writing | Michael Valliant

Drawn in Crayon

“Things in life never come full circle. Maybe once or twice they’re hexagonal, but to me, they are almost always misshapen, as if drawn by a toddler in crayon.”
Adam Horovitz (Ad-Rock)

That’s how Ad-Rock of Beastie Boys fame described the feeling of looking back on Bonnarroo music festival, where the group was headlining, and not knowing it would be the last show they would ever perform together, before to Adam Yauch (MCA) died.

That hits hard. I paused the documentary to write it down, such a profound way to look at things. Misshapen, drawn by a toddler in crayon. And there is sadness in that, but there is also hope. I want to hold on to the fun, spontaneity, and fresh/beginner’s perspective that comes with drawing in crayon.

Our lives are built from the past. That’s what’s gotten us to where we are. Not just our past, but further back. The picture above is one of my all-time favorite photos. It is my grandfather, my Dad’s father, sitting in what was his father’s oyster shucking/packing/canning house. It’s about 1905 in Oxford, in what is now Oxford Marina & Boatyard; growing up for us it was Mears Marina. Where he is looking at is now the restaurant Capsize. I am looking at the framed black and white photo on my desk as I write.

I think of the things he saw in his 95 years; how his lifetime included the birth of my father, out of whose life I came into the world. So in a real sense, this moment I am having, sitting here typing and thinking about my grandfather, is built out of, is contained in a future state, in that photo. And that world is so different from the one we are living in now. And if you tried to connect the dots from that moment to this, it would look a whole lot like a child drawing in crayon.

Life should be drawn in crayon. It shouldn’t be angular, or too detailed, or a map from which there is no deviating. I like thinking about the enthusiasm and creativity that is in the eyes, mind, and hands of a child sitting down to a blank piece of paper. What if we could bring that to each day?

An old friend and I were writing back and forth about “Beastie Boys Story.” I said they are the soundtrack of our lives. A place it took him:

“Takes me to another place and time for sure. Lots of great memories of a time that can never be again- but I’m glad I got to live it.”

And I know he’s right. The same way that the life my grandfather lived can’t be had in the same way in today’s world, the things we did, the experiences we had in our earliest years of albums coming out and being played over and over, that is a time and era that our kids don’t get these days. Especially these days of quarantine. “Licensed to Ill” came out when I was a freshman, like my daughter Ava is now. By the time I was a senior, like Anna, “Paul’s Boutique” was the most played album in our cars and sung regularly at parties.

But then I also think about how music can still be a part of the new memories going on–further along the crayon arc. I think of Ava in her car seat in the backseat of my truck on the way to daycare asking to listen to the Beastie Boys “Grass Monkey” (I will wait on my parent of the year award)–I think of the song “Intergalactic” constantly playing in the Latitude 38 kitchen when I worked there; I think of newer albums and the song “Make Some Noise” (if you’re living) was an anthem for us in 2011. And about how all their albums are still in constant rotation on my playlist. And I love how thinking and remembering the band and their impact on my life even got to be a part of my writing, and how old lyrics still make sense in new ways to me today.

But there’s more. Adam Horowitz, talking about Yauch/MCA, says he was “a living contradiction of people’s ideas of how or what you are supposed to be or do.” They talk about how they were able to spend most of their lives to this point creating art, hanging out, and having fun as a group of best friends. They talk about how Yauch was the driver in learning new things, taking new adventures, growing and outgrowing old ways of being and thinking. And I wonder, what can we take from that? What can I learn from their example? How can we/I be those people who keep pushing boundaries?

I think about the number of times I have laughed at lyrics, or laughed watching the documentary, and how much we need humor in our lives, both day to day, but also a sense of the cosmic scale/sense of humor. And I love the idea that MCA was “drawn to the Dalai Lama because he was a funny dude.” And it makes me smile and remember that humor is so important in our spiritual lives.

What if watching a documentary about your favorite band and the life they’ve lived further inspires us to spend time and go on adventures with our friends–actual physical adventures, but also spiritual adventures, or literary/creative/musical adventures, depending on what form your creativity takes?

We can get nudged by life, by God, in different ways, if we are paying attention. And during a time when we are largely at home and isolated, our nudge can come in the form of documentary movies, from music, from books, from connecting with friends in new ways. Our nudge can help us to have new eyes to look at the things around us.

