Whispering Tree

 

Jenni Diski wrote a cancer diary called “In Gratitude” which is a dispassionate diary of the progress of the disease, the relationship with her life-partner who she calls “the Poet” and also includes snippets on her relationship to her parental guardian, who was, unbelievably, Doris Lessing, one of the greatest writers of the 20^th Century.  I like it because it’s not sentimental, it’s funny, lighthearted, and probing.  The writing is superbly accomplished.  In its musing, meditative tone it reminds me of “Religio Medici” Thomas Brownes’ 17^th Century anthropological study of global funeral practices and how he, as an aging doctor, comes to terms with his own mortality.  Like Diski, Sir Thomas Browne is very funny.

I try to emulate people like Diski and Browne, who keep themselves out of their writing- who are more concerned with sharing ideas than overwhelming the reader with sentimental slop.  Alas, I am a sentimentalist, and I have to work hard to prune the weeds in my personal essays.

I just got back from the Sri Chinmoy Centre’s April Celebrations, two weeks of joyful commemorations of the arrival of spiritual Master Sri Chinmoy to the West.  I divided my time each day between meditating at the court (also known as our outdoor meditative garden “Aspiration Ground”) and visiting my favorite museums in Manhattan.

During the April 8^th celebration for Guru’s mother, we had a walk-past of her bust, placed reverently on a chair and draped in a sari.  I’m not really receptive or perceptive enough to convey the experience I had at that moment, but I felt she blessed me.  It was odd- because I was blessed by Sri Chinmoy so many times when he was in the physical, but this blessing felt different- like it was so soft, affectionate, overwhelmingly kind and sympathetic.  I felt like I was on another plane for at least half an hour afterwards.

When I performed Guru’s poems and songs with my small group, when we ended and bowed to the audience, I felt Guru himself blessed me- but once again it was different from how he blessed me when he was physically on earth.  I remember performing in front of Guru when he was alive and him smiling or clapping, and feeling his loving presence.  But when he was on earth, I felt that his very presence, so full of light and love, just emanated blessings for all, like the sun.  I didn’t feel that the blessings were particular to anyone, it was just light that I could take and receive, as much as I could.  These days, in the Master’s so-called physical absence, I feel his blessings in a different way.  It’s no longer like standing in front of the sun and just soaking in the rays.  It’s more like, whenever I perform, Guru blesses me with a personal gift that is meant only for me.  And this gift is offered to me in an envelope of absolute purity.  So, the blessings I get from Guru now are more intimate, more personal, and somehow more special.  It’s as if Guru is able to do things for me from the other side more easily than when he had to deal with the burden of a physical body.  That’s just my own personal take!  Also, I think it means so much to the Master when we meet and rejoice when he is not outwardly there.  We know he’s there inwardly.  And our conviction of this fact gives him joy.

On my last day full at Celebrations we took a bus ride to Philadelphia, my home town.  That morning I had a lot of laundry to do before I got on the bus.  I went to a local laundromat and the Chinese guy was so helpful and  eager to serve.  His English was poor, but he had a nice smile.  I noticed an old woman, a fellow disciple, sitting by the window.  I noticed that she had a very spiritual aura, full of simplicity and silence, and that the light around her was smiling!

Our laundry got done at the same time and as we folded the laundry, I started singing one of my favorite chorales from the St Matthew Passion “Wenn ich einmal soll scheiden, so Scheide nicht von mir.  Wenn ich mein tod soll leiden, so tritt du den herfur”.  She knew it, and we sang it together while folding our socks:

“When I someday must leave,

Do You not leave me!

When I must suffer death,

Do You step forth, be by my side!”

 

Jyotipriya, the late manageress of our old “Newness-Brightness-Happiness-Fulness” laundromat on 84^th drive, told me she had seen the St Matthew Passion performed in Oxford many years ago, and that it was so beautiful it actually hurt!

In spite of my frequent cultural excursions, I took almost every one of my meals at the court- which I’ve never done before.  Even though I don’t meditate much inside our hallowed space, I felt like I got some spiritual light just from eating with all my spiritual family members who do meditate for many hours.

There is a once in a lifetime exhibit of the works of Raphael at the Metropolitan Museum of art.  I saw it many times.  Raphael  was from Urbino, Italy, and lived for just thirty-seven years.  Urbino is special because a lot of Renaissance popes and noblemen come from there.  It’s also a center of art and culture.  Raphael was born very well-connected.

I knew nothing of Raphael until about a year ago when a YouTube video popped up on my suggestion queue, and it was all about the way he drew the human eye.  And I was spellbound.  There’s something haunting about Raphael.

 

In this painting of Christ showing his stigmata we see that haunting quality:

This picture is breathtakingly beautiful.  The eyes are expressive, haunting, alive.  The emotional complexity on the face is unique to Raphael.  The sheer perfection of the anatomy came from Raphael’s exhaustive studies of the human body.  The expression on Christ’s face is that of sorrow, disappointment, but also resignation and acceptance.  That’s what makes Raphael special.  Even in his drawings, all the human faces are alive.  They have souls.  He captured a sense of personhood more than any artist before or since.  His faces have layer after layer of feeling.  He is the most influential painter of all time.

 

I love this painting of Mary, Jesus and John the Baptist:

In this portrait, look at how Christ, Mary and John are all locking eyes!  And look at how Christ is looking at the Cross, holding it aloft, with a look of heroic determination.  The fact that he’s the only naked figure adds to his sense of vulnerability and sacrifice.

Michelangelo had power.  We see this power manifested in the Sistine Chapel, in the iconic “Creation of Adam”, in “The David”, in his “Ignudi” and “Unfinished” statues.

Da Vinci had vision.  The Mona Lisa is unique in all portraiture.  Sri Chinmoy referred to it as “Eternity’s Pride.”  His investigations into science, and every field of human inquiry, attests to that vision.

