Defiant Imagination, Part 2: Frank Ocean's "Moon River" and Seeing Possible Worlds

As the final episode of When They See Us was coming to a close a song began to play that grabbed my attention.  It was a new arrangement and performance of an old standard.  It had been foreshadowed earlier in the episode by a recurring appearance of an unknown prison inmate ("Singing Inmate") who took every opportunity to sing "Moon River" as loudly as he could.  In those scenes, he was singing it with the powerful intonations of a golden-throated crooner.

I should include a comment on the type of writing I am doing.  I do not intend in offering my interpretation of a song's lyrics and music to be telling you what I think is in the mind of the composer.  I am not even claiming to know why the song was included as part of the movie soundtrack.  I am writing about possible meanings of the lyrics and musical structure, intertwined with the scenes of the film, and filtered through the interpretive context of my own viewing.  I'm not saying that it is arbitrarily subjective, but I am saying that interpretation of texts and films is multivalent.  The song's performer and the soundtrack composer may have different perspectives.  Yet I am analyzing musical lines, harmonic relationships, and actual words and sentences which do guide the interpretation.  So, don't take me as saying that I am offering the authoritative meaning of this song or soundtrack.  I am offering a reasonable and reasoned set of insights into a powerful creative composition of music, lyric, and film.  Now back to the song discussion.

Lena Horne, Barbara Streisand, Frank Sinatra, Johnny Mathis, Pat Boone, and especially Andy Williams had made this song part of their performance repertoire.  Some artists like Louis Armstrong, Aretha Franklin, and Eric Clapton with Beck, gave it their own twists.  "Moon River" is one of those songs that was pervasive in popular entertainment throughout my childhood, but I did not really learn the song or know much about it.  Vague memories of watching the movie Breakfast at Tiffany's suggest that I must have once known that Aubrey Hepburn sang it in the movie.  I mainly remembered the song as a standard sung by Andy Williams who was on television all the time in those days.  Beyond the opening line, I couldn't have told you the lyrics.

I think I listened carefully to the song for the first time after hearing the Frank Ocean version during the epilogue of the final episode of When They See Us.  This new cover of "Moon River" played as images of the actors faded into the actual exonerated men, with text overlays describing the current life situation of each of them.  Looking upon the bodies and faces of these boys who became men while wrongly imprisoned presses the viewer's consciousness into recounting specific events and relationships portrayed in the four-episode film, linking the visual narrative to flesh and blood.  In the context of these men's experiences of interrupted youth, injustice, and eventual exoneration to face a life so different from their plans, the song's lyrics opened up a wide space for imagination.



The song's lyrical images portray looking across a river toward what may be on the other side.  Getting across a mile-wide river is a daunting challenge, at the end of which one cannot be sure what she or he will find.  Then, the image shifts to traveling on the river, representing moving toward dreams of one's future.  The dreams are accompanied by heartbreak and the narrator's uncertainty about what's around the next bend.  As poetic imagery often does, the song starts mixing metaphors: the words speak of chasing the end of the rainbow as equivalent to flowing with the river's direction around bend after bend.  The narrator is pursuing what he or she longs for, not fully knowing what that is.

Thus the river is portrayed first as a barrier between the protagonist and the future.  Is it even possible to get across to the other side?  What will the other side bring?  Second, the river is a path upon which to journey.  The journey finds a sojourner facing an uncertain future, hoping, longing for what could be, but without assurance of what actually may appear.  And finally, the river is also the companion.  The narrator describes "two drifters off to see the world" who are "chasing after the same...rainbow's end."  The caring companions, the fellow-travelers, equally facing the unknown, sharing and bearing their hope and burden together--this may be the deepest message of the song.  If I step out into this river, it will bear me along toward its destination.  We will travel the same direction and meet the same obstacles and vistas, whatever they may be.

Ocean adapted the lyrics to his own version of the song.  It's a "crazy world" that they will see, not just "such a lot of" world.  Things won't always make sense how they turn out, but even the nonsensical is something we may find and see and experience.  With reference to the end of the rainbow, Ocean adds the phrase "chasing after" to give an even stronger sense of desire and longing.  Believing that there is something good to find, the protagonist passionately chases a dream yet not clearly formed.

He doesn't use the word "huckleberry," but says simply "my friend."  He omits there a reference in part to Mark Twain's famous character, for any number of reasons that could include the often racist language of that story from another era.