When we look forward, we don’t know what those special, transcendent moments are going to be or when they will happen. I like to think that each of us has so many more of those moments ahead, not just behind us as memories.

Looking back at the moment of my grandfather sitting among oyster shells captured in a photograph taken more than 100 years ago, and all the possible moments contained in it, that became real moments in his life, my dad’s life, my life, my daughters’ life–I wonder what those captured moments, what photographs or objects, or stories that are taking place now, are going to be those things passed down and talked about and laughed over 100 years from now?

And I can’t know that. But if I had to guess, when you draw a line and connect those dots and moments and stories, it will look “misshapen, as if drawn by a toddler.” And I hope they are using crayon.

One bloom might hold it all

The magnolia in the front yard is a ten-day tree. For maybe ten days at most, there is nothing like it; it’s in full blaze glory. Then it drops its bloom and doesn’t say much the rest of the year. But those ten days.

As our unplanned retreat/social distancing kicks in, we are in the middle of ten-day Magnolia time. It’s an excuse to sit on the bench under the tree, to walk around it, to put my head between blooms and breathe in. If I’m honest, I don’t need a virus to do this, it’s life everyday as long as I’m paying attention.

The sky is still dark, but the birds are noisy. It’s transition time, just before the sun changes the horizon’s color. Morning routine: coffee, prayer, reading, writing. Cat purring on the armrest against my left arm, dog curled up against my right thigh–demanding bookends with fur. As it warms, morning time will be on the deck or in the writing shed.

This early dark time matters. It frames the day with attention. It sets the tone before the day’s demands start. Lately, I’ve been thinking about writing, storytelling, the force of words that point to something words can’t really get to.

One of the books currently traveling with me–in the car, in waiting rooms, to work, the spare minutes picking the girls up from school.

In the preface to “The Field Guide to Writing Flash Nonfiction,” the Rose Metal Press folks point to Bernard Cooper’s notion that short nonfiction needs “an alertness to detail, a quickening of the senses, a focusing of the literary lens… until one has magnified some small aspect of what it means to be human.”

Mull that last phrase as you sit to pray, read, or write, “some small aspect of what it means to be human.”

Overshadowed by the Coronavirus these days, is Lent, a season where we look to pare away those things that distract us so that we can draw closer to God. When I spend time in the Bible, it’s the Gospels that sing. It’s not Paul’s letters, it’s Jesus’ stories. Christ tries to show us and tell us what it means to be human in a way we too often overlook.

“The kingdom of heaven is like a mustard seed that someone took and sowed in his field. It is the smallest of seeds, but when it has grown it is the greatest of shrubs and becomes a tree, so that the birds of the air come and make nests in its branches.”
Matthew 13:31-32

Ummm… thanks, Jesus. What the heck are we supposed to do with that? Even his followers want to know why he always talks in parables. And this is a parable told after the Parable of the Sower and after Jesus broke it down for them. It was part of our reading in N.T. Wright’s “Lent for Everyone,” on Saturday. Wright points out that, Jesus, “told parables because what he was doing was so different, so explosive, and so dangerous, that the only way he could talk about it was to use stories. They are earthly, and sometimes heavenly, stories with an emphatically earthly meaning. They explain the full meaning not of distant, timeless truths, but of what Jesus was up to then and there. This is what is going on, they say, if only you had eyes to see. Or, indeed, as Jesus frequently says, ears to hear… Jesus’ parables invite the hearer, to look at the world, and particularly at Jesus himself, in a whole new way.”

I am guilty of not catching anything the first time, or first several times, I hear it. It takes time for me to learn things, to let them sink in. I need seeds. I need seeds that take time to take root, take time to grow, but once they are there, they stick, and maybe they bloom in each of us uniquely, in ways that can only be made manifest in the exact way, with our particular eyes and ears.

Often my eyes and ears work against me. Words I’ve heard or used too many times or sights that have become ordinary and overlooked. We don’t see God if we don’t look, or take the time to make the connection. Maybe the more we connect, the more we awaken ourselves to His presence.

American Goldfinch, by Michael Brown. Macaulay Library at Cornell Lab of Ornithology.

Reading further in the Flash Field Guide, there is an essay by Lia Purpura called, “Augury.” She walks up on a dead Goldfinch hanging in a tree, caught up in fishing line. It’s jarring, disturbing, unexpected, confusing. It’s wrong for what is supposed to be there, how things are supposed to be.