Raphael had sweetness.  These days Raphael has been taken down a notch or two from his pedestal. He is a “runner-up” genius to the two first class geniuses, Da Vinci and Michelangelo.  His paintings are two perfect, too smooth.  But I feel Raphael is not a notch lower.  Sweetness is a spiritual quality.  There are cities in India called “Madurai”, or “sweetness”.  Of all the Renaissance artists, Raphael is the most haunting.  He reaches me, man to man, across the centuries.

I got the chance to meet the curator of the exhibition.  She was happy and moved to hear my thoughts on Raphael’s sweetness, and also my reflections on his eyes, his way of conveying personhood so intimately, and his unparalleled beauty.

—

On the bus ride down to Philadelphia, we passed by the town of Bristol, Pennsylvania.  The guy behind me remarked that he is from Bristol, England, and I said, emotionally, “I used to live in the Pennsylvania  Bristol!   It’s a hole in the wall filled with cockroaches!”

On the way down I listened to an episode from the “Fresh Air Archives”, a project of WHYY radio in Philadelphia, from 1989, where the host, Terry Gross, had her guest, the poet Adrienne Rich, read out some of her poems.  Rich always read her poetry with a deadpan delivery.  One poem, “From A Survivor”, really spoke to me.  Trigger warning: This poem is about her losing her husband to suicide.

 

“The pact that we made was the ordinary pact
of men & women in those days

I don’t know who we thought we were
that our personalities
could resist the failures of the race

Lucky or unlucky, we didn’t know
the race had failures of that order
and that we were going to share them

Like everybody else, we thought of ourselves as special

Your body is as vivid to me
as it ever was: even more

since my feeling for it is clearer:
I know what it could and could not do

it is no longer
the body of a god
or anything with power over my life

Next year it would have been 20 years
and you are wastefully dead
who might have made the leap
we talked, too late, of making

which I live now
not as a leap
but a succession of brief, amazing movements

each one making possible the next”

 

She read it in a deadpan voice, and the poem is flat, deadpan, without a single image.  I had read it many years ago, but it did not affect me.  Hearing her read it, in her deadpan delivery, also did not affect me.  But it touched something in me, and I looked it up on my phone, and I memorized it on the way down.  I’ve learned it by heart now, and it is a part of me.  Maybe the message of this poem is in the last lines “A succession of brief amazing movements…” In other words, life is movement.  Movement is change.  It is what it is.  Life always demands us to move or change.  This requires poise.  My Guru taught me “Poise is our Eternity’s treasure” (from his collection Seventy-Seven Thousand Flower Flames).

When we arrived in Philadelphia, all the disciples went sightseeing, but I went off by myself to my hometown of Bryn Mawr Pennsylvania, some thirty miles outside of the city.  I wandered Bryn Mawr College, an old women’s school, which has the hugest and most beautiful trees I have ever seen anywhere- hickory, cherry, catalpa, beech.  Huge, looming, twisting giants, full of wisdom and kindness.  I think people can realise God just by loving trees.  During the Celebrations, my dear friend Surashri put on a program of Guru’s writings and songs all about trees.  It brought tears to my eyes.  He quoted Guru who said “many large and old trees are deeply conscious of their existence.”

I visited the Ludington Library, where I had studied so much during the nights and weekends in high school.   I went up to the information desk and the librarian said, “Welcome back!”

“It’s been thirty years!” I said.

“I’ve been here thirty-five!” she answered.

We spoke for a while and I told her about my life, my running and poetry marathons.  She was delighted to hear how I have progressed.

I was so happy she remembered me after all these years.  What’s the point of going home if nobody remembers you?  She made my trip mean something.

Even if life is change, it’s nice to go home.

It’s also nice to travel the world.  I signed up to go to Guatemala, to Lake Atitlan, this winter.  It will be my first Christmas Trip with my spiritual family, and I am very excited.

I’ve been sick recently.  I like to read my Master’s books and sing his songs even when I’m sick.  But this last sickness was hard!  I did not read.  I did not pray or meditate or do anything except sit in bed and watch silly but adorable cat videos.  I like cats.  Unfortunately, cat ownership is linked to a two-fold increase in the incidence of schizophrenia.  Of course I don’t have time for a cat.  I also don’t have time for schizophrenia.  I will settle for just watching them on YouTube.

Shortly after my recovery, I walked two and a half miles to one of Chicago’s “Cat Cafes”.  I have never been to a cat café before.  You sit down, order a coffee, and then a random cat will come and sit in your lap and you can play with it.

When I got to the café, I saw forty people standing in line to get in.  The sign in front said that the café was booked for the day.

I have to make reservations a week in advance to go to the cat café.  But I was able to look in the window and see people playing with the cats.  One woman had a black cat sleeping in her lap and was waving toys in front of another cat, who looked unamused.  A third cat was “making biscuits” on the carpet next to her.  It was worth a two mile walk.

Interestingly, Sri Chinmoy writes that when a patient goes to a doctor, the doctor has to determine what percentage of the problem is in the body, versus what percentage is in the mind.  Many diseases are based in thought, whether hypochondria or just something as simple as a negative thought patterns.  In my case, when I get sick, I try to pick up my physical activity as quickly as possible.  So, after four days of being bed-ridden I biked to the local Costco- a very good discount supermarket.  I noticed that everyone was extremely kind and friendly to me.  People were smiling and smiling at me!  I never have that kind of experience.  I think the reason is that people sensed I was recently returned from the land of the dead.  I don’t mean that literally, but I’m not being completely figurative either.  I think every time when I get really sick, and all activity stops, then I come face to face with death.  I’m over fifty.  The Big Croak is not that far off.  My life is definitely more than half over.  Every time I recover from an illness, no matter how minor, it is a victory.  I think that’s why people gave me such beautiful smiles.

I had surgery yesterday, unrelated to my earlier sickness.  It was just a routine colonoscopy.  I had to fast for two days, and eat a very restricted diet for two days before that, and also drink over a gallon of a very yucky solution before the morning of the surgery.  On the way to the hospital, my friend Pradhan told me something very interesting.  Pradhan and I both study meditation under the guidance of our Guru Sri Chinmoy.  Pradhan was telling me about a famous track athlete who is very close to Guru spiritually.  Guru told Pradhan that he (the Master) had placed a special force on this athlete so that he would do well in his race the following week.  Pradhan asked Guru how Guru could do that if the race hadn’t happened yet.  Guru said something like “I put a force in the Universe, and it is triggered by the race.”