A final major lyrical change is the addition of more concrete lyrical descriptions of the formation process of one's life.  "What I see, who I become" echoes behind the lines about traveling on the river journey.  Ocean is making explicit that by joining this river journey, his life is taking a particular form through the experiences and growth specific to the river's path.  He says "Life's just around the bend."  It's not only the figment of imagination, the rainbow's end, that is around the bend.  With or without the rainbow's end, the protagonist's life will emerge from the contingent circumstances, the unanticipated relationships, and the mystery of the world encountered on the journey.  This practical language presses the viewer's mind toward the unexpected world unfolding for the exonerated men, filled with challenges and also possibilities.

The performance itself brings intellectual and emotional challenges to the listener.  The surprising opening stanza sung by a child's voice drills into the emotion of how the tragedy of this story explodes into the lives of children who went to the park one afternoon.  It's not an untrained voice, but neither is it a smoothly polished voice.  Quickly, another voice joins with harmony for a phrase--but the harmony turns out to be another melodic line in a different key, a beautiful dissonance of open harmonics.  Soon a kind of improvisational polyphony emerges as the mode in which the song progresses.  Going from solo line, to rich harmonies, to echoed motifs and improvised riffs, the performance partly deconstructs the traditional crooning ballad.

At times staggered entrances to melodic lines, fractions of beats apart, give a sense of fragmentation, a center that cannot hold, a whole that is invisible and out of reach.  These stuttering entrances and rhythms especially appear in relation to the lyrics about the uncertainty of the river's direction and destination, through heartbreak and uncertainty.  This performance itself touches a deep consciousness of the injustice and unreasonable path the young men's lives have taken.  

Yet the repeated motifs, the sense of a hopeful if uncertain destiny, are powerful themes and echoes throughout.  The polyphonic structures feed toward longer homophonic phrases of multiple layered harmonies.  Ultimately the richest, most intense harmonies and elaborate ornamentational riffs occur on the lyrics about chasing what is around the bend.  These unproven hopes, the deeply held conviction that even in a world that has been snatched away, where hopes are crushed, there is yet something worth finding up ahead.  It is a liberative theme, a recognition that the world as it is is not the world as it should be.  That better world, even if only partial and fragmented, still calls us forward.

This particular song drew me into recognizing how much a role the soundtrack had played for interpreting the film.  So I went back to review the soundtrack, making note of other songs that had projected an interpretation of the story.  In the process, I realized the way that the defiant imagination was at work in the music and the story.  "Moon River," like "What a Wonderful World," challenges the realities of a world dictated by white supremacy and white vision.  The river, always a potentially dangerous realm of currents, darkness, and hidden dangers, also represents the flow of life, the structures of how land and sea flow one into the other, the constancy of change and possibility of the new.  Ocean's interpretation recognizes both meanings, yet casts its lot with the someday, the dream, the chasing after what may and must be there for us.   Rivers have been a fruitful image to narrate the experiences of African Americans resisting oppression in the U.S.

Mavis Staples sang about lynched black bodies floating in the Mississippi River, that harsh and hateful world in which no black person is safe.  The song of lament was itself an act of defiance for putting into words and music the truth about life and death under a system of racist oppression.  Dissonant tones emphasized the incomprehensibility of such hate.  The lament ends with a call to action to "stop them from going in the river."

Other traditional songs such as "Roll, Jordan, Roll" and "Deep River" recognized the danger of a great river's treacherous current and deep waters.  Yet they also saw also great promise in the power of a river that can carry one from harsh circumstances to beauty and joy, even overwhelm an army of enemies.  They sang of a river deep and wide that marked the passageway toward relief from suffering and fulfillment in a land of peace, a true home, a welcome table, a banquet at which they were honored guests.  As we know, all such songs point not only to an afterlife, but also to a promise of goodness toward which the defiant person can strive in this lifetime.  Not only eschatological Jordan, but the Ohio River or the Detroit River as markers of emancipatory power, are part of such songs.

One of my favorite songs and another river song, Kate Campbell's "Lanterns on the Levee" has much in common with this version of "Moon River."  The coming together of two people, by Kate described as the falling rain which enters the river's flow, is again a central message.  Hardships, falls, failures, disappointments, heartbreaks, can be isolating.  They can feel as if one's very life is dissipating, dissolving.  But joined with the strength of the river's strength, that life takes on new possibilities.

You can fall like the rain
And I will be a river, winding forever,
Strong and true.
I'll carry you away to the peaceful waters...

Perhaps Campbell's lyrics possess a different degree of optimism about what may be around the bend, that it will be peaceful.  Yet the offer of shelter recognizes more storms will come, even from beyond the horizon.  The path is winding, and goes on and on toward new horizons.  What it will bring is unknown, but whatever comes will be better through solidarity among those on the journey.