Her description of this moment, this encounter is eerie and uncanny and beautiful all at once. In maybe a why moment for the experience, she latches onto, “It’s good to stand beneath a thing that takes words away. It’s good to be in a place where thought can’t form the usual way.”

Experiencing things that take words away, where thoughts can’t form the usual way.

I prefer my encounters to be with live Goldfinches, as I am sure Purpura does as well. But I appreciate her flash essay in the way it helps me to look at Goldfinches with new eyes. It helps me to look at writing with new eyes. Hopefully it helps me look at life with new eyes.

Life and death loom large. While I sit here, for the time I have, life looms larger. It’s part of the ten-day tree time. New birds, Goldfinches included, are appearing at the feeders, and at the edge of woods where I hike or trail run. Crisp, spring sunrises and sunsets are punctuated with cool, clear night skies full of stars. in the midst of it all, the magnolia makes a statement.

If I have eyes to see, one bloom might hold it all.

Mapmakers & Travelers

“I don’t know, maybe your experience differed from mine. For me, growing up as a human being on the planet Earth in the twenty-first century was a real kick in the teeth. Existentially speaking.” – Ernest Cline, “Ready Player One.”

Ernest Cline lured me in with Oingo Boingo, got me to sit down with Atari 2600, and handed out popcorn with 80’s pop culture references in spades. For the better part of two summers growing up, I had a boombox covered with skateboard grip-tape and anarchy symbols on my 13-foot Boston Whaler. The cassette tape that lived in the boombox was dubbed from vinyl records: on one side was Bob Marley “Exodus” and on the other was Oingo Boingo “Dead Man’s Party.”

I can’t tell you how many times we listened to that song. I can hear the music over the wail of the outboard motor with the boat planing. Cline conjured up the beginning of Dead Man’s Party and I was there.

Ready Player One’s main character Wade Watts is born into a crappy existence where virtual reality (the OASIS) is much more inviting and compelling than real life. And the more he learns about history and life in general, the further he is convinced that life is a raw deal.

“I started to figure out the ugly truth as soon as I began to explore the free OASIS libraries. The facts were right there waiting for me, hidden in old books written by people who weren’t afraid to be honest. Artists and scientists and philosophers and poets, many of them long dead. As I read the words they’d left behind, I finally began to get a grip on the situation. My situation. Our situation. What most people referred to as ‘the human condition.’ It was not good news.” – Ernest Cline, “Ready Player One”

Map of the world of Greyhawk. Yeah, definitely spent more than a normal amount of time pouring over, recreating, and drawing my own maps on graph paper.

Cline walks us through the interior minds of any of us who grew up immersed in pop culture and fantasy during the 1980s. And he also walks us through our current culture and the pull of virtual/screen reality over the world around us. He both maps it and travels the terrain. I’ve been mulling over a comment from Brene Brown in her book “Daring Greatly,” when she says:

“I have found that the most difficult and most rewarding challenge of my work is how to be both a mapmaker and a traveler.”
Brene Brown, Daring Greatly

I’ve been fascinated by maps for as long as I can recall, and it could have started with the map of Greyhawk above. But it’s not just the map itself–hiking through the White Mountains more than 10 years ago, and seeing where we were on the map, there was just something inherently cool about it. Maybe it’s a combination of knowledge and adventure, which multiply into some sort of lived truth. It’s also the idea of charting the intersection of imagination and culture, say in Cline’s case, which made reading feel like both a revelation and an adventure, and left my head spinning.

Neil Gaiman, taken by his wife Amanda Palmer

“Truth is not in what happens, but in what it tells us about who we are.” If you want to get inspired to read and fire up your imagination, go read Maria Popova’s piece on Neil Gaiman writing about what books do for the human experience.

In the mornings, when I read or pray, my mind, heart, and soul soar and dive and question and sit in awe and wonder. That’s part of being a traveler, making an interior journey. For me, there is then something in the act of trying to write down what I am seeing, feeling, wondering about; the act of writing becomes an act of mapmaking. I try to do the same thing when my mind wanders somewhere cool while running or whatever I am doing (hence always having a notebook and pen in my pockets).

Gaiman goes on to give his own take on things hidden in old books:

“Books are the way that we communicate with the dead. The way that we learn lessons from those who are no longer with us, that humanity has built on itself, progressed, made knowledge incremental rather than something that has to be relearned, over and over. There are tales that are older than most countries, tales that have long outlasted the cultures and the buildings in which they were first told.”