When we got to the hospital waiting room we saw my dear friend Shaher, whom I swim with at the University pool.  Shaher is from Pakistan but traces his lineage to Lucknow, India.  He belongs to a class of extremely well educated Muslim intellectuals who can quote poetry at will in Farsi, Hindi and Urdu.  Shaher is the director of a prominent archeological museum here in Chicago.  We spoke with him for a long time about politics, poetry and religion.  After a while, his son, Rahman, joined us, and I asked them if I could recite one of my own poems and they told me they’d love to hear it.

I recited a couple of my short poems for them, and then Rahman told me that he works in the Visitor Services department of the Field Museum, and he recognized me because he had checked me in once, and he and I had had a long talk about Russian literature.

When it was my turn to get my procedure done I waved goodbye to Pradhan and he promised not to laugh too much at the hilarious things I would say in my post-op delirium.  The nurse took me to the pre-op area and I exchanged my clothes for my hospital gown and I was alone for a long time behind the curtain.  I just sang the Invocation softly and tried to be in a nice consciousness.  I recited some poems for the doctors and the nurses, and they told me they don’t often get poems from their patients!  I recited John Keats’ “When I have fears that I may cease to be”, Sri Chinmoy’s “Your thoughts divine are in my heart” and Joyce Kilmer’s “A thing so lovely as a tree”.

The anesthesiologist was a very nice man who looked like a football coach!  I remember feeling the cool throbbing when the propofol went into my veins.  I actually had time to recite one last poem!  It is a short aphorism I wrote a few years back:

“I do not need forests of nouns

But only a grove of action verbs,

And not where future leaves

Or even future flowers may grow-

But give me tender shoots

That say “I can”

And ancient trees

That say “I did!”

Then I felt everything around me shimmer, and I said, “I can feel it!”

Then before I blanked out I said, “Nothing.”

When I woke up, I was really out of it!  The first thing I did was to ask Pradhan if he had read “Savitri” by Sri Aurobindo.  Then I insisted to the nurses that Pradhan was my dentist.  Then I asked Pradhan if I was a giraffe.  He told me I was not.  Then Pradhan called our mutual friend Pulak and I asked Pulak to get me a pizza with anchovies!

But a half hour later, as Pradhan was driving me home, when my head began to clear, I felt that Guru had done something nice for me while I was under anesthesia.  I don’t remember it, but I just had a feeling that I had some inner contact with Guru while I was undergoing the procedure.  I think anesthesia takes me into a deeper kind of suspended state of consciousness than sleep, it is almost like death.  And in that state I think we can have experiences.

It’s interesting- I felt that Guru was with Pradhan and me in the hospital.  It’s like when disciples do something together, even if it’s not Centre related, that we still get some of Guru’s divinity just because we are his children.

—

A couple of weeks ago, I saw “Carmen”, Bizet’s immortal opera, performed at a local college.  I paid a pittance and sat in the very front row.  I remember when the title character entered from a raised platform, and looked down on the action, and in her silent gaze she expressed so much. Some people are able to act and portray a character using just their silence.  This young woman was such a person.  I don’t think I’ve ever seen that before.  Perhaps she was a famous opera singer in her past life, and I saw that capacity come forward, expressed through this silent presence.

And the music was glorious.  Carmen is a through-composed piece.  By “through-composed” I mean that the music is carved, as it were, from a single block of marble, and you can trace veins in the rock that run through the whole composition, but nothing is ever repeated; it is just that the music evolves, both in time and in your mind.  The music is constantly original, and yet everything is connected.  Also, I detected tremendous contrapuntal genius in the music, as if Bizet had absorbed Bach and Haydn at a deep level.  It is performed in French and portrays a band of Spanish gypsies, but the contrapuntal organization gave it a German seriousness and depth.  I loved sitting in the front row and watching the conductor and seeing all the instrumentalists.  Also, I got to see all the costumes up close.  The college spared no cost or expense to lavish every care on this production.  And these are all young people, at the start of their musical careers.  But their commitment to the music and the pageantry made me feel I was watching veteran virtuosos with decades of experience.  Really unforgettable!

Alas, a week after seeing Carmen I got sick, and I spent all my time in bed, watching cats making funny faces or demanding extra treats or pets at 3 in the morning.  I also listened to lots of podcasts about UFO’s and how some people feel that these unidentified objects may perhaps be poking in front a different dimension.  Perhaps they’ve always been here.  I think my Guru said that in India they saw those UFO’s in the times of the Mahabharata, and they are also seeing them now.  They are basically beings from a different plane of consciousness who come here out of sheer curiosity.  Sometimes when I write poetry I enter into a flow state where I feel I may be interacting with beings on a different plane.  I don’t really pay much attention to that as an artist.  My goal is to write good poetry, and I don’t really care where it comes from.  We can have spiritual experiences while creating art, but we also have to keep our poise and balance.  Sri Chinmoy says that “Poise is our Eternity’s treasure.”  I fully believe this.

My friend Johnny teaches music theory at the local college where I go to lift weights (read: talk).  He actually conducted a splendid Handel opera a few years ago, “Alcina”, which completely knocked my socks off.  It features a viola da gamba concerto smack in the middle of the opera!  Anyway, recently Johnny conducted Bach’s St Matthew Passion yesterday at an old church here in Chicago.

The performance was special for me for a few reasons.  First of all, in the same way that this local college lavishes so much attention to every detail in their operas, so did Bach spare no effort in creating the most beautiful poetry in music ever created.  Every second, every scintilla of the oratorio adds something to the listener’s heart and consciousness.  Johnny made some interesting artistic decisions that made the performance even more special for me.  For example, he trained the chorus to really identify with the music, and to add subtle, delicate shadings of color.  But the color was natural and heartfelt.