"Moon River" reflects a kind of defiance which looks beyond the so-called realism of the world and sees a truth much deeper.  In a recent conversation with local artist and community leader Pierce Freelon, we discussed something he had said about "creating black spaces without asking permission."  This is part of the defiance I see in this work of art.  Recognizing that the young men who were falsely accused and wrongly incarcerated found themselves at the mercy of a world which saw them as evil, the film and song also help open one's consciousness of building possible worlds that differ from the world that powerful people seek to impose on the rest of us.

A world made for everyone cannot ultimately be hoarded and controlled by a few.  In the midst of the horrors of a world with its designs on breaking, throwing away, and killing young black men, there is yet a remainder of truth, beauty, and goodness which one can glimpse and place one's hope on, just around the bend.  Look around at all those on the journey with you.  Chase the dream with all you've got.

Defiant Imaginations, Part 1: Thoughts on Malcolm, Ruby, and Louis

Absorbing and responding to the Ava DuVernay film event, When They See Us, will take some time and more than one post here.  As I thought through what I might want to write, I found myself thinking back over some previous learning that seems to be relevant to what I have seen in this film.  So this first post goes back over a series of insights initially spurred by a textbook I used in the Shaw University undergraduate course, Foundations of Knowledge and Ethics.  It was an introduction offered to first-year students on the European and African American traditions of philosophical and religious ethics.  One of the thematic claims of the book has become an important part of my understanding of how persons and communities must respond to systems of injustice, and it continues to stir my moral imagination as years go by.

Robert Franklin's book Liberating Visions examines the lives and words of four important African American leaders who offer powerful moral visions for humanity.  He assigns each one a thematic adjective for the kind of life a person should live:  Booker T. Washington, the adaptive person; W. E. B. DuBois, the strenuous person; Martin Luther King, Jr., the integrative person; and Malcolm X, the defiant person.  Analyzing their views in light of character ethics, Franklin helps the reader see a social vision of the virtuous life, human fulfillment, and the good society through their eyes.  All are powerful social insights worth examining, but Franklin's interpretation of Malcolm X is the one that the music of  When They See Us has brought to the forefront of my thinking.

In theological studies, the term "prophetic imagination" has become a popular term.  Walter Brueggemann writes in The Prophetic Imagination that the tradition of prophetic ministry from Moses to Jeremiah to Jesus engages God's people in dismantling oppression and reconstructing a world built on justice in loving communities.  J. Deotis Roberts plays on the popular Protestant and Baptist theme of the "priesthood of all believers" in his ecclesiological book The Prophethood of Black Believers to emphasize how the black churches have contributed to a richer understanding of the task of the church than mere comfort and religious observance, extending into challenging injustice and working for the common good.  This prophetic calling finds a particular expression in Franklin's use of "defiant" to describe the imagination.  Defiance is a crucial element and a helpful descriptor of certain ways that the prophetic calling may find expression and embodiment.

Over twenty years ago, I was invited to participate in a conference on moral education sponsored by  Shaw's Program in Ethics and Values and Duke's Kenan Institute for Ethics.  I had anticipated following a keynote address by Robert Coles--no small task.  I was doing some research into his work in preparation, and it led me to reflect further on Franklin's interpretation of Malcolm. Eventually I presented my paper under the title "Political Realism and the Defiant Imagination." 

Realism is that school of thought in politics and theology which tends to fall back on the balance of powers mode of reasoning.  Keeping all the existing powers in a condition of balance or detente--not at one another's throats, but also not stirring much change toward better justice--is considered the best one can do in the real world.  Hence, realism offers little beyond incremental change for those who suffer under the crushing weight of oppression.  The very idea that someone might challenge the existing powers is considered both ludicrous and dangerous by the realist.  As Franklin realized, Malcolm ultimately did not let his imagination be captured by political realism.

Malcolm had been a budding, intelligent, and hopeful child, doing well in school until his early adolescent years.  Despite his giftedness, one of the teachers he had respected and trusted most advised him that he should not have ambitions to be a lawyer, to take up a profession of intellect and prestige.  He should be realistic and aim to take up a trade, a solid way to make money that would not require him to transgress into the realms of power and status in which he would not be welcome.