So many times it’s the old tales. When we study the Bible, I am always taken to these other places, God journeys, that almost always end up also describing something I am currently feeling, or a feeling I know. So the journeys become linked; the traveling is not alone.

Maybe the act of reading, the act of imagining, the act of praying, is also an act of connecting. It can be connecting with the past, connecting with the writer, connecting with God. But we are forming connections. We aren’t the first or the last to find or feel them. But in the same way that we benefit from what these cultures, writers, and artists have left behind–the maps they have given us–maybe we are compelled to chart out our travels, our journeys, so that we can leave them behind for others to do the same.

Maybe we can help make some better news for the human condition.

Nothing gold can stay

“Nature’s first green is gold, / Her hardest hue to hold.”

Robert Frost might have had a magnolia tree in his front yard. I’ve never seen anything like it. Over the past week, it’s been in different phases of bloom and I just go out and stand underneath it in complete awe. It will only last a week or two, but man, what a week.

“Her early leaf’s a flower; / But only for an hour.”

Spring is a time for rebirth, for taking root and for growth. But within that, there is also the notion that it doesn’t last, like the magnolia tree in bloom, so appreciate it while it’s here. Be present. Feel the growth. Take the moment.

W.S. Merwin in Hawaii at the Merwin Conservancy. Image from Stefan Schaefer.

W.S. Merwin, one of the brightest shining, most brilliant, and most venerable American poets died recently. I met him briefly in Washington, DC, after hearing him read. I’d made it a point to catch him after work when I worked in the city. He was one of the voices; one of the lives worth emulating, or using as a model to find your own.

In a great New Yorker article, Casey Cep writes about Merwin’s writing and his effort to preserve Hawaiian landscape, “The palm forest, like Merwin’s poetry, has become a kind of prophetic stance against contemporary life: bearing witness to individual, almost foolish acts of creativity while devastation abounds.” We do what we can in the time that we have.

Sometimes I can connect the dots, sometimes I lose the picture. My reading list of late has included large parts of Luke’s Gospel, Henri Nouwen’s “Return of the Prodigal Son,” and legendary and/or mind-bending graphic novels, including Brian Michael Bendis and Alex Maleev’s “Daredevil” run, Donny Cates’ “God Country,” and Jonathan Hickman’s “Fantastic Four.” I’ve never read Hickman, who is known for his epic story arcs for Marvel Comics. Marvel announced this past week that he is set to take over the X-Men this summer.

I’ve been thinking about the Faust/Faustus storyline a lot lately, where to gain unlimited knowledge, the seeker sells their soul to the devil. It has to deal with hubris, excessive pride, and pushing beyond the limits of where we should go. And Hickman plays that exact storyline out with Reed Richards in his Fantastic Four story. But when faced with the decision either come up with the answer to everything, to save the universe and feed his ego flashing his brilliance, or to be human, be with his family, Richards thinks back to the words of his father.

“All of my hopes and desires rest in you becoming what I am not. When you grow up, I expect more. Son, I expect better. I want you to be a better friend than I was. Be a better husband. Be a better father. Be a better man.”

Father-son, father-daughter messages hit me straight in the heart. And it makes me reflect on the prodigal son story, and how the father wants his sons to know his love, no matter what they’ve done. And that’s big.

For Lent this year, Fr. Bill Ortt at Christ Church Easton, has given out prayer stones during worship services. There are 11 different words and you choose without looking: love, peace, believe, remember, listen, forgive, hope, pray, heal, follow, grace. The idea is to use your word as a mantra during Lent. And to look up Scripture for your word that you connect with, and pray, reflect, and meditate on it for the season.

My stone is love. It’s not the one I expected or the one I would have picked. But it’s the one I needed. It’s what I need to remember and to focus on. I picked two verses.

John 13.34-35
I give you a new commandment, that you love one another. Just as I have loved you, you also should love one another. By this everyone will know that you are my disciples, if you have love for one another.’

And

Corinthians 13:4-8
Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, believes all things, hopes all things, endures all things.
Love never ends.

Those are big for me. Because it is easy for me to look past, to get too busy, to be in my head or deep in thought too often.

Finishing up Robert Frost’s poem:

Then leaf subsides to leaf. / So Eden sank to grief, / So dawn goes down to day. /  Nothing gold can stay.

Nothing gold can stay. And that’s true for spring. It’s true for knowledge and accomplishments. It’s true for the world. It’s true for almost everything we see around us.