Also, he conducted from the organ!  The organ continuo requires a player of great virtuosity, and Johnny has it!  It was pretty neat seeing him conduct while providing the continuo, and he’s a fantastic organist!  It was as if he was conducting from inside the piece, from the very viscera.

A third thing that made it special is that because of my hearing loss I always sit in the very front row.  Bach uses three choruses in the St Matthew Passion.  One chorus handles most of the Protestant chorales.  The second chorus adds drama to some of the orchestral numbers.  And the third chorus is a children’s chorus.  I sat in the front row, and the girls’ chorus was just a few feet away.  And during the monumental chorales- the “Komm, Ihr Tochter” and “O Mensch, Bewein Dein Suende Gross!”  And “Wir Setzens Uns Mit Traenen Nieder” all three choruses sing together.  Because I was sitting by myself in the front row, facing the soprano in ripieni chorus (children’s chorus) I felt that I was on the prow of a ship, trawling the waves of this measureless sea, rising and falling with each swell.  And I noticed the girls were superbly trained- they added coloratura to their lines!  Coloratura means coloring or shading and is usually something we only expect from soloists.  But these girls had it!

The fourth thing that struck me were the soloists.  The Evangelist sang from the pulpit which was about six feet off the ground.  He had a delicate voice, and his lines showered over us like a soft rain.  The alto, who sings some of the most dramatic arias in the piece, like “Buss und reu”, “Erbarme Dich” and “Konnen Traenen meinen Wangen So Nicht’s Erlangen”, was special because her voice contained unexpected depths.  I remember when she sang her arias, and suddenly her voice opened, like a lily or a lotus, and became so open and tender.  The soprano was special as well for being such a superb dramatic voice actress.  The tenor had an unexpectedly rich voice.  It is very unusual for a tenor to be so deep.  I liked it when he sang “Ich Will Bei Meinem Jesum Wachen” (I will stay awake with my Jesus), and there is a part in the score  where the tenor drops off, and the chorus takes over his lines and it’s like you’re in outer space, the music becomes so otherworldly.  I can tell that Johnny rehearsed the chorus endlessly to give it that ethereal, delicate quality.  The gentleman who handled the bass arias had an absolutely haunting voice, from another century.  I felt I was listening to Dietrich Fischer Deskau in his prime, that remarkable hollow baritone voice that is so capacious and so vast.

It was so nice to be so close to the soloists, because I was lip synching every aria, and I was smiling from ear to ear even though tears were flowing down my face.  It was like we were reflecting the music back to each other.  The soloists approached me afterwards and told me that they really appreciated the fact that I inhabited every single number.  They told me that my involvement in the music helped them to connect more deeply with the piece.  I told them that I am the one who owes the deepest debt of gratitude!

I really saw Guru’s face right in front of me, and I felt he was mirroring my joys and my tears!  I also felt his face became my face, which is not inconceivable.  I often quote what St. Augustine said to Christ, “You are more deeply in me than I am in me.”

The whole piece is about offering devotion to Christ, different moods and postures of devotion.  We are encouraged to think of Christ variously as a Father, a Son, a Friend, a Lover, a Confidante.  I kept thinking of my Guru, Sri Chinmoy, and I offered him all my devotion and gratitude.  I thought of the first time I saw him in Philadelphia at the big 1996 Concert.  The whole hockey arena was flooded with his light!  Or when he inaugurated the Madal Bal Bakery in Queens, and afterwards, when he was riding home, he saw me and flicked his fingers at me as if flinging divine dust and I felt it in my heart.  Or when I was running down Union Turnpike while Guru was away during the Christmas Trip and I got a premonition that Guru would call us at the Annam Brahma meditation that night, and I was right!

Bach’s St. Matthew Passion, while deeply inwardly and outwardly Christian, transcends the borders of religion and reaches out to people of all faiths and all paths.  And I felt that in connecting me more deeply to my own Master and my own divinity, that I received a precious gift that day, and Bach did achieve the goal he had set for himself in writing it.  Because of my ill health I have not been able to maintain the level of spiritual discipline I would like. But it’s nice know I can still connect with God and my Master through music.

Deep thanks to you, Johnny!

Recently I’ve been giving tours of the Art Institute of Chicago to schoolteachers that I encounter in my job as a sub.  Teaching full time is hell.  Subbing’s no picnic, but at least at the end of the day I loosen my tie and I’m free.  I try to be useful to public school teachers by sharing my love of art with them.

A teacher asked me a while back if we could go at the end of February.  He asked me sometime in early January, and I said sure.  I spent about a month preparing for his personal tour of the museum.  I decided as long as I’m giving tours, I may as well learn about artists I know nothing about.  So, I decided we would focus on Seurat and Caillebotte.  I spent all my prep periods as a sub, my downtime, just watching YouTube videos on these two Impressionist Masters.

We went to the museum last Sunday, and we spent three hours there.  We looked at two paintings.

Yes, I watched a LOT of videos and I had a lot to say about these paintings.

They are not just paintings- they are absolutely icons of Impressionist art- treasures that people come from all over the world to Chicago to see.

 

We started with “Rainy Day In Paris” by Gustave Caillebot:

We stood in front of the Caillebotte painting- “Rainy Day In Paris”.  It’s so moody, but not in a bad way.  It’s not moody as in “depressing”, but rather it communicates a kind of mood or feeling.  Caillebotte’s painting might be the first major painting to depict collapsible umbrellas, for they had just been invented the year before in England.  Similarly, this painting might be the most important painting of the “new” Paris following its renovation by Napoleon the Third and his architectural deputy, Hausmann.  Before Hausmann, Paris had been a medieval city of narrow boulevards and small houses and shacks.  Hausmann demolished all the tiny streets and shanties and decreed that the streets must be wide enough for the portage of multiple carriages  at a time and that all the buildings must be at least four stories high.  So, that’s why everything in this painting is so clean and new.

