ourselves and others not to be silly or dramatic or have such a thin skin. Havening provides an open door, an invitation to honestly acknowledge our hurts and take responsibility for soothing them. It gives us permission to feel our honest feelings without the need to minimize, explain or justify. We are fully empowered to respect and address our own pain.
Finally, Havening has become a ritual of self-care. I like essential oils, and I set out a blend from Young Living, a bottle of massage oil and a small hand towel by the chair I practice Havening in. I rubbed a white candle with the essential oil blend, and when I sit down I light the candle, mix the oils and use the mixture on my arms, hands, cuticles, etc. as I practice. Ten or fifteen minutes of deep moisturizing, aromatherapy and massage, in combination with Havening, leaves me feeling calm, strong, centered and cared for.
Havening is a new technique with a lot of promise. I’m interested to watch it evolve and be subject to scientific studies. Several practitioners are expanding Havening for other psychological applications, and I follow the blog with interest. In the meantime, it’s a powerful tool that costs nothing, does no harm, and results in significant benefits.
I came across a poem by Ursula K. LeGuin (see below) and found it beautiful and timely. The wheel of cycles and seasons has swung around to the resurrection of light once more, and we wish one another a happy new year, each of us with our own hopes and fears for the months ahead.
For much of my life, I equated love with protection. When I became a parent, the vulnerability of my sons added exponentially to my own. In common with many parents, I struggled fiercely to protect them through infancy, childhood and beyond. Naturally, we protect others from what we ourselves most fear. In my case these fears include pain, loss, addiction, abuse and abandonment. I tried to shield my children from those people and experiences that hurt me, lest they be hurt in the same ways.
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Certainly, in the case of small children, animals and others who have no voice or are unable to use it, protection can be an act of love, but I’ve thought for some time now that we carry it too far, especially when we seek to “protect” our perfectly capable adult children, partners and friends. At some point our impulse to protect others becomes selfish. We do not want to bear witness to a loved one’s pain, let alone our own. We do not welcome the responsibility of telling the truth. Protection becomes a pathological means of disempowering others and binding them to us because we don’t want to be alone or the independence of our loved ones threatens us.
To be over-protected is to be without the freedom to develop confidence in our own good sense, strength and courage. We’re never allowed to stumble and fall and we don’t have to figure out how to comfort ourselves, clean our scraped knees and move forward. We over-protect out of fear or control, not love, and our constant vigilance of our loved one or loved ones teaches them fear as well. Fear makes our lives smaller, not bigger.
This new year, I don’t wish you photoshopped health, prosperity and happiness, and I don’t have a list of resolutions I hope will lead me to those things, either.
This year, I wish us each the ability to stand in our own power.
May we learn to love our bodies as they are. May we live joyfully in our skin. Let us teach our bodies new things and work with them to become as strong and healthy as we can. May we allow our bodies to be and to change.
This year, may we make mistakes. May we become lost and confused, and then find our way again. May we find out we’re wrong, and tell everyone. May we be vulnerable, get hurt and heal ourselves.
May we wander far from home without a map and walk a thousand miles, exploring new places and ideas. May we listen to a different kind of music and read a different kind of book. May we do something we’re afraid of.
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Let the new year bring us laughter that makes our bellies ache and tears that fall like warm rain on our anguish. Let us fall head over heels in love with something or someone as though it’s the first time we’ve ever done it and we just know it will all be perfect. Let us make friends with our rage and give it something productive to do. Let us tell someone about our deepest shame.
May we know loneliness, boredom, disappointment and humiliation, and balance them with companionship, engagement, satisfaction and validation.
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May we risk, dare and dream. May we learn to believe in ourselves. Let us burn our candle at both ends. Let us wear ourselves out with living. May we hear our lives whisper and speak our own truths. Let us learn and grow. Let us allow ourselves to be seen and rejected.
May we long for a home, find one, make one and lose it. May we make another and choose to walk away from it. May we learn how to come home to ourselves no matter where we are or who we’re with.
May we let go of our protection. Let us tear ourselves away from it. Let us outgrow it. May we feel what we feel with every cell of our body. May we make our thoughts, emotions, curiosity and creativity big and hold nothing back.
Go out into the sun flood of your life, my friends, my sons, my family, and know that I hold you in my heart. Know that I believe in you. Know that I neither ask for your protection nor seek to protect you, for none of us need it and love is bigger than that.
Go out from me into the new year, dear ones, and if you choose to return, please bring strange things.
Please bring strange things. Please come bringing new things. Let very old things come into your hands. Let what you do not know come into your eyes. Let desert sand harden your feet. Let the arch of your feet be the mountains. Let the paths of your fingertips be your maps and the ways you go be the lines on your palms. Let there be deep snow in your inbreathing and your outbreath be the shining of ice. May your mouth contain the shapes of strange words. May you smell food cooking you have not eaten. May the spring of a foreign river be your navel. May your soul be at home where there are no houses. Walk carefully, well loved one, walk mindfully, well loved one, walk fearlessly, well loved one. Return with us, return to us, be always coming home.