But not for God. And not for love. “Love never ends.”

Of sleeves & cave walls

My mind is dancing, fickle like fire. It won’t stand still–it jumps, flicks tongues, wall rides, scattering darkness, but dives back down before illuminating. Can’t see what’s there.

I’m sitting in a cave. It’s me, the fire, others in the cave. The girls, probably wondering what we’re doing in a cave…

Can’t make out the cave walls. There are shadows. I need to stoke the fire. With what? Drugs bring smoke but no additional light. They are not the stoke. Prayer. Adventure. Creativity. Nature. God.

tucked up in clefts in the cliffs
growing strict fields of corn and beans
sinking deeper and deeper in the earth
up to your hips in Gods
your head all turned to eagle-down
& lightning for knees and elbows
your eyes full of pollen
the smell of bats
the flavor of sandstone
grit on the tongue.
women
birthing
at the food of ladders in the dark.

Gary Snyder chants. The flames dance higher. Figures on the wall…

Art. Poetry. Drawings. The child, surrounded by nature, is the one connected to the Universe… “whoever does not receive the kingdom of God as a little child will never enter it.” (Luke 18:17)… childhood wonder in the eyes of a child. I know these drawings. I’ve seen them. I’ve written about them, read about them. Snyder’s book “Turtle Island” is never far from my backpack.

Caves. Fire. Shelter. Food. Primal elements. Fire meant food, community. It still does. Fire pulls the tribe together. It is conversation, happy hour, camping, return from a trail run to crack a beer, sip soup and share stories. Fire lets us see in the dark.

The cave has more. Skateboarding. Future Primitive. A love that began at 13 and has continued through today at 46 and tomorrow at whatever age. The figures on the wall look like this…

Lance Mountain. The figures are also running. Tribal. More of the cave, the walls are showing now. Scenes, images, symbols from my life. The girls. Birds. A cross. Fish. Notebook and pen. Passions. Shared experiences. Spelled out on the walls of the cave. Plato would be pleased.

I get up and walk to further parts of the cave. The walls are bare. They are uncovered. Unwritten. Still to be written. The writing is from life. From love. From experience. What is the rest of the story? What symbols? What art?

What becomes paintings on the cave walls begins as dreams. Neil Gaiman knows dreams. He has written Dream’s story in epic and graphic fashion. He begins “The Sandman, Vol. 6: Fables & Reflections” with an artist, a playwright and director who is afraid of heights. In his dreams, he fears falling. He believes there are two possible outcomes to falling in a dream: either you wake up, or you die. No good outcome.

And the artist, the dreamer, finds himself in a dream, climbing. At the top of the mountain, he meets Dream. Dream points out that there is a third alternative. “Sometimes when you fall, you fly.”

The most unlikely scenario. It flies in the face of common sense. But we aren’t talking sense. We are talking dreams. Why would anything sensical wind up as a cave painting?

* Originally written and published on December 10, 2014, with some revisions now.

Dreams and Song

2019 is a blank page with a big box of Crayola crayons spread out around it. I dig the above photo that Caroline Phillips took on one of the last days of December, on assignment for Shore Monthly Magazine. It’s sunrise, with friends doing something we love, up and outside early that let us catch a crisp, clear morning to laugh, skate, and reconnect.

2019 is a year I don’t have a clue about in many ways. And part of that not knowing is that the past four-plus years have been foundation building.

Life has a way of pulling the rug out from under us when we get comfortable. I like to think that happens because we are getting comfortable in a way that is keeping us from where we need to be; where we could be going; what we could be doing. But that perspective likely only comes with some distance when we’re looking back.

When we get displaced, we try to get our footing–spiritually, mentally, and physically. We try to put our pieces back together in a meaningful way. We look for that place where we can breathe deeply and be ourselves. We look for somewhere we can build, and re-build our lives.

Over the past four years, I’ve lived in three different places and I’m in the first house where it feels like home, where the girls and I can be for a while, put some roots down and figure out where life goes as Anna gets closer to graduating high school and Ava finishes middle school.

The thing about building a foundation or putting down roots (choose your metaphor) is that that’s the beginning work, the base. For that to amount to anything, you’ve got to build something awesome, grow or bloom into something that no one else can–that’s what each of us has in us. And that’s what 2019 feels like it’s calling for–personally, professionally, physically, creatively–it’s time to stretch, to grow, to build, to do something more; something cool, fun, inspiring. The stuff the God puts each of us here to do.