Caillebotte used the Golden Section to great effect in his work.  I don’t fully understand the Fibonacci Sequence or the Golden Section because I’m not a mathematician but you find the Golden Section everywhere in nature, from the curl of waves to the shape of clouds to the slope of mountains.  It’s a certain ratio that creates a harmony which is pleasing to the eye.  That’s why our eye travels in a counterclockwise spiral while looking at this painting- it draws us irresistibly inward.  Until it slaps against the green streetlamp in the middle right of the canvas!  Caillebotte deliberately interrupted the Golden Section ratio to make remind us that this Paris is new.  The colors in the painting are so muted, they are mostly washes of black and white.  That’s why the green of the streetlamp is so shocking.  Apart from a little orange facade by the well-dressed couple, it is the only color in the painting.  Also, green and orange are complementary- so withholding all color except for those two makes them crackle.

I love how tactile the painting is.  I like how I can feel the umbrellas, the lovely blouse of the lady and the blue overcoats worn by the mysterious figures in the background.  I love the slightly melancholy yet peaceful air.  I also like how the painting suggests that the couple does not see the viewer, and we’re about to crash into them, with mutual exclamations of apology and surprise!

After the French Revolution, there was another revolution in 1830 and one more in 1848.  But there was never another revolution after Hausmann reorganized Paris, widening the streets.  In part this was a cynical military move to allow for the quick transportation of arms and men, but on the other hand the wide streets made it possible for people of different classes to socialize!  In old Paris, mixing between people of different classes would have been unthinkable if not impossible!  But by making transportation much easier and more centralized, people of different backgrounds could associate, hang out and people-watch.  While this painting might point out the danger of atomization and human isolation which accompanies urban life, I don’t think the people here look unhappy.  They are of different classes, as shown by their attire, but they are also woven together, and sharing the same space.  With urbanization we get museums.  Museums are a source of democratization and freedom.  I’m happy I get to live so close to a great museum so I can see great paintings like Caillebotte’s.

Caillebotte’s father sold mattresses to the French army, made a killing, and then became a fabulously wealthy rentier, and died young.  So his son, Gustav Caillebotte, didn’t need to work.  Caillebotte was an athlete, a stamp collector, a yachtsman, a great painter, and a shrewd sponsor of other artists.  He actually paid the rent for Monet’s and Renoir’s studios!  He wouldn’t take money from them, but he would stop by from time to time and say “I want that painting!”  And they would give it to him, and so it was win-win.  He was paid with art.  At his death, he had over ninety masterpieces in his collection.  Renoir, his executor, followed the stipulation of Caillebotte’s will and offered the entire collection to the French state.  The French government didn’t want it!  They referred to Impressionism as “degenerate art!”

Renoir tried again for the next decade to GIVE the art to the state, without success.  Finally wealthy American robber barons like Bartlett and Carnegie and Rockefeller started buying up all the Impressionist artists, sometimes for a song, and the silly officials finally realised they were sitting on a gold mine that was quickly being sent overseas.  So, finally they took half of Caillebotte’s collection, which eventually formed the core of the future Impressionist Musee D’Orsay.

“A prophet is not honored in his own country”- how appropriate.

I did not like Caillebotte until a month ago when I started watching YouTube videos about his life and work, and I got a sense of how serious of an artist he is, and how great is his achievement.  He was overshadowed by his contemporaries because he made no effort to sell his work- because he didn’t have to.  Also, he was known as a collector and promoter of other artists rather than a great artist in his own right.   From knowledge we acquire love.

Mozart said that the first condition of great music is that it must be pleasing to the ear.  Caillebotte’s work is definitely pleasing to the eye.

The Art Institute of Chicago acquired “Paris Street Rainy Day” in 1964 and that set off a reappraisal and rediscovery of Caillebotte that continues to this very day.

After looking at the Caillebotte painting for a little over an hour, we went to the other bookend of Chicago’s Impressionist collection: Seurat’s “La Grande Jatte: Sunday Afternoon.”

I think, like Caillebotte’s painting, Seurat’s “La Grande Jatte” is musical.  Like Caillebotte, he uses the golden section to make the eye travel in an ever narrowing spiral, deeper and deeper into the painting.  Also, he was a follower of the French chemist and color theorist Chevreul, who came up with the concept of complementary colors, that when placed next to each other, literally pop.  Seurat said somewhere that he did not want to mix the colors of his paintings on his palette.  Rather, he wanted to place his colors side by side, and let them be combined in the viewer’s eye.

He spent a full year on this painting, building up the canvas with tiny vertical brush strokes.  He originally painted it with no people, and added them methodically one by one, according to an almost mathematical schema.

Then, he spent another year adding hundreds of thousands of tiny dots of pure color, in complementary patterns, rhymes of blues and oranges, networks of reds and greens.

Then, he spent another year painting an inner frame around the painting.  To do this, he had to have the canvas stretched with a special device, and then he spent months painting the purple-green-blue-yellow border.  He did this because he wanted a pleasing transition from the actual painting to the physical frame.  He wanted to make the colors absolutely alive.

Then, for years afterwards, in subsequent paintings, he would reproduce earlier studies of “La Grande Jatte” in the background of those later paintings.  For example, he would paint models posing in front of the “La Grande Jatte.”  The Barnes collection in Philadelphia has the greatest example of this kind of painting-within-a-painting.

So, Seurat spent three years working on this painting, and then years more including it in other paintings!

Seurat’s father was an aloof, emotionless man who managed a factory and came home just once a week to have dinner with his family in silence.  When Seurat grew up and moved out, he would come home every day to have dinner with his mother, likewise in silence.  He contracted a terrible throat infection, alas, and asked his mother if he could recover at her house, with his mistress and son.  His mother was shocked because she never knew that he had a lover and a child!  His friends were also all shocked because he had never told any of them!  He died of the throat ailment a week later, most probably it was diphtheria, and his child and his father followed him in death one week and one month later respectively.