The story of Malcolm's life which follows that period shows his dissolution from the prior ambition to achieve into a life that accommodates itself to the world's worst expectations of him.  The white world, the world of powerful people, would expect Malcolm not to amount to much.  They would look at him and see something dangerous, something damaged, something likely to be trouble, and not someone.  They would not see him.  They would see a phantasm, a stereotype, an inevitability.  To some extent, one can look at his life and conclude that Malcolm walked down a path that fulfilled what the world saw in him.  They remade him in their image of his destiny.

Franklin recognizes, however, that Malcolm does not ultimately remain what society had expected him to be.  After being imprisoned for breaking and entering and larceny, Malcolm's original intellectual curiosity and drive began to resurface, largely because of the nurturing friendship of members of the Nation of Islam.  Malcolm reports that he began to copy the dictionary, line by line, page by page, to improve his reading and facility of the English language.  He began to read extensively in history, philosophy, and political thought.  He was instructed in the teachings of the Nation of Islam and trained in their discipline of a life in submission to Allah.  He saw that to accomplish greater things, he had to set aside impulsiveness and raging emotion.  He learned that the limits that had been placed on his life were artificial and externally imposed.  He learned to defy the expectations of society and aim for something greater and more in tune with his true nature.

Malcolm's defiance drove him to gain the education he had missed before.  He became a powerful speaker and capable leader.  He applied his practical knowledge to become a strategic thinker and incisive analyst of the political scene.  And when he was confronted with the inadequacy of the orthodoxies that he had previously accepted, he pursued with relentless critical effort the truth of historic Islam.  Malcolm represented a defiance courageous enough to challenge the existing power relations, to say what must be said, and to be persistent in the face of powerful forces aligned against him.  His radical critique conceded nothing in his effort to dismantle the dominant cultural systems which oppressed African Americans.

Remembering this account of Malcolm's life and his emergence as a leading intellectual of his time, I found myself drawn to Robert Coles's account of the remarkable young Ruby Bridges as another example of defiant imagination.  At age 6, her parents guided her to be one of the first four children to integrate the New Orleans public school system.  She was the only black student enrolling in her particular elementary school.  The white parents took their children out of the school.  Only one teacher agreed to teach in a school with a black child.  So Ruby's teacher taught the class with only one student. 

Federal Marshalls escorted Ruby to and from school because of the rowdy, violent protests that surrounded the school and the streets leading up to it.  Ruby was not particularly scared by the crowds.  She said they looked and sounded like Mardi Gras parties, with shouting and throwing things.  So she bravely walked in and out of the school each day.  Eventually, some white parents brought their children back to the school and the protests subsided.  Still, Ruby remained alone in her classroom.  In the next school year, the actual integrated classrooms began to come about in New Orleans.

Robert Coles became very involved with Ruby and her family, offering psychological care as much as was needed.  He learned a great deal in the process.  One of the central stories that he tells concerns an observation by her classroom teacher.  As Ruby was approaching the school, the teacher observed the little girl stopping, turning to face the yelling crowd, and saying something to them.  When Ruby got to class, the teacher asked about what she had seen.  Ruby explained that she had not been talking to the people, but to God.  Coles asked later for a fuller explanation.  Ruby told him that every day she stopped, usually before getting to the school, and prayed to God for the people.  That day she had forgotten until she was at the school steps.  Cole was shocked that her feelings toward this hateful crowd were leading to her have concern for them and pray for them.  She went on to explain that the prayer she said every day was to ask God to forgive them because they did not know what they were doing.

Her family and church had already instilled in Ruby a way of living in the world that was shocking to Coles and to many others.  They had joined a long procession of courageous defiers unwilling to let conditions of injustice stand.  They defied the barriers placed against the education she and other black children deserved, putting bodies in action to challenge the social order. 

Moreover, her family and community was already embedded in an alternative moral narrative.  She had understood the loving response of Jesus toward those who had done him wrong, and in defiance of the expectation that she should be afraid or should return hatred for hatred, she was seeking the good of those who wanted to do her harm.  She hoped against hope that her opponents could be changed, and she and her community imagined a better world could come about in which enemies become allies, even friends.  As an adult, Ruby Bridges still affirms that we must go against the grain of the world if we want to see change come for the better.

I became aware of a third example of defiant imagination during the period of Everly's illness.  A friend had given her a recording of "What a Wonderful World," made famous by Louis Armstrong.  Everly's first reaction was irritation.  She has never been a person who wanted to paint a rosy picture when things were not rosy.  No romanticizing and no pretending--she liked to simply say what she saw, what she felt.  So she could see no reason to play "What a Wonderful World" when she felt awful and the prognosis was not promising.  In what world could one call it wonderful to know that a person is dying of cancer at the peak of her life?  I understood her point.