Field guides, existing colors in the box of Crayolas that we get to color our lives with, to help show us what is possible, what’s been drawn, and what we can do.

Writing about Jorge Luis Borges, introducing Borges’ book, “Dreamtigers,” Miguel Enguidanos talks about dreams and song. That it is our capacity to dream and sing that “makes the world bearable, habitable; they make the dark places bright… Dreams and song. About the whole and the parts. About the universe and about each of its separate creatures.” And that “in spite of incompetence, stumblings, and disillusionment,” that our dreams, played out in the song we choose to sing with our lives can connect and resonate with others.

I guess that’s my hope for 2019. To feel our dreams and find and sing our song in new, surprising, inspiring, and wonder-filled ways. And in doing so, to help others do the same with theirs.

Via Contemplative Monk and Mystic Prayers

“I knew every raindrop by its name”

The unexpected voices stay in our heads. They speak lines, phrases, words, pictures that we didn’t see coming, but that we can’t forget. Denis Johnson planted a stop sign in my soul with, “I knew every raindrop by its name,” as I tried to get to know his heroin-addicted narrator in “Jesus’ Son,” a book of short stories, which has been called one of the best written in the last 50 years.

Johnson’s voice, his writing, was born from his experience with addiction. He was worried at first that sobriety would affect his creativity. But the distance, clear-headedness, and productivity of being clean let him more fully access his past and own his voice in a way only he could. My copy of “Jesus’ Son” (named from Lou Reed’s “Velvet Underground” lyric in the song “Heroin,”) is full of underlinings where Johnson knocked me off-guard, off-balance.

He died of liver cancer in 2017. The New York Times obituary gave Johnson his own take on his faith:

Mr. Johnson thought of himself as a Christian writer who wonders about the existence of God in a troubled world.
“I have a feeling God finds us pretty funny,” he told New York magazine. “But that’s all the speaking I should do for God–he doesn’t go around talking about me.”
Richard Sandomir, New York Times

I’ve been thinking about and trying to read distinctive, original voices lately, gravitating toward short stories. Johnson is one of the first people I thought of. Another is Barry Hannah. Hannah begins his landmark book “Airships” like this:

“When I am run down and flocked around by the world, I go down to Farte Cove off the Yazoo River and take my beer to the end of the pier where the old liars are still snapping and wheezing at one another.”
Barry Hannah, “Water Liars”

In an appreciation of his writing, author Richard Ford says that Hannah, “recasts the world in the way obviously great writing does… Barry’s voice was the one many of us hear when we speak candidly to ourselves–subversive, inventive, unpredictable, funnier than we can be in public.”

Recasting the world. That’s what great writing should do for us. Help us see differently or think differently about something, or maybe see something we haven’t seen. Fantastic stories, well told.

I’ve had Tom Robbins lines and phrases typed into my subconscious for 20-plus years now. He can take something as mundane as mockingbirds and cast a slanted light on them:

“Mockingbirds are the true artists of the bird kingdom. Which is to say, although they are born with a song of their own, an innate riff that happens to be one of the most versatile of all the ornithological expressions, mockingbirds aren’t content to merely play the hand that is dealt them. Like all artists, they are out to rearrange reality. Innovative, willful, daring, not bound by the rules to which others may blindly adhere, the mockingbird collects snatches of birdsong from this tree and that field, appropriates them, places them in new and unexpected contexts, recreates the world from the world.”
Tom Robbins, “Skinny Legs and All”

But for all our disparate voices, it is not enough to recreate the world from the world, but to try to add some meaning, some connection, something universal within the personal.

Stories connect us in ways that nothing else does. Jesus told stories so he could be sure we would remember them, re-tell them, and talk about them. Hemingway and Twain are household names because we connect with Huck Finn and the Old Man and the Sea. And when Johnson’s narrator says he knew every raindrop by its name, I am transported back to being a kid, looking up into summer rain with my arms stretched out to the sides, trying to count raindrops and see if one looks different from another.

It started with Stan Lee

“Stan Lee and Dr. Seuss and Ray Bradbury. That’s where it begins and ends with me.” That’s how Josh Brolin, who plays both Thanos and Cable in the current Marvel movies, began his remembrance of Marvel legend, founder, and storyteller extraordinaire, Stan Lee. Lee died yesterday at the age of 95.