He was only thirty-one years old!  But it doesn’t feel like his career was incomplete.  He created one indisputable masterpiece, “La Grande Jatte”, but many other fine and remarkable paintings.  His career shows an evolution of style, discreet periods, an assimilation of available scientific knowledge of optics, as well as the clear influence of other masters like Monet and Pisarro.  Interestingly, he was fascinated by Egyptian temple hieroglyphs and paintings as a child, and his figures in “La Grande Jatte”, almost all in profile, clearly show his energetic engagement with ancient Egypt.

Someone once remarked that Impressionism took an instant out of time, whereas Seurat took time out of an instant.  And “La Grande Jatte” feels eternal.  It is neither happy nor sad, but it testifies to Seurat’s overwhelming need to establish order and harmony in his world.  I like how you can find patterns after patterns in this painting- like how the soldiers’ colors are the exact inverse of the couple on the opposite side of the painting.  I like how it captures a sense of the motion of the rowers and the spinning happy little girl, but they are still at the same time they are moving.  It is a remarkable achievement.  I told a museum guard yesterday that every time I see “La Grande Jatte” I feel it is my first time engaging with it, and she just laughed and agreed.

I guess Caillebotte and Seurat were both fortunate in coming from wealth, and unfortunate in being misunderstood.  As I touched on in my last essay, Caillebotte to this very day is controversial for daring to depict men in art, especially the homosocial world of athletes, and Seurat was accused of creating unfeeling, inimical paintings.  I suppose that’s why artists have to follow their own vision.  As humanity evolves, it will eventually offer gratitude to the art that helped its consciousness.

 

 

The other day I accepted a substitute teaching assignment at a school for children with intellectual disabilities.  The school offers them a very detailed and comprehensive curriculum.  This particular day, I mostly taught science classes.  Since I’m a “fill-in”, I don’t really have either a global or granular view of what the teacher wants.  I mostly showed the kids “Sci-Show” and “Nat Geo for Kids” episodes.  I actually learned a lot from watching these shows with the kids.  I jotted down all the strange things I learned: for example, the 1889 eruption of Krakatoa was heard over three thousand miles away- the approximate distance from New York to California.

No matter how severe the disability, all the children exhibited a sense of self and personhood.  This is the immutable core of being human.  The intellectual or academic mind has nothing to do with that core.

After I showed the videos, it was time for our daily exercises.  The teaching assistants asked me to select a song for the kids to dance to, and I chose Dan McLean’s lively but poignant song “American Pie”: “The quartet practiced in the park/And we sang dirges in the dark/The day the music died.”

And one of the girls, a seventh grader I think, stood up and began dancing, her feet moving like crabs, her elbows jutting this way and that and I saw she was actually doing a dance from the late Sixties.  Maybe her mother or grandmother taught her?  But she knew the moves cold!

Later in the day, after having watched many science reels, I sang Guru’s beautiful morning song, “Usha Bala Elo” for the class.  I sang it twice. The second time, the young girl, the dancer, joined in, she sang in perfect tune and also remembered all the words, and she sang with real feeling.

I spoke to a young woman a while back who had been involved in a car accident, that left her with some brain damage.  She described the experience she had while she was on the operating table- an encounter with divine Light.  As she was describing the light, I saw her face change, her whole body became enveloped in light.  Her voice became calm and resonant.  I felt like I was listening in on Beethoven’s mind as he was composing his late quartets- I had the feeling of privileged eavesdropping.  One thing she said I wrote down:

“It makes so much difference in a mentally challenged life to get a smile, not to be overlooked and laughed at. And they [people with mental “disabilities”] might have hidden inner capacities treasured by the Supreme.”

As she was speaking, I got the sense I was in the presence of an old soul, someone who has walked many thousands of miles in the inner life.  I felt the same way about this young girl, who could identify with Guru’s music so deeply after hearing it just once.

I feel America is going through an identity crisis at the moment.  We are trying to figure out what kind of country we want to be, and the answer isn’t clear yet.  So, it’s a moment of existential self-reflection.  “American Pie” with its gracious and sad lyrics, was the right song for the children and I to dance to.

I’ve noticed that a lot of us substitute teachers are quirky anarchists.  Many of us wear black, dye our hair outrageous colors and wear 1980’s “hair band” t-shirts, like from “Twisted Sister” (I don’t do any of these things).  We don’t fit in society, so substitute teaching is the right job.  Yesterday, I was subbing for a “push-in” special education teacher in the Latin south side of the city.  On my way there, I saw lots of beautiful “Che Guevara” murals on the abandoned buildings and underpasses.  A “push-in” just means I help the main teacher and support the students.  But all the teachers told me they didn’t need any help, so I just went to an empty classroom and watched art historians on YouTube give lectures on Caillebotte, an Impressionist artist I have recently discovered.

 

Gustave Caillebotte fascinates me for a lot of reasons.  I love his self-portraits.  I like the intensity of his eyes.

 

 

This is an interesting painting.  I like the random potted plant on the left side, with the drooping leaves.  I like the unidentified friend sitting on the couch behind him reading a newspaper.  I like the August Renoir painting in the background.  I like the haphazard easels lying around.  I like how I can see each brushstroke, just because that tells me that Caillebotte considered the methods of painting as important as the end result.

Caillebotte’s face is half in shadow- maybe indicating that we can never know anyone entirely.  I recall the exchange in Shakespeare’s Hamlet between Horatio and the prince:

 

—

Horatio: [referring to Hamlet’s recently deceased father] I saw him once, he was a goodly king.

Hamlet: He was a man- take him for all in all…

—

We have to take Caillebotte “all in all”.  Caillebotte’s legs are uncrossed, his posture is a bit stiff, he’s balancing his palette colors on his right hand and painting with his left, he’s not looking at the canvas but at someone to our immediate right.  Our line of sight goes straight to his strong jaw and slightly opened mouth.

