I love Easter. There is so much good in it. There’s something about the resurrection story, and the many little reminders nature offers us at this time of year of how new things are born out of last year’s death that keeps me coming back to faith.
By the end of almost every Easter weekend, after the Easter services, the time with family, the great food, and the easter egg hunts, I’m in a happy, contemplative mood.
Almost every year… except last year.
Last Easter was horrible. Epically horrible.
On Maunday Thursday – my mom’s birthday – we received confirmation that my mom had cancer. A fairly serious kind in her internal organs that had way too many unknowns for our comfort.
Three days later, on Easter Sunday, my 18 year marriage unraveled. On the way home from an Easter “celebration” with my family, I told my husband that it was either time for us to live apart, or else we’d need to find someone who could help us overhaul our severely broken relationship. It just wasn’t working anymore. We’d forgotten how to communicate and I was tired of feeling angry, hurt, and lost.
I did a lot of crying in the weeks after Easter.
Ironically, a month before Easter, I’d started a series on my blog called “Let go of the Ground“, about how we are all called to surrender – to the Mystery, to the God of our understanding, to our calling, to Love. The premise was that – like the caterpillar who must surrender to the cocoon and enter the difficult transformation process before becoming a butterfly – we too must surrender and learn to trust what is emerging for us. I interviewed a bunch of wise people about their own surrender stories, and I was preparing to create an e-course on the subject. It felt like important work and I knew I had some wisdom to share, having experienced groundlessness and transformation many times in my life.
But then… Easter came, and groundlessness wasn’t just a topic for a blog post. I was living it all over again, and not by choice. The ground had been whipped out from under me and I was plunging through space without a parachute.
It’s easy to talk about surrender when you’re on the far side of transformation and you know what it feels like to fly. It’s another thing entirely when you’re in the messy, gooey chrysalis stage, you’re hanging by a fragile thread, and you have no idea when and how you will emerge.
The months after Easter continued to be hard. Mom started chemo, lost all of her hair, got continually sicker, went for surgery in the summer, and then spent a few more months in chemo. Normally an energetic, young-for-her-age woman who takes delight in climbing trees with her grandchildren and being the fastest one (and sometimes the only one) up the climbing wall when she goes to seniors’ camp in the summer, Mom could hardly handle the many hours she was forced to spend sitting or lying around. I could see her muscles twitch when someone else was in HER kitchen making food for her.
As for my marriage… we agreed that it was best for the kids if we stayed in the same house while we tried to repair what was broken. Like a couple of brick-layers trying to rebuild after a tsunami has wiped out the village, we gathered the pieces that still looked like viable relationship-building bricks, added a few new ones, and started piecing them together slowly but surely. Fortunately, we found a counsellor who was good at helping us do that.
Now it’s a year later, and I’d be lying if I told you I feel like a butterfly with freshly dried wings, fluttering effortlessly through the air. No, there’s lots of effort still involved, and lots of unknowns. I still feel pretty groundless.
But things are changing, and Spring has come again. When we rake away the dead leaves of last year, we see the tiny shoots poking their way out of the dirt built from many deaths in seasons past.
My mom started baking buns again last week, a sure sign that some of her energy is coming back. (When she starts distributing them to everyone in the neighbourhood who could use some nourishment, we’ll know she’s truly back.) Her chemo is finished, and it appears that the cancer has been halted for now. She cooked us a big meal for Easter and we celebrated together. True to form, she’s headed off on a trip with her husband later this week, headed to places where tulips bloom in rows and rows of wild and glorious colour.
Though it’s not perfect, my marriage feels much more stable than it did a year ago. We’re finding new ways of being truthful with each other and we’re working on rebuilding our trust. It feels hopeful, like there’s something worth fighting for. There are enough salvageable bricks that we can build a relationship that is better but still carries with it the stories of the old one.
It’s because of these stories that I continue to believe in the resurrection. Life comes out of death. Hope emerges out of darkness. Beauty follows surrender. God makes good things grow when we let our egos die.