It occurred to me that I had never given that song much thought.  I also wondered why someone might think it an appropriate recording for a friend who was fighting through cancer and chemotherapy.  But I knew that the friend was also not one to sugar-coat life's struggles or try to positive think oneself out of real problems.  I bought a Louis Armstrong album and took some time to listen to him sing the song.  I read a little about its themes and its popularity.  I began to understand that this kind of song represents a particular kind of defiance when sung by people who have been dealt every injustice and disadvantage by those with privilege and power.

There is a stance to take to the world when it treats you as if you are inferior, outcast, and unworthy, that defies those treatments.  It is a way of knowing the good, the true, and the beautiful that disavows the knowledge projected by the powerful.  Refusing to accept the world as it is offered, the defiant imagination of the oppressed recognizes that the good things in the world also belong to them.  They know the truth of the world, that it is not what the lies of the powerful would assert to be true.  They know that the beauty of the world, perhaps always mixed with ugliness, yet remains beauty.  In defiance, Armstrong can sing about the particular sights of natural beauty that he passes, the kindness of heart and soul experienced in community, and the hope of a better life as the struggle for liberation presses from one generation to the next.  Living in a world overshadowed by injustice, he can recognize that world as false, as the great lie.  In contrast, the truth remains that it is a wonderful world.

This is not the same as positive thinking.  It is a way of thumbing the nose at the oppressor.  It is a stone-faced challenge to the world's claim on one's life.  It's the laughter of one who knows that the joke is not on her.  It's not pollyannish blindness, but clear sight which sees both the wrong and the right.  It's not pretending, but a kind of honesty that knows tragedy as well as beauty.

I've been motivated to develop this discussion of the defiant imagination after having watched the powerful miniseries, When They See Us.  The title itself focuses on vision.  Presuppositions about the nature of the world and the people in it operate as filters on what human beings see.  The term "normative gaze" identifies a biased perspective shared by those who hold power in society and culture--their way of seeing things defines reality because it is assumed to be the normative way to see.

Yet the words and actions of those who are not in power can challenge the assumed truth.  Seeing beyond the current busyness, they may glimpse a truth not polluted or distorted by the interests of the oppressor.  Taken as part of a declaration, the film title names the way that white people see black people, one which automatically puts black people in jeopardy.  Taken as part of an interrogatory, the title asks whether the black young men have been truly seen at all.  In this case, the young men are waiting to be seen for who they really are, not for what the fantasies of white culture imagine them to be.  A defiant imagination gives its holder the possibility of challenging and overcoming the normative gaze of the oppressor.

The film project itself is an exercise of defiant imagination.  It challenges the dominant narrative, the way that the young men and their families were "seen" by the newspaper reporters, the police, the prosecutors, and by many of their neighbors.  In the next posting, I will discuss how various songs in the soundtrack of When They See Us help to feed a defiant imagination.

Loneliness and the Mystery of Friendship--Walking with the God of Pentecost

A year ago, I was taking a couple of days for exploring historical sites about the conflicts between the European settlers and the Dakota in Minnesota after an academic conference in St. Paul.  While in St. Paul, I had been with some long-time friends as well as some brand new acquaintances as part of our regional group of Baptist professors who take a weekend a year to hang out with our Catholic colleagues, talk about theology, Bible, history, etc., as well as worship and party together.

As I mentioned in a recent blog post, this time of year brings out more intense emotions for me because of various memories from my life spent with Everly, including the last weeks of her life.  Last year was no different.  I found myself deeply appreciative of the time spent with my old and new colleagues.  We worked on our academic topics together, and we also learned about one another's lives, whether as graduate students or teaching faculty.  A group of us were presenting a panel dealing with various baptist statements on sexuality which had been published in the past couple of years.  In the midst of getting ready for the panel, news kept breaking about Paige Patterson's history of sexist attitudes and sermons, as well as his overt attempts to repress reports of rape and sexual harassment in his role as seminary president.  The main point of mentioning all this is that we were keenly engaged with one another, talking about matters of significance for the church, the academy, and the lives of our students and ourselves.

As I drove up the Minnesota highways, I found myself thinking back on time with various people during the weekend.  I had been deeply moved and surprised by a new friendship that sprung up at the meeting.  I marveled at the thoughtfulness and attention shown to me by people with whom I had not previously grown a history of exchanged kindnesses.  I found myself overwhelmed by the grace of unexpected friendships during our days together.