I heard the news from my cousin, who works at the Miami Herald newspaper, which is fitting, because he is the same cousin that introduced me to comic books; the same cousin who I would spend hours with at Alternate Worlds Comic Book Store in Cockeysville, pouring over Stan Lee’s creations. The comics I collected and couldn’t stop reading were Daredevil, the Avengers, the X-Men, Black Panther–all first created by Lee and artist Jack Kirby, and all current Marvel movie blockbusters.

My teenage daughters don’t read. And I’m not overly worried because I didn’t read growing up. Except for Marvel comic books, something that started when I was 10 and went obsessively on through middle school and into high school (though it wasn’t something you wanted people to know back then). And then graphic novels found their way back onto my reading list in my 40s, again the same Marvel titles being the mainstay.

Stan Lee lived every writer’s dream: to see his characters become household names, loved across generations, spur imaginations, and touch people’s lives. And the coolest thing is that it wasn’t about him, it was and is about the stories and the characters–he passed them on to subsequent writers who try to build on and expand his vision. Here is what those who continue Lee’s stories (three of Marvel’s top writers and an actor) had to say on Lee’s passing:

Stan Lee made the word, “Excelsior!” his sign off and tagline. It’s generally translated to mean, “ever upward,” “higher,” or striving. Chances are, if you hear it in today’s culture, it’s because of him.

Marvel does a nice job of giving the skeleton/chronology of Stan Lee’s career as a storyteller. It’s heartening to realize that Lee almost quit writing comics after 20 years and didn’t really breakthrough until he was 39.

When someone dies at 95 years old, having lived a life people dream about, it’s not tragic; it gives us a moment to remember and appreciate what they brought to our lives. For me, my love of stories, and my desire to read them, to consume them, look for them, think about the shape of them, the imagery of them, to get to know characters–started with Stan Lee. I remember paying $5 for Black Panther #4 in its clear, plastic bag and feeling like I had a small piece of a legacy in my hands. I would walk out of the store with hours of stoke and fuel for my imagination. And I smile now, when I pass on something to my nephew, who sits transfixed, shuts out the world around him, and dives into the Marvel universe.

And these same stories, Stan Lee’s creations, having hit the big screen in ways we didn’t know could happen back then–cinematic storytelling has caught up to what was being done on the page–I now share with my daughters, who have seen all the movies, and suggested Marvel marathons without prompting–always looking for Lee’s comedic cameo in each film.

When I picked 13-year-old Ava up from school yesterday, I told her that an older famous person who she knows died. The first guess out of her mouth was, “Stan Lee??”

And last night we watched “The Avengers.” Tonight we’ll pick another. The stories keep going. But it started with Stan Lee. “Excelsior!” is how he lived.

I’ll Never Be on Oprah

Being a father and a son, gratitude and all the feels well up on Father’s Day. About four and a half years ago, my father turned 70. We had a surprise shindig for him at the Oxford Community Center, which was the Oxford school where he went for kindergarten through 8th grade. He got roasted by a number of folks, and I spruced up my remarks and published them on Eastern Shore Savvy, a cool online magazine that has since gone away. And along with it, all the articles that were once online.

I missed having that article around in particular, so I found my draft of it, and bring it back here, for Father’s Day, four years later.

I’ll Never Be on Oprah
From Eastern Shore Savvy, January 2014

My father just turned 70 and I think I can beat him in a foot race. We used to race in front of our house in Oxford, maybe 50 yards to the end of the street. I was in high school the first time I managed to beat him.

My father grew up in Oxford when you could have horses and chickens there. He shares his name, Robert, with his father. He went to school in the building that now houses the Oxford Community Center. He met my mom, who is from Towson, Md., through a mutual friend in Ocean City when they were teenagers. He graduated from the University of Virginia in 1966, the first in his family to do so. The Vietnam War was in full swing and the draft was happening. So he enlisted in the Army. The classes that completed basic training before and after him went to Vietnam. My dad was sent to Germany.

After the Army, my father returned to the Eastern Shore. A friend convinced him to think about public accounting as a career. In 1974, when I was two, he joined Beatty, Satchell and Company, a CPA firm, became a partner and has worked there ever since.

I have a lot of classic memories of growing up, father and son stuff. We’ve always had baseball—from learning to play catch in the back yard, to going to Orioles games at Memorial Stadium. To this day I’ve seen more professional sporting events at Baltimore’s now leveled ball park than anywhere else. I remember Dad playing first base on his office softball team, and when I got old enough, and good enough in little league, that’s the position I wanted to play.