There are many, many people who will try to tell you otherwise. They’ll try to sell you magic. They’ll try to tell you that life can be easy if you have enough positive thoughts and you surround yourself with people who are always happy, happy, happy. They’ll insist that if you attract good things, you won’t have to suffer.
I’m here to tell you that those people are telling you half-truths. Don’t get caught up in their deception no matter how convincing they are. They’re snake oil salespeople trying to make a quick buck out of your desire for an easy life.
Easiness is not the path to true happiness. Surrender is.
It’s not that I don’t believe in miracles – I do. I’ve seen them happen many, many times.
But the best kind of miracles are those that show up in the middle of the grit and suffering and messiness of life. The best kind of miracles are the hugs from friends when you need it most, the breathtaking sunset that brings tears to your eyes, the offering of support when you feel like you’ll crumble, the first crocus of the season – blooming despite the threat of frost, the fresh baked buns after a year of cancer, the tender touch of a loved one after you’ve regained trust, and the butterfly that flutters past when you’re lost in the woods.
The best kind of miracles don’t take you out of the suffering or make you immune to it, they simply help you bear it.
We need the suffering if we’re going to get to true beauty. We need the dying compost if we’re going to get crocuses in the Spring. We need the gooey chrysalis if we’re going to learn to fly.
Without the death, we wouldn’t get to celebrate the resurrection.
I was standing at my kitchen sink yesterday afternoon when the tears started flowing down my face.
I wasn’t crying because of the drudgery of having to clean the house again, and again, and again. I was crying for the sheer privilege of being able to clean the house for my daughter’s sixteenth birthday.
Wilma Derksen didn’t get to clean the house for her daughter Candace’s sixteenth birthday. When Candace was just thirteen years old, she disappeared on her way home from school. Six weeks later, her body was found, tied up and frozen in a shed not far from the Derksen’s home.
Just last year, twenty-seven years after Candace’s death, her murderer was finally found and convicted.
Yesterday, before cleaning the house, I visited an art show made up mostly of art created by Cliff Derksen and Odia Reimer, father and sister of Candace, during and after the murderer’s trial. Every piece bore marks of pain, anger, guilt, anguish, and love.
The first piece I saw was a set of simple pencil drawings Cliff drew during the trial. There were sketches of the judge, the security guard, the jury, and various other players in the narrative that was their life for those twenty-three days. Mixed into the human characters were images of the guardian angel that protected them throughout, and the demons who were never far from their minds.
The piece that first made me cry was a set of simple black and white photos Odia took of the steps her sister would have taken on her way home from school. Just a simple, ordinary street, with simple, ordinary stories happening all around, and yet those everyday images took on a whole new layer of meaning because they represented her sister’s last view of the earth. Under the images were snippets of text representing the moments and thoughts the family experienced in the days after Candace’s disappearance – the way they’d been treated by police who interpreted their deep faith as religious fanaticism, the day that five plates were set at the table and one had to be put back in the cupboard, the guilt Wilma felt over not picking her daughter up from school that day.
Below the images stood a sculpture that represented Cliff’s anguish. It was titled “Suspicion” and was ostensibly about his youth, growing up on a farm… “how impossible expectation resulting in judgement, created an environment loaded with suspicion and distrust on all sides.” He felt trapped like the first post of a barbed wire fence – something I could immediately recognize, having grown up on a farm with similar expectations. At the bottom of the text, though, was something I had no way of relating to. “Is this symbolic of my 22 years under suspicion?” Imagine… 22 years he lived with the knowledge that some in the police force suspected him of murdering his own daughter.
My own memory flashed back to the day when I’d returned home to the farm after suffering at the hands of a rapist. My father, overcome with emotion and the pain of knowing he’d been unable to protect his own daughter, left the house for a few moments. When he returned, with great pain in his voice, he told the story of a man he’d once known who’d spent five years of his life hunting for the man who’d raped his daughter, with the intent of killing him. “Suddenly,” my pacifist father said, “I know exactly how he felt.” My father was not under suspicion, but like Candace’s father, he probably felt trapped, knowing he could do nothing to change what had happened.