The other side of that warmth and gratitude as I drove alone was the realization that we had all gone our separate ways, and it would be unlikely that many, if any, of those people and I would spend time together until the next May rolled around.  So there was a weight of sadness as well.  I found myself pressing deeply into my experiences of friendship, my capacity to make friends and sustain friendships.  One of the side effects of being a student through so many degree programs is that I have developed very deep and close friendships while working with fellow students toward a degree, only to fulfill those academic years by having all of us relocate and leave one another behind.  I find that I can hold on to friendships with long breaks between contacts, but that I am not so good at keeping them steadily growing by communicating regularly while living far apart.

This inconsistent communication is a flaw in my practice of friendship.  I am too easily affected by the habits of "out of sight, out of mind."  But I think there is another key factor in how I maintain friendships that has also affected this lack of communication with people who are in remote places.  While I have often had a circle of friends with whom to enjoy talking and hanging out, I am most likely to have one or two very close friends at a time, not five or ten or twenty.  That leaves me most likely to be in a close relationship with friends who are close by, to whom I have face-to-face access, and whose lives are present and connected enough to my own that we are able to maintain a deep awareness of what is happening with each other.

For over thirty-five years, from our late teens until her death, Everly was the primary friend to whom I turned and with whom I shared my life.  Depending on where we lived at the time, there would always be one, or maybe two, other close friends.  I am an introverting type of person who can find a great deal of satisfaction entertaining my own thoughts.  It is part of what helps me be a good researcher, to gain mastery of subjects, write about them, and recall extensively from stores of knowledge to use in teaching.  Hours of focused study, thinking, or writing are not nearly as taxing of my energy and vitality as an hour or so spent in a large social gathering, especially if it involves trying to converse with people whom I have not previously met and who share little in common with my areas of expertise and knowledge.  When mingling in a crowd, telling someone that I am a theologian or an ethicist is a pretty sure-fire conversation ender.  Struggling to find common ground for conversation can quickly wear me out.

By the way, Everly was pretty much the opposite.  She gained energy from social occasions.  She was likely to find her way into being the life of the party.  She maintained many more close friendships than I seem capable of doing.  I admire all these things about her, and marvel at how her way of moving in the world was so different from mine.  I often miss one of her greatest talents.  Everly could "read" the crowd.  Now while I may be able to get a sense of a room full of people's mood or bias, she could also quickly discern the demeanor and body language of most everyone present.  Most of these signals and signs go over my head or bounce off my forehead.  I often miss the tone and tenor of what is going on between people in social gatherings, including how people are reacting to me.

Because I was driving alone, I turned on some music.  I often do some of my important thinking through the poetic insights of songwriters.  On this day, I was listening to Carrie Newcomer and the Indigo Girls, both of whom have helped me think through issues over the years.  I took note of a particular song (with a strange title) by Newcomer that day, "Cedar Rapids 10 AM."  The song's refrain is an invitation to continue in friendship.  The singer is needing some time to think, and has determined to do so by hiking up to a promontory to rest, look at the sky, and mull over what is on her mind.  She wants her friend to come join her.

Will you come with me to the ridge top?
Lay all your burdens bare, right there.

It's an invitation to honesty and struggling to get through to the truth of things.  The lyrics continue to speak of the value of deep conversations between friends.

Take away all the white noise;
It getting hard to hear.
Souls stretched as thin as tissue paper
Edged with cuts and tears....

You've always been a cup of coffee;
You've always been the cream.
You've always believed that I was better
Than I could ever dream....

So much for all the chips we've earned.
So much for all the things we've learned.
So far it is still you and me.

Dealing with the erosion of a life by the daily disrespect, frustration, and longing for something more--all that can wear someone down.  That image of being stretched, with cut and torn places scattered across a tissue-thin surface, is something I can identify with.  It's a picture of wearing away one's substance until it seems little is left, and even that remnant could dissolve so easily, with just a shred of dignity and energy left.  In some moments, even one's length of experience makes little difference for understanding, like round after round of poker, gaining chips whose exchange value  you don't care about, or knowledge that makes no difference in the current situation.  Sometimes, it is only the presence of a faithful friend that can hold one together.

Last May, having seen a a valued time with friends come to an end, and sulking a bit over the state of my own life, I was feeling that, unlike the song's character, I didn't have anyone available to hike up to the ridge top and work through whatever could be on our minds.  I was having a bout of self-pity, and I knew it.  But knowing that didn't make me feel any better about my situation.  For almost five years, I had not had Everly, my "go-to" friend.  And having returned to live in Durham, I kept seeing other close friends move away, making it harder to keep that kind of presence I need when things get hard.

