Right now school is out for Christmas break. Which means I get two whole weeks to do…basically nothing. I think having a lot of free time is like having a lot of money. If you are very wise and very grounded, money can be a great blessing. But frivolous people will misuse money. I feel the same way about time. Time is money. And time that is not dedicated to anything higher or deeper is dangerous.
I knew that this two week break was coming up. On the one hand, I relished the idea of two weeks to rest from the drama that is my life as a substitute teacher. On the other hand, I did not know how to fill my time. I pray each day for guidance as to how to use my time.
Maybe my prayers have been answered, because I’ve been going every day to the Field Museum, one of the greatest natural history museums in the world.
As soon as I enter the big hall, I see the fossilized skeleton of the titanosaurus. It’s big. They put a Christmas stocking cap on it. Even a T-rex could not have come close to taking down a Patagonian Titanosaur. And they put a red stocking cap on it.
I’m not trying to be negative. I love the Field Museum. As I said, I am going there every day. But sometimes the holiday kitsch gets to me. Yesterday I went to the “Evolving Planet” part of the museum. At the entrance the attendants ask if you want to have your picture taken in front of a diorama that features ancient Jurassic vegetation, like ferns. They didn’t tell me why, but I consented. They told me they would give the developed photograph to me at the end of my session. I walked through the hall and learned a lot about dinosaurs. I stood in front of “Sue”, the most complete skeleton of a tyrannosaurus rex ever discovered. At the end of my quest, the attendants handed the photograph to me, and I saw, digitally superimposed behind me, rearing above the ferns, ready to lunge with her cavernous mouth open and showing all her teeth, Sue. They told me I could keep the photograph for forty dollars.
I’m a fifty year old man. I’ve seen a lot in my day. But I never expected a museum would take my picture, not tell me what the picture was for, and then show me the developed photograph, which features me and the dinosaur, and tell me that the photograph is mine to keep for forty dollars.
“Forty dollars for a photograph! Do you think I’m made of money!” I screamed.
“Guess not,” said the bored attendant and threw it into the bin with hundreds of other rejected photographs.
“You’re gonna shred my photograph aren’t you?” I kind of don’t want a photograph of me posing next to a dinosaur to follow me around in life.
“Sure,” he said non-committally.
Anyway, I learned that the Field Museum houses some of the best fossils of dinosaurs in the world. I went from room to room, just fascinated by the variety of shapes and sizes of these ancient beasts. I was especially awed by the Quetzalcoatlus pterosaur, which is the largest flying animal to have ever lived. It absolutely towered over me. If it were alive, I would not offer it a cracker.
I also spent a long time in the Pacific Island section of the museum. They have one of the greatest collections of artwork and artifacts from Papua New Guinea, which is at once the most linguistically diverse place on earth, as well as the home of most of the last uncontacted tribes. The New Guinea people are Melanesians, like the Australian aborigines, and were cut off from the rest of the world for sixty thousand years. I’m fascinated by their ceremonial dancing masks and also their wooden and stone sculptures, which are unlike anything I have ever seen. Interestingly enough, in traditional Melanesian societies, the men lived communally in a huge “Men’s House,” with roofs made of woven bamboo and sago palms. The women and children lived separately in smaller dwellings. The men spent their time rehearsing symbolic dances, initiating boys into the responsibilities and privileges of manhood, and exchanging stories. The men with black and white face paint and feather head dresses and nose rings were the ones who had successfully taken the heads from an enemy tribe. I like immersing myself in this strange and unknown culture. Their languages are to this day very poorly attested or understood.
The Chinese hall nearby holds many statues of the Buddha, including one, inexplicably enough, from the Gandhara people of Pakistan. That Buddha shows clear Hellenistic sculptural influences. The Chinese collection is thrilling for the variety of its scrolls, statues and calligraphic artwork.
I’m just scratching the surface of the museum’s holdings. It goes on seemingly forever. Not to mention the building- a stunning example of architecture in the classical Greek style, with replicas of ancient Greek statues adorning alcoves between the first and second floors. The Field Museum really is a wonder of the world.
So, I’m off for fourteen days, and I’m going to the Field Museum every single day. This gets me out of my mind. I am not alone. I am happy in the crowd, amazed every day by these iconic and priceless treasures.
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I’ve written about the St. Matthew Passion many times on this and other forums. How can words ever do justice to this music? When I was still working at our Chicago breakfast house, Victory’s Banner, I had a frequent customer from Austria, who practiced meditation under the guidance of another Guru, who gave him the name “Sudha”, which I think means purity. He told me he listens to the St Matthew Passion at least once a week as a form of Bhakti Yoga. That’s quite a commitment, as the whole piece lasts three and a half hours. But it makes sense. Guru said of Bach, “You can go dive deep, deep, deep, deep into him. Deep well.” Guru implies here that Bach is himself a journey, a way. Guru said elsewhere about Bach that “…His [Bach’s] music has helped mankind immeasurably.”