The next piece that caught my attention was one that I’d seen before – 490 crocheted teardrops created by Odia. 70×7 – the number of times the Bible instructs us to forgive those who’ve wronged us. With each teardrop crocheted, I imagine Odia trying to find a drop of forgiveness in her heart for the man who’d taken her sister from her. I’m sure the tears she shed as she crocheted them were more full of rage than they were of forgiveness.
Upstairs in the gallery, two last pieces provided the final frame for the story that the other pieces began. One was a line of six black and white images of feet drawn by Cliff, called Sacred Ground. Each set of feet represented a different member of his immediate family as they sat in the trial waiting to hear the verdict. Most of the feet were barefoot. During the trial, they’d often removed their shoes to remind themselves that, like Moses at the burning bush, they were on Sacred Ground. God was with them in the courtroom and had been with Candace as she lay dying in the shed. What great faith that simple act of removing their shoes must have required!
The final piece moved me even more than the rest, and makes me determined to go back to the gallery so that I can sit quietly in its presence for a little while longer. It’s a set of 23 crocheted circles in red, black, and cream. Each day that Odia sat in the court room, she crocheted a circle. The colours represent the state of her emotions while she sat and listened to the proceedings – cream for neutral, red for pain, black for rage. Some days were mostly cream, other days were a complex mix of all three, and other days were pure black. One day that intrigued me was almost purely cream, with a tiny shock of black. Not unlike my own mandala practice, she brought the complexity of the experience into a simple circle.
With me at the gallery was my friend Gabby with her two small girls – beautiful, vibrant children who made the viewing of the art even more complex and meaningful. While I processed the sadness, little Sadie was busy pulling treasures out of her bag to show me. One was a large plastic sparkly diamond. Surrounded by stories of death, this little girl reminded me of the joy of life. Our stories are messy and complex and the beauty doesn’t stop even when the sadness overwhelms us.
As I stood at my kitchen sink processing the fullness of what I’d seen, I cried for Wilma and Cliff and Odia and the rest of their family. I cried for the day that Candace would have turned sixteen and their basement wasn’t full of the laughter that would soon ring through mine. I cried for the gift that my three daughters continue to bring to my life. I also cried for the sixteenth birthday I will never be able to host for my son Matthew.
Several years ago, I heard Wilma Derksen interviewed on the radio, and she shared a story about the one year anniversary of Candace’s death. She’d been holding her emotions together, when suddenly she’d noticed fingerprints high up on the wall on the way down the stairs. She knew those could only have been Candace’s fingerprints, left there on the many times she’d bounded down the stairs and jumped up to slap the wall above her on her way down.
As I wiped the fingerprints my own children had left around the house yesterday, I thanked God that there will still be fresh fingerprints to wipe off tomorrow, and the day after that, and… I pray… the day after that. I also thanked God for the fingerprints Matthew left on my heart, though he will never leave any on my walls.
A few weeks ago, I heard Wilma Derksen speak at TEDx Manitoba. She said that one of her greatest learnings during the trial was that you can’t hold two things equally in your heart. Though she tried to hold both love and justice during the trial, she knew that there was not enough space for both. And so, for the sake of her family that remained with her, she chose love.
Yesterday, as I prepared to celebrate my daughter, I too chose love. It’s the same choice my dad made after the rapist harmed me. And the same choice I made eleven years ago after human error resulted in the death of my son.
I finished the first draft of my memoir in the Spring. The writing flowed freely and quickly, mostly because it was a story that had been simmering and growing for more than ten years since my son Matthew died and then was born.
Once I had about 60,000 words and it felt like I’d reached the end, I set it aside for a couple of months so that I could return with fresh perspective.
But then… every time I tried to return to it, I felt stuck. “Re-writer’s block” you might call it. I knew it needed work, but I didn’t know where to start. I knew I was losing the thread in parts, but I didn’t have a clear enough sense of what the thread was to fix the places where it was broken. Every time I’d come to the page, I’d do a little tweaking here and there, knowing full well that it needed more of an overhaul than a tweak.
Finally, in mid-October, I felt ready to put some serious work into it.
My return to it started in a roundabout way. First I cleaned my studio. Call it a metaphor… “clearing space, clearing mind”. Once there was space for my creativity to blossom again, suddenly I found myself eager to return to the page.