I started to realize that one issue for me was that in having had Everly faithfully available as my friend for such a long part of my life, I had come to take the availability of friendship for granted.  It's not that keeping a marriage friendship functioning well isn't it's own kind of hard work.  But having grown into mostly good habits of relating with one another, I hadn't needed to put out much effort to cultivate other friendships.  With Everly gone, and later some of the other friends no longer nearby, I had come upon a new challenge to make my life work well.  The kind of friendships I needed were not just going to walk up to me day after day.  I was going to have to figure out how to work at being a better friend so that I could have friends.

I realized at that point that there were a number of people in Durham who had already been generous in their friendship toward me.  There were friends whom we had known since arriving in North Carolina in 1986, with whom our family had been through many important events in our lives.  They had not pulled back from their hospitality and availability to me.  I simply had not been taking the opportunity to spend time with them and to make sure I was a friend to them as well.  Another small group of friends who had invited me on several occasions to join them for conversations, dinner, or an outing, had not put up any barriers to my seeing them more often than I have been.  As I stated above, I was becoming aware that there were people ready to be good friends with me if I would put in more effort rather than simply waiting around to see what would happen spontaneously.  And in the year since that time, these good people and I have shared our lives and hearts in what is a pleasant relief from the pattern I had fallen into.  It's what your momma or grandma always told you--don't take good things for granted.  That was one of the insights that was dawning on me last May.

But there was another very important thing I was realizing about friendship on those highways. During my drive across the prairies of Minnesota, I spent some time reflecting on the mystery of becoming friends.  It is commonplace in contemporary popular wisdom to assume that friendship is chosen.  "You can pick your friends."  I'm not saying it's a completely empty aphorism.  When a person has "run with the wrong crowd," there may be the possibility of walking away from that set of friends, but it may not be easy in all cases.  People often try to pick their friends by picking a neighborhood to live in, a school to attend, or a club to join.  These decisions do have some impact, but whether the type of friendship that allows a person to find support, honest communication, and love will come about is not so easy to plan.

There is a mystery to friendship that can't be explained by choosing who will and won't be our friends.  The Indigo Girls song, "Mystery," reflects on this hard to explain part of becoming close to another person.  It puzzles over whether friendship happens by fate or choice.  It asks whether the unplanned and unexpected coming and going of a friendship means that it never was real.  It's likely many readers have wondered about the same kinds of questions.  The person one is sure will become his best friend is just a passing acquaintance.  The person she hardly even noticed grew to be the truest friend.  Two people who might seem to be different, even opposite, in so many ways find themselves becoming friends: "My heart the red sun. / Your heart the moon clouded."

It's common in the popular theology of the kinds of churches that I have always been part of to think of our associations, friendships, and loves to be arranged by God's plan.  I've written about my understanding of the will of God in at least four previous posts, but it seems to me that such a commonly discussed topic deserves attention again and again.  I'm not inclined to think of God as a master chess player, moving all of us pieces around a board to meet some grand plan.  I did not say that I do not believe God has plans for us, which I know to be that we ought to become more like the image of divine love revealed in Jesus Christ, living in community with those who gathered to him and found bounty and healing even without a permanent home and a truckload of possessions. 

God's will for me and for you is beloved community, and we are the agents to share in the plan and the construction of a world that bears marks of God's Reign.  Our efforts are partial, local, frail and temporary, yet they are real products of the goodness, beauty, and love in which God has made us to live.  Nor do I think of God as a scriptwriter and puppeteer.  There is not a single predetermined path for all of history.  God works in history with infinite creativity, capacity to repair and heal, and patience with the failures, shortcomings, and outright evil projects that humans get caught up in.  The calling is persistent and repeated whenever we can hear it, to turn our efforts toward the good of one another, and in loving and just ways to remake the communities in which we live.  God is in the midst of the living and unfolding story.

In either image, whether the chess master or scriptwriter, God is more remote from us than the God revealed in Jesus Christ and coming in the power of Spirit on Pentecost.  In Jesus, the Word became flesh and moved in the neighborhood.  Jesus associated with everyday people, not the boardrooms and ruling halls of the elite.  He couch surfed his way around Galilee and Judea, walked confidently through the "bad neighborhoods" of Samaria, fell in with the rough crowd and got run out of Gadara, and he built a movement of the masses that made him dangerous in the eyes of the rulers.  The Spirit came to the people and gifted them to share good news in the language of all who were present on Pentecost.  There was not a booming voice from the clouds, but the many voices in many languages of people who had learned who God is by following Jesus.