During my last year of little league, my dad had taken to filming our games on his Betamax camcorder—he was convinced that Beta would surely outlast VHS—he created priceless audio while filming the last play of my season. Playing in Cordova, I slid safely into home plate on a wild pitch, stood up and raised a badly broken wrist up in the air. You hear a few gasps in the bleachers and then dad saying, “Oh sh**!” right before the tape cuts off. I haven’t watched that tape very often.

As an accountant, my father planned our family trips around CPA conventions—to Disney World, the Grand Ole Opry in Nashville, Tenn., and to Boston. We drove like the Griswolds in the movie “Vacation,” as I wasn’t big on flying, and we stopped to in Charlottesville, Va., to dad’s alma mater, the Natural Bridge and the American icon, South of the Border, where Pedro straddles the line between the Carolinas.

Growing up in our house, Halloween quickly became our favorite holiday, because it meant helping build and being behind the scenes of the Kiwanis Club haunted houses, which were well known and epic to almost anyone that lived in Talbot County between the late 1970s to mid 1980s. I’ve seen my dad as Frankenstein, as a mad scientist, and a swamp creature, among other things.

There are some things a son picks up from his father. When I started drinking beer, I always went for Miller Lite. When watching the Baltimore Ravens, we yell the same words (in the same pitch) at the television when they throw an interception. I learned that real Christmas shopping is done on Christmas Eve, and not a day before.

There are some traits or inclinations that aren’t necessarily passed down. I’ve got more hair than my father does. I don’t eat as many Snyder’s Pretzels. And numbers don’t speak to me the way they do to him. With any father and son I guess there are going to be striking similarities and head-scratching differences and I think as I’ve gotten older I have learned to marvel at both.

A lot of writers get noticed for having troubled upbringings or non-existent parents, and they have become great despite what they’ve had to overcome. Dad has given me the creative disadvantage of raising my sister and me well. He taught us, by the way he lives, the difference between right and wrong. He’s been the consummate provider, working so that my mother didn’t have to, and making sure we could go to college. He has provided the example for me, of how to be a father, and set the bar immeasurably high. I’ll never be on Oprah.

When we get together for holidays or family dinners or kids’ sports games, my father has accepted the mantel of “Granddaddy,” which is what my sister and I called his father. As a father now, I think I feel maybe what he must have felt then, surrounded by your parents and your children. I’m not sure it gets any better than that.

Tangents and Timing

I waited until I was 45 to meet William Stafford. Sure, I’d heard of him. Maybe run into him at a couple parties (figuratively). But there is no reckoning, or quickening if you are a “Highlander” fan, until it is time.

Tangents seem to be the most direct route to my soul. Stafford is a writer who I have known I wanted to, and needed to read for probably 20 years. I have read bits and pieces and read articles about him, but haven’t made a point to dig in. And then he appears in a birthday compilation of thoughts, memories, and musings, writing about Great Blue Herons.

So I take the hint and find a greatest hits book that has that same poem in it. And reading Stafford it is instantly clear that he has his own unique place in my tribe of soul writers.

Timing is everything. I’ve seen it and felt it countless times: I read something or hear a song that seems cool, but doesn’t resonate. Until I have had the experience that makes the lid blow off it, and it drives directly to the heart and makes a home there. Until it is time, it doesn’t make sense.

Stafford is like that. I needed a birthday reminder to get in touch with him. Scripture is like that. For more than 40-some years, I have read spiritual tomes and everything I could get my hands on. But it wasn’t until last year that I knew it was time to immerse myself in the Bible. And now, finding the connections between the Old Testament, Gospels, epistles, and seeing how God’s Word becomes living words in our lives; I know I wasn’t ready for that search, that journey, those connections, until I was.

At Christ Church Easton, we’ve finished up our Lent Bible studies, which came on the heels of an Ephesians group. We’ve still got an Old Testament study underway, and Alpha groups, but I look forward to what’s next, what direction groups will take this fall.

But first it’s Holy Week and Easter. And spring and summer. And spring break for the girls. It’s finding the soul tangents and being led to follow them. Those tangents can be adventures, people, paddling, reading, traveling, sunrises, birds. They are the threads God puts in our lives, puts in front of us for us to follow.