I got back into it and started doing some deeper editing than I’d done before, re-arranging ideas and playing with threads. But something told me I still wasn’t going deeply enough. The primary thread still looked blurry.
That’s when I knew it was time to step away from words and let colour and play do their magic.
I picked up my coloured markers, made space on the floor for a large piece of posterboard, and got busy. Before long, I had the beginnings of a question mandala on the page. Over the next few days, whenever I could find a few minutes of spare time, I’d disappear into my studio, grab my markers, and add a few new elements to the design. I think it’s complete now.
And guess what? I’m unstuck! I found the thread for my book and I know how to weave it more strongly through the weak places! I’ve already begun to rewrite it, and my new goal is to have the next draft completed by the end of 2011.
In case you’re stuck in some project, here’s a bit more information about my process:
What’s a question mandala? A mandala is a circular art form that is common in Eastern religions such as Buddhism and Hinduism. It is considered sacred art and is used as a form of meditation and spiritual discipline and awakening. In Jungian psychology, mandalas are seen as representations of the unconscious self and as a way to work toward wholeness in personality.
To create a mandala, you start at the centre and move out to the edges. Different traditions have different meanings and rituals involved in mandala design. In Tibetan mandalas, for example, there is generally a square in the centre (the palace or temple) with four doors (symbolizing the bringing together of the four boundless thoughts namely – loving kindness, compassion, sympathy, and equanimity), surrounded by three concentric circles (representing the spiritual birth, the awakening and the knowledge).
Some mandalas are very symmetrical and follow “sacred geometry”, while others simply look like free-flowing art in the form of a circle.
For me, mandalas are free-flowing (yet generally fairly symmetrical) and I don’t attach meaning to any particular shape. I simply allow things to evolve as the mandala grows. In recent mandalas, I’ve begun to incorporate questions and words as they come to me, as in my Occupy Love mandala and this most recent mandala (at the top of the page).
How does a mandala “work”? First of all, it’s important to remember that a mandala is not a means to an end. Yes, I used it to help me get unstuck, but I didn’t sit down with a specific problem in mind and expect the mandala to resolve it for me. A mandala, like any form of meditation, is meant to help us step away from our thoughts, logic and problems into a deeper level of the unconscious. Like prayer, it’s a way to clear space for an encounter with the Divine.
How did it help me get unstuck? Words emerge from the left side of the brain, so the writing and re-writing I was doing, though creative, was largely left-brained work. When I get stuck in my left brain processes (logic, analysis, naming, critiquing, defining, judging, fixing), the best solution is to step away from the problem and engage my right brain. That can be done with colour, movement, play, images, and free-flowing creativity – all of which are incorporated into my process. Before long, my left brain is jolted out of the old patterns that got it stuck and begins finding new pathways to unexpected solutions.
How can you make your own question mandala? Your mandala will be as unique as you are. It emerges out of your own brain, so it shouldn’t look like mine. If you’re new to this process, though, and want some guidelines, here are the steps I took for this particular mandala.
1. Start with a large white piece of paper. Something heavier like poster board or watercolour paper works well, especially if you’re using Sharpie markers, as I do. (You could also use paints or pencil crayons. Or if you’re doing this at work – at a board meeting perhaps – use a pen or pencil or whatever you have handy.) I find it best to get down on the floor with the paper and markers and let my body movement around the circle become part of the process.
2. Think about a simple image that is connected with whatever you’re wrestling with, or one that helps you define yourself. In my case, a butterfly is closely connected to the story that emerges in my memoir. For you it might be a candle, a walking stick, a pencil, a book – anything.
3. Draw that image in the centre of the paper. Don’t worry about what it looks like – this process is for you alone and you’ll have to let go of perfection for now. (Note: many mandalas don’t start with an image in the centre, but for this particular process, when I’m wrestling with something specific, it’s where I like to start.)
4. Draw a circle around the image. If you want it to be symmetrical, use a protractor, stencil, or bowl. If you’re not worried about symmetry, simple draw it freestyle.