I recently met a young man at my college rec center who graduated from St. John’s College in Santa Fe, New Mexico. I told him that I understand that at St Johns there is a set curriculum of classics that all students must study, and among them is the St Matthew Passion. He told me that that is true, and they spend three months just studying the St Matthew Passion, listening to it, fathoming its depths and majesty. I told him I get goosebumps just considering the idea of studying this piece for three months. He then told me that at St Johns computers, cell phones and internet are banned, so the students have plenty of time to devote to study and introspection. I was so pleased and surprised to hear this! A school where people read actual books and the internet is banned! It makes sense, because, a few years ago, when I went to look up the email address of a great Tolkien scholar who teaches there, I couldn’t find it! [He does have an email address after all, but you have to basically call the school and ask for it]
After my daily forays at the Field Museum, I go home and listen to my vast and largely untapped collection of LPs, on my trusty and overworked Rega P1 turntable. Tonight I have Haydn and Mendelssohn on the docket, though after writing this little missive I think I’ll try to sneak in a Bach cantata or two.
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Yesterday at the Field Musuem I was in the Indigenous American wing, and I met a very lovely American Indian couple. The husband had an American name, “Will”, and his wife had a more traditional First Nation name: “Standing Red Sky.”
When they told me their names, I said to Will that one of my favorite mantras has the word “Will” in it and I recited the immortal phrase of Sri Aurobindo: “Fate shall be changed by an unchanging Will.”
And Will took a step back and said, “Wow!”
And I turned to standing Red Sky and I recited this poem from Sri Chinmoy’s incredible collection Transcendence-Perfection:
“The sun is dancing,
The moon is dancing,
The stars are dancing.
I am dancing this moment
With the sun, moon and stars.
Next moment I am sailing
With the sky.
The sky makes me feel
That I am the vastness of Infinity’s Heart;
The sun, moon and stars make me feel
That God’s creation is for ecstasy’s beginningless birth
And endless journey.
(Sri Chinmoy, Transcendence-Perfection, Agni Press, 1975)
As I was saying the poem, Standing Red Sky nodded very slowly and I saw her identify with the poem. I bowed to this Indian couple and they bowed to me and I felt they were the ones who drew those poems out of me, they wanted to remind me of my own inner depth. Also, as I was reciting the poems, I felt America’s vastness, the blue skies that I remember running under during my stint on the 2005 World Harmony Run. American Indians after all can have a very deep connection to the soul of America. This may seem contradictory because they lived here long before the United States of America was known as such. But Guru approaches this topic from an interesting perspective:
Question: At what point in history did the soul of America enter?
Sri Chinmoy: “As soon as God creates anything, there is no history, there is no earth-bound time. The day the Supreme created the soul is not and cannot be bound by the time that we see and vision that we consider as human time.”
(Sri Chinmoy, I need my country: Beauty’s Soul, Agni Press, 1975)
“There is no history…” Very interesting observation.
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I received my spiritual name from Sri Chinmoy in November of 2006, just before he embarked on his last Christmas Trip, to Turkey and Thailand. When he got back a few months later, when I would walk past him during meditations, he would smile at me. I counted seven smiles in total- smiles of affection, compassion and oneness. I’ll never forget them.
I still remember when I got my name- November 16th, 2006. One of the guards called me at the restaurant where I was stocking sodas and told me to come to the court immediately. I got in my car, drove down and ran inside the tent in my not-recently-washed server uniform. I ran up to the front of the room, and Guru told me to meditate for a few minutes. I just sat down in one of the front rows, and Guru wrapped up some of his activities, giving instructions to some disciples and then he fell silent. He was leaning his arm on the armrest of his chair, with his finger pressed to a corner of his mouth, then he switched positions, with his finger of his other hand pressing down on the other side of his mouth or chin. He looked at me for what seemed a long while. He didn’t look happy or sad, he just looked contemplative, reflective. I never went to Guru’s house. I wasn’t outwardly in his physical orbit every day. I did not talk to him. So, I was excited that Guru was looking at me. I felt that we were communing with each other on a level that I do not really understand outwardly. But those few moments, before he called me up on the stage, those minutes of his silent gaze, were the greatest gift I ever got from my Master.
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Tomorrow I will be going with a Polish monk to the Oriental Institute at the University of Chicago, featuring the art of ancient Mesopotamia and the greater Near East, but that will be a tale for another day.