Caillebotte’s studio was his “man cave”.  He wasn’t strictly speaking an Impressionist- but he was one of their first collectors, and left over eighty works of Impressionist art to the French government in his will.  He also supported these great artists by buying their paintings when they were in financial difficulty.  The son of a wealthy businessman, he had all the time he needed to paint and also to arrange Impressionist exhibitions.  His contribution to the art world was considerable.  It’s interesting that in this painting, his greatest self-portrait, he backgrounds it, not with one of his own paintings, but with Renoir’s “Bal du Moulin”.  He really valued his friendship with these great artists.

Caillebotte’s great painting “Paris Street; Rainy Day”, was acquired by the Art Institute of Chicago in 1964.  People flocked to see it from all over the world!  This painting cemented his reputation as a great painter, and Chicago as a destination city for Impressionist art.  This great painting, monumental in its execution and Caillebotte’s largest painting and his masterpiece, is the front piece for the museum’s Impressionist collection.    During his lifetime he was known primarily as a collector and sponsor of art.  It took the museum’s acquisition and promotion of this work, as well as shows put on by museums from Texas to Paris, to solidify his reputation as a great artist in his own right.

 

 

We can see the contrast between this painting and the self-portrait immediately.  The 1879 self-portrait is more impressionistic, more occupied with the effects of light, and shows the brushstrokes, whereas this 1877 street scene is more illusionistic.  You want to look at this street scene because it’s beautiful and yet feels real.  Also, the perspective places the viewer right in front of the gentleman and his wife; we feel we’re about to crash into his umbrella!  The painting forces us to be a participant.  These two paintings show us that Caillebotte was a master of both classical and impressionist painting styles.

One thing that strikes me about the couple in the foreground is that the woman is rather stylized and the man less so.  The lady looks almost ethereal in her ruffly dress and bright red lips.  Caillebotte lavishes a little more realistic detail on the man- the slight wrinkles in his trousers, the buttons in his vest and shirt, the mustache, his searching, alert expression.  Caillebotte was something of an outlier among the Impressionists for painting primarily men.  The male body was not considered a fit subject for representation in that era.  But Caillebotte challenged that idea through his dignified and monumental depictions of men.  I like the painting “The Floor Scrapers” especially:

 

Scraping and refinishing a floor is painstaking work.  Caillebotte is removed full two social classes from these men, and outranks them in power and privilege, but depicts them honestly and signs his name right below them as if to indicate some possibility for friendship.  This painting isn’t a pretty picture of a haystack!  There are wood shavings on the floor, the men are shirtless and sweaty, we see the tools and the open wine bottle and the full glass.  But the men are angular and even heroic in the hard light.

Modern critics sometimes struggle with how to classify Caillebotte.  Last year, the Getty Museum, the Musee D’Orsay and the Chicago Art Institute put on a great once-in-a-lifetime exhibition of Caillebotte’s work, entitled “Painting Men”.  French art critics responded with rage, implying that the curators were attempting to contort the narrative around Caillebotte to suit some political agenda.  I’m sorry Messrs, but the work speaks for itself!  We know that Caillebotte lived with a woman for the last eleven years of his life, and left his estates to her.  It was obviously an important relationship to him.  We also know that his figure paintings almost exclusively feature fraternities of men- either competing in rowing or yachting, or relaxing in his salon with a newspaper, or as pedestrians on the newly constructed Parisian bridges and walkways, or, like here, working together doing manual labor.  He was fascinated by images of camaraderie and brotherhood among men.

It’s interesting I think that in his day Caillebotte’s work was rejected from the Parisian Salons for depicting working class people, who were not considered a fit subject for serious art.  And today his work inspires fierce debates over his representation of gender.  It looks like every generation has to reinterpret Caillebotte for itself.  I prefer not to evaluate Caillebotte through a Marxist lens, nor through queer theory, but to simply take him as a great artist and to focus on his formalistic achievements.

The Chicago Art Institute, hoping to avert controversy, simply retitled the exhibition “Caillebotte: Painting His World”, which is a fine title, if a little anodyne.  They wanted to offer the widest possible field to interpret his work, even if some art lovers over here felt that it was a capitulation.

But never fear!  We got to see the paintings and I found the show spectacular.  Once again, I think Caillebotte’s work speaks for itself, as one of the most successful attempts to blend impressionism and realism.  Only one thing struck me- that many of the paintings on display come from private collections.  Some of these paintings had not been seen in decades, and now that the show is over, we may never see them again.  What do I feel about private collectors?

On the one hand, by “collecting” them, these wealthy connoisseurs deprive the public of seeing great masterpieces.  On the other hand, by keeping them out of sight, on the rare occasions when we do get to see them, we treasure these works of art much more.  I like the idea of private property, so I do not begrudge the Warbucks and the Rothschilds their private museums.  I would just ask them to be generous in lending them to major shows and to please bequeath them to public museums upon their death (the Chicago Art Institute is an especially worthy candidate).

—-

To switch gears entirely, I’ve been attending the wrestling tournaments at our local colleges, and I enjoy them immensely.  Recently, our local D1 University hosted Penn State, the premier wrestling program in the country.

We got slaughtered.  51 to nothing.

We have a great 157 lb wrestler named Gunner, a sophomore, and he’s the most talented wrestler on the team.  I saw him pin a guy last month from Maryland, using a particular hold called “The Peterson” which is strictly an academic pin.  I’ve never seen it executed in real life.  But Gunner turned his back to the Maryland guy and then reached behind and grabbed him blind with one arm and one leg and brought him down to the mat in a lightning flash.  They were facing away from each other- back-to-back and Gunner pinned him!  That’s the Peterson.  You don’t see it outside of the practice room.

Alas, Gunner went up against Penn State’s  PJ Duke in our most recent bout.  PJ Duke, in middle school, defeated the best high school wrestler in the country.  Mr. Duke is now on the senior world team- as an eighteen year old!  He won bronze at the Under 23 World Championships.  So Gunner was facing off against a freight train.  I was happy Gunner did not get pinned immediately.  It took all three rounds, if I remember correctly.