5. Outside of the circle, begin with whatever shape comes to mind. Don’t over-think this. This is meant to get you out of logic and self-critique, so don’t let yourself get stuck in what will look best. Just draw! If triangles feel right, draw them. If circles feel better, then just go with it. Spirals, boxes, ovals, hexagons, squiggles – whatever. Just choose a shape and repeat it all the way around the edge of the circle.
6. Keep adding new shapes around the edge, always repeating whichever shape you choose around the entire circle.
7. Once you have a fairly substantial circle, begin a spiral of questions. Again, it’s important not to over-think this. Ask whatever pops into your head without sensoring it. (As you can see, I chose to blur out the questions in the image above, because some of them are fairly personal.) Keep writing until no more questions show up.
8. Add a few more rings of shapes outside of the questions.
9. When you feel like it’s almost complete, incorporate a circle of words that represent the themes that began emerging in your mind once you wrote your questions. Again, don’t over-think it. Even if a word seems puzzling or challenging when it shows up, write it down. It might surprise you with some new insight.
10. At the edge, decide intuitively whether you feel it needs closed energy or open energy. If you feel the need to enclose it, draw a complete circle around it and decorate the circle if you wish. If you’d rather have more open energy, finish it with shapes or squiggles or spirals reaching out beyond the page.
In the Tibetan tradition, where monks make elaborate mandalas with coloured sand, they destroy them soon after they’re complete as a meditation on impermanence (a central teaching of Buddhism). The sand is brushed together and placed in a body of running water to spread the blessings of the mandala. Though I haven’t managed to destroy the mandalas I create on paper (I suppose I’m not as evolved as Tibetan monks), I occasionally do body mandalas on my skin (like the one below) that disappear after a few baths.
I love my paper mandalas and find places to hang them on the walls around my studio or in the hallway leading to my studio. They remind me to bring colour and meditation back into my life, and sometimes they surprise me with new insight when I look back over them.
Try it next time you’re stuck. Even if you don’t have a huge epiphany, you might be surprised just how much fun it is to play with markers again.
* I would rather teach people to think beautiful thoughts than to create grammatically correct sentences.
* I believe that beauty and justice are inextricably intertwined and I want to bring more of both into the world.
* I believe that the greatest inventions, discoveries, and solutions emerge when people start asking the right questions.
* I believe that you have to ask a lot of questions in order to get to the right ones.
* I am happy when I can help bold creativity blossom in those around me.
* A little part of me shrivels up inside when I find myself stifling creativity with too many rules and judgements.
* I am easily distracted by colourful markers and clean white paper.
* I believe that personal leadership is more important than positional leadership.
* I choose community over team, circle over hierarchy, and family over corporation.
* I believe that shared stories open doorways to transformation.
* I am less productive when I haven’t had time for deep contemplation and equally deep play. The two go hand in hand.
* I believe that our differences are important but that they should not divide us.
* I delight in making new connections with people whose ways of looking at the world intrigue me. I am open to letting them change me, if it’s for the best.
* I am committed to hosting and being part of more conversations and inquiries that follow spiral patterns (moving inward to deeper wisdom) rather than linear pathways.
* Deep and soulful listening is often the best gift I can give anyone, and so I strive to keep my mouth shut and my ears open more often.
* I believe in walking lightly on this earth, and hope to some day use fewer resources for my own personal gain.
* I want to be open-minded and open-hearted and to live with delight as my constant companion.
* I believe that vulnerability and truth-telling can serve as catalysts for deep relationships and profound change.
* I believe that in order to create one great work of art you have to be prepared to create at least 100 mediocre ones first.
* I believe that time spent in meditation, prayer, and body movement is never time wasted, and I hope to some day live like I believe it.
* I believe that God created each of us to do good work and that we cheat our Creator and our world when we let our self-doubt and fear keep us from doing it.
* I want to bring more colour and light into otherwise dreary spaces.
* I strive to be more courageous tomorrow than I was today.
* I believe in daily transformation, continuous learning, and growth that doesn’t end until the day I exhale my last breath.
