Shakespeare at His Greatest

THERE IS VERY little religion in Shakespeare, but when he is greatest, he is most religious. It is curious that the plays that fit this best are, like The Lord of the Rings, in their own way fairy tales. There is The Tempest, that masque of his old age where all comes right in the end, where like Rembrandt in his last self-portraits Shakespeare smiles up out of his wrinkles and speaks into the night a golden word too absurd to be anything perhaps but true, the laughter of things beyond the tears of things. 

And there is King Lear, its Cinderella opening with the wicked sisters and the good one. But then the fairy tale is turned on its head, and although everything comes right in the end, everything also does not come right—religion books are usually tidier. Blinded, old Gloucester sees the truth about his sons but too late to save the day. Cordelia is vindicated in her innocence only to be destroyed more grotesquely because more pointlessly than her sisters in their lustful cunning. And Lear himself emerges from his madness to become truly a king at last, but dies then babbling that his dead darling lives and fumbling with a button at his throat. 

-Originally published in A Room Called Remember

We Catch Glimmers

RELIGION AS A word points to that area of human experience where in one way or another man comes upon mystery as a summons to pilgrimage; where he senses meanings no less overwhelming because they can be only hinted at in myth and ritual; where he glimpses a destination that he can never know fully until he reaches it.  

We are all of us more mystics than we believe or choose to believe—life is complicated enough as it is, after all. We have seen more than we let on, even to ourselves. Through some moment of beauty or pain, some sudden turning of our lives, we catch glimmers at least of what the saints are blinded by; only then, unlike the saints, we tend to go on as though nothing has happened. To go on as though something has happened, even though we are not sure what it was or just where we are supposed to go with it, is to enter the dimension of life that religion is a word for. 

Some, of course, go to the typewriter. First the lump in the throat, the stranger's face unfurling like a flower, and then the clatter of the keys, the ting-a-ling of the right-hand margin. One thinks of Pascal sewing into his jacket, where after his death a servant found it, his "since about half past ten in the evening until about half past midnight. Fire. Certitude. Certitude. Feeling. Joy. Peace," stammering it out like a child because he had to. Fire, fire, and then the scratch of pen on paper. There are always some who have to set it down in black and white. 

-Originally published in A Room Called Remember

A Game We Play

THERE IS A game we play sometimes. If we could somehow meet one of the great ones of history, which one would we choose? Would it be Shakespeare, maybe, because nobody knew better than he the Hamlet of us and the Ophelia of us, nobody knew better than he this mid-summer night's dream of a darkly enchanted world. Or maybe it would be Abraham Lincoln, with feet no less of clay than our own feet, but whose face, in those last great photographs, seems somehow to have not only all of human suffering in it but traces of goodness and compassion that seem almost more than human. Or maybe it would be Saint Joan, the Maid of Orleans, whose very weakness was her strength, her innocence her armor, lighting up the dark skies of the fifteenth century like a star. But the great ones of the world, if you and I were to meet them, would have nothing to give us but their greatness, nothing to ask of us but our admiration; and we would go to such a meeting full of awe to be sure but knowing more or less what to expect. In the saints and heroes of the past, we would find someone greater than we are, more human, more complete, but cut from the same cloth as we are after all, someone who was as often lost, as full of doubt, as full of hope, waiting no less than you and I wait for we're not sure what to deliver us at last. 

-Originally published in A Room Called Remember 

Saying Grace

THERE IS A restaurant in a city somewhere, a sort of quick-lunch place with no tablecloths on the tables, just the ketchup and mustard jars on the bare wood. It seems to be raining outside. An elderly man with a raincoat and umbrella has turned at the door. Another man glances up as he sits there smoking a cigar over a newspaper and the remains of his coffee. Two teenagers sit at a table, one of them with a cigarette in his mouth. They are all looking at the same thing, which is an old woman and a small boy who are sharing a table with the teenagers. Their heads are bowed. They are saying grace. The people watching them watch with dazed fascination. The small boy's ears stick out from his head like the handles of a jug. The old woman's eyes are closed, her hair untidy under a hat that has seen better days. The people are watching something that you feel they may have been part of once but are part of no longer. Through the plate-glass window and the rain, the city looks dim, monotonous, industrial. The old woman and the boy are saying grace there, and for a moment the silence in the place is fathomless. The watchers are watching something that they've all but forgotten and will probably forget again as soon as the moment passes. They could be watching creatures from another planet. The old woman and the boy in their old-fashioned clothes, praying their old-fashioned prayer, are leftovers from a day that has long since ceased to be. 

It is not fashionable to praise Norman Rockwell overmuch, that old master of nostalgia and American corn, but we have to praise him at least for this most haunting and maybe most enduring of all his Saturday Evening Post covers which touches on something that I think touches us all. It was some thirty years ago that he painted it, but the likeness remains fresh and true to this day, and of course it is a likeness of us and of a world not unlike the one the Seventy-fourth Psalm describes. 

-Originally published in A Room Called Remember

Our Own Story

THE WORDS INSCRIBED on the Statue of Liberty where it stands on Bedloe's Island in New York harbor are familiar to all of us: 

Give me your tired, your poor,  

Your huddled masses yearning to be free,  

The wretched refuse of your teeming shore.  

Send these, the homeless, tempest-tossed, to me;  

I lift my torch beside the golden door.  

It is not great poetry, perhaps, and many a cynical word could be spoken about how the golden door that the goddess of liberty lights with her torch turned out for many to be the door to a wretchedness greater than any they had left behind on the teeming shores of their homelands. But nevertheless I think the old words have power in them still, if we let them, to move us, to touch us close to where we live. And the reason they have such power, I believe, is that one way or another they are words about us. Whether we're rich or poor, whether our forebears came to this country on the Mayflower or a New England slave ship or a nineteenth-century clipper or in a twentieth-century jet, those huddled masses are part of who all of us are, both as individuals and as a people. They are our fathers and mothers. They are our common past. Yet it goes farther and deeper than that. They are our past, and yet they are also ourselves. In countless ways, both hidden and not so hidden, it is you and I who are the homeless and tempest-tossed, waiting on our own Ellis Islands for the great promise to be kept of a new world, a new life, which we haven't yet found. We are the ones who yearn to breathe free. We stand not merely like them but in a sense with them beside the golden door. To read the story of our immigrant forebears as it is summarized on the base of the old statue is to read our own story, and maybe it is only when we see that it is our own story that we can really understand either it or ourselves.  

-Originally published in A Room Called Remember