I am inclined to think of God's working out God's will in ways that accord with these manifestations of God's presence.  Rather than moving a chess piece near me to become my friend, or moving me around to make a certain person be my friend, I am inclined to think of God as a caring companion, present with us, not scripting or manipulating us as a puppets.  As we live our lives, people come our way, or we come upon people in our pilgrim journey.  We will not become fast friends with everyone we meet.  But as our companion, our guide, the one who is shaping us to be more what we are made to be, God will be at work to help us discern and appreciate the allies, friends, and beloved companions who can be part of the beauty that God intends our lives to be.  It may sometimes seem like choosing, and other times an unexpected mystery.

Thomas Aquinas echoes the words of Jesus from the gospel of John chapter 15 when he says we can grow to be friends of God (Summa Theologia, Second Part of Second Part, Question 23). With God as a friend, an ever-present companion, our prayer without ceasing opens our hearts and minds to hear the gentle prodding of God. Maybe at times it is not a gentle prodding, but a strong push to move, a wake up call to see what is right in front of us, or opening our ears to hear the cry that requires our response.  In this way, God leads us into opportunities for friendship, by being the one who cares enough to get us going in the right direction, to speak up to greet someone, and to above all to listen to people.

If I think about some of my own experiences (and I'm not going to give a long inventory), there is much that is unexpected and unchosen in the process of our becoming friends.  One very close friend was a graduate school colleague of mine, but everything about our demography other than being theology graduate students worked against our becoming close friends.  However, when we each had a three-year-old daughter taking a Saturday morning dance class, dads with coffee and time on their hands struck up a friendship and found they were able to talk honestly about the most difficult things they were dealing with at work, home, and church.  An unanticipated intersection of daddy responsibilities created the groundwork for a long-lasting friendship. 

In another case, an acquaintance came to offer prayer for me one Sunday during worship, and the conversation that followed led to recognizing a deep commonality in our longing to deepen our loving relationships with our children.  If an observer judged by our different ages and background, one probably would not lay odds on a budding friendship coming from what could have been merely the formalities of performing a religious duty.  If this post were a study of all my friendships, I could easily describe other cases that could be even more unexpected friendships.

Friendship isn't strictly a choice.  It emerges out of contingent occurrences.  It comes as a gift more than as a choice.  Friendships grow as a kind of grace.  That was another lesson I was beginning to learn last May.  I can't predict where friendship may arise and grow.  Half a year earlier had met an academic colleague from another school almost by chance as we were participating in the same conference.  It was a break in the programming, so we sat down and became acquainted, learning a few things of interest about one another.  I enjoyed the conversation, but I didn't expect much to come of it. 

By May, we had met several more times.  I was surprised that someone would make that much effort to get to know me, not being in the same town, the same academic discipline, or having very similar networks or background.  By then it was already clear to me that grace was at work to allow our friendship to blossom.  As I indicated in the first part of this post, I was struggling both with needing  a friend, and with needing to be a better friend.  And here without any plan or effort on my part, a friend had walked into my life.  It's reasonable to say that I was puzzling over the same kinds of questions Emily Saliers was in the lyrics of "Mystery."

Why do you spend this time with me?
May be an equal mystery....

Psychologists and other social scientists, philosophers and theologians--we all can bring some general insights into understanding friendships:  characteristics of good friendships, the likelihood of friendships to last, the needs friendships bring, the goods friendships help to produce, the virtues that support friendship and vices that undermine it, examples of good and bad friendships.  When all is said and done, a great deal comes down to the simple acceptance of who shows up in one's life, the contingent events that get our attention, the opportunities we take to show concern for someone, the willingness to be honest and vulnerable, and the interconnection that grows from having a history with one another that has made us better people. 

I think people can reasonably put in the effort, even choose, to become the kinds of persons ready to be friends with others.  Yet there is a remainder in the narrative of friendship that is housed in mystery. Perhaps you met at that time that your soul was "stretched as thin as tissue paper," with so many cuts and torn places you did not know how you could make it much farther without someone to share the burdens.  It could be that sitting to share a cup of coffee, maybe adding some cream to soften the bitterness, led to that mysterious realization that your friend can see good and power in you that you have not been able to find--"You've always believed that I was better than I could ever dream."

I'll close out this far too verbose post with perhaps the most powerful lines of the Indigo Girls' song that say a great deal to me about entering the grace and gift of friendship when loneliness seems to be the only possibility.

Maybe that's all that we need--
Is to meet in the middle of impossibility.
We're standing at opposite poles,
Equal partners in a mystery.