* I am committed to doing my best work, which is at the intersection of creativity, leadership, community, and story-telling.
the cloth that covers the table at the centre of our story circle each week
A story has emerged for me lately that has helped me define myself. It is that of a woman carrying a basket and filling it with story threads as she wanders.
Last week I was on a conference call with a circle of women planning a women’s gathering for next summer. We’ve been wrestling with what to name our gathering, and someone mentioned the words “weaving wisdom”. We all liked it. I shared with them the fact that lately I have seen my role in life as “weaving story threads into a tapestry of wisdom”. Each of the women in the circle is also a weaver of some kind.
With weaving on my mind so much lately, it shouldn’t have come as any surprise that last night’s writing prompt was a spool of thread. I’d brought brown bags for each of the people in my creative writing circle and inside each brown bag was an ordinary item that the holder had to write about and possibly use as a metaphor for her/his life. I chose the last bag.
Here’s my story about the thread inside my brown bag…
The Weaver
For years she’d carried her basket, not sure what it was for or why she’d been gifted with it as a child.
Though she didn’t understand its meaning, she knew it was important. She knew she was meant to carry it.
As she went through life, she found herself attracted to colourful story threads everywhere she went. Each story thread that was offered her was lovingly tucked into her basket.
She was a wanderer, this woman. She could barely keep her feet from moving. Europe, California, Kenya, India, Nova Scotia, Ohio, Bangladesh… she went wherever the stories called her to go.
Everywhere she went, she added new threads to her basket. Stories of courageous young women in Ethiopia. Stories of devastated villages in Bangladesh. Stories of justice workers rescuing young girls from sexual slavery in India.
Her basket threatened to overflow with all the threads she carried, and yet it never got heavy. She loved those stories dearly and spent time with them every chance she could.
Still, though, she wondered… what was the purpose of all of this? What was the use of all of these threads? What was she meant to do with them?
She began to ask the wise people in her life. “What do you think I’m meant to do with my basket?”
“Hmmm….” those people would say. “It just looks like a tangled mess to me.” Or “You have to find the answer in your own heart.” Or “Have you talked to God about it?” Nobody could give her an easy answer.
And so she continued to wander and gather more stories. But her heart became heavy, for she knew that all of this was meant for something.
Then one day, there came a distant whisper. “Have you tried weaving those threads together and making meaning out of them?”
Hmmm… really? Was she meant to be a weaver? But these were just tiny snippets – how could she make anything meaningful out of loose threads? And… what if she didn’t have the skill to weave them properly, or even to know which colours to line up together? What if she messed up and damaged the threads that had been entrusted to her?
She picked up a few threads and played with them wistfully. Could she trust the wisdom in her hands to make something out of this tangled heap?
Soon she realized, though, that without much effort at all, she’d lined up those first few threads in a way that made the colours dance. Yes. That looked right. The stories took on new meaning and beauty when she placed them together. She added a few more… and then more. Someone slipped a new thread into her hand. Ooooohh…. that one looked so lovely with the others!
Before she knew it, she was weaving. The threads were slowly being shaped into a beautiful tapestry in her hands.
She worked for hours, lovingly caressing each thread as she added it to her work of art. When she finally looked up from her work, she saw that she was being watched by eager eyes. Several of the people standing nearby were reaching out to her. In their hands were new threads.
“It looks so beautiful,” said the people watching her. “Will you teach us how to weave?”
This shocked her. “You want ME to teach you how to weave? But… I’m just playing with threads…I’m not sure I know what I’m doing!”
“Oh but you do!” they said. “You need to trust the gift in your hands. The world is desperately in need of more tapestries.”
And so she gathered her willing new friends into a circle. Reverently, and in awe of what she had begun, she lit a candle and rang a bell. “Start by telling us a story,” she said, and slowly and tenderly the people in the circle began pulling threads from pockets near their hearts. The threads were beautiful and each one was different from the last. Some were sparkly and bright, others were rough and well-worn. All were rich in colour and texture.
Before the end of the evening, a new tapestry had begun to form. “We’ll come back next week and work on it some more,” said the friends, excitement in their voices.
And so they did, and each week the woman marvelled at what she had helped to shape.