But for me the highlight was seeing Penn State’s Marcus Blaze.  He’s a tall, skinny 133 lb wrestler.  While in high school he beat the NCAA champion Matt Ramos.  He’s insanely gifted.  He has no showy muscles.  In his case, it is all speed, all mechanics.  When I even say his name “Marcus Blaze” I feel something intuitive and illumining, as if his very name connects to some inner aspiration-fire.

In the same way that runners are getting faster, so are wrestlers becoming more skilled and dynamic.  In music also we see violinists and pianists achieving proficiency at younger ages.

I just got back from a two day wrestling tournament hosted by a local Christian college, on the D3 level- which is the level most small colleges compete at.

Towards the end of the first day, I saw a young man who was bleeding from a couple of gashes on his face.  He was breathing heavily and looked exhausted.  He was putting on his cross-trainers and I asked him if he was going back to the hotel to rest.  He said, “No way- I finished all my matches, so now I’m going to go running and then wrestle with my teammates to make weight for tomorrow!”  I told him he was mad and he thanked me.

Then I saw another wrestler in the hallway preparing for his last match of the day.  He looked really tired and I asked him how he was feeling.  He told me he was okay, but just okay.  He wasn’t thrilled with the idea of wrestling again that day.  I told him that life is a constant battle- we have to be divine warriors.  I recited Guru’s translation of one of his own songs:

 

“You have given me eyes,

But You have not given me sight.

You have given me a heart,

But You have not given me love.

Around me is the hope of the false city.

In this life-game, whichever road I walk along,

In the twinkling of an eye, that road is closed.

I am the eternal warrior; I am the eternal war.”

(https://www.srichinmoylibrary.com/pgr-40)

 

He closed his eyes and said very seriously, “I needed to hear these words.  God sent you to tell me this.  I can do it, I can definitely do it!”

 

I am very grateful that I live in Chicago.  I may get tired, but I never get bored.

 

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.

—

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.

—

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.

—

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 16^th, 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.

—

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.

 

 

I work in special education- with students who have unique needs.  Many of them suffer from autism.  I don’t know if “suffer” is the right word.  Can you suffer from an inborn, innate and immutable part of who you are?

I have physical disabilities.  Do I suffer from them?  Yes, at times they can make my life inconvenient.  Even with amplification, my hearing is often spotty, and I will always be legally blind in my right eye.

Would I wish not to have my disabilities?  No, I would not want them to magically disappear.  I’ve learned a lot from them.  And, hey, I get a reduced Disabled Pass for Chicago Transit!  Also, when I go on airplanes, and they call for the disabled passengers, I’m always first in line.  I have to spend hundreds, and sometimes thousands of dollars a year on hearing medical devices and also special glasses for my vision (I only wear glasses for certain occasions).  So, I will milk my disabilities for everything they’re worth!

I think I might be just a little more relatable to some of the kids I work with because I also have disabilities.  Many of the children are completely non-verbal.  They often just play simple mix and match games on their ipads, tapping frantically at the screen and making incoherent noises.  I sit next to them and sing Guru’s songs under my breath.  I also meditate and try to feel my oneness with them on a soulful level.

Over the years, I’ve also had issues with mental health and wellness.  What helps more than any medicine?  Guru’s songs.  Really!  I’ve overcome so many inner problems just by taking Guru’s songs more seriously.  If I’m dealing with something inner, I will sit down and just try to sing twenty or thirty songs.  It always helps.

At the college where I swim, I meet many autistic young men.  They have a mild form of autism, but I can recognize them by the pitch of their voices, their mannerisms, their intensely focused interests.  I know who they are, but I don’t usually say, “Oh, I can tell you are autistic!”  They often get lost in ethereal trains of thought.  I cannot follow them into that realm.  I’m happy to see them in the gym because it’s especially important for ASD people to exercise, to feel grounded in the world.  This can strengthen their link to the physical world, and make them more confident socially.

I was walking in the Rogers Park neighborhood of Chicago, on my way to a school.  It was early in the morning, and I walked past an old church.  I stopped.  I felt something, and I turned and walked back to the church and looked at it.  It had a big round tower with a huge faded stained glass cross for a window.  There were weeds in the gardens around it, and some parts of the roof were sagging.  I went inside, because it happened to be open, and I saw the ceiling was a dome, in dull but beautiful gold, with paintings of angels holding books.  I bowed in front of the altar.

I remember it had a thick red carpet inside and I felt I was sinking in it.  The church had an old fashioned feeling, a deeply Christian feeling. I went next door to the thrift shop, which is owned by the church.  I spoke to the proprietor, Bobbi.  Bobbi uses “they/them” pronouns, and does not present as either gender.  I told them that I was walking past the church on my way to work and I felt a strong Christian vibration.  It pulled me.  I told them that I felt people practise prayer very intensely here.  Bobbi told me that the Church was about to close because of lack of membership, but then many people in the LGBTQ+ community started attending.  Bobbi said that the congregants are people who felt hurt or betrayed by Christianity, but that Christ has called them back to him, to love and worship only him.  I told them that the aura of the church is palpable, deeply Christian, and full of love, universal and also practical love.  When Bobbi asked my name, and I told them that my name is Mahiruha and that it is a Sanskrit word for “tree”, they were very happy and intrigued by it.  They said, “Even if you are not a practicing Christian,  you are always welcome to our Sunday morning services.”  I thanked Bobbi for the kind invite and I will try to come sometimes.

Interestingly, as I got closer to the school, I saw a convent.  There are no more convents in Chicago!  They’ve all closed, unfortunately.  But I saw a light on, and I asked the crossing guard about whether anyone still lives there.  And he told me that for many years it was abandoned, but now three nuns have moved in!  I was so happy to hear it.  I asked him if they were elderly women, and he said, “No!  One is middle aged and two are young women.”  I was very happy.  Every neighborhood should have people there whose main job is to pray.

The school I worked at had very interesting architecture, and I think the prayers of the church and the nearby convent might have something to do with the living architecture of the school- the sloping corridors, the covered tunnels that lead to the library, the huge windows and skylights.  I was assisting some special needs students in their class, when an old Muslim woman, in a traditional headdress, pulled out three students for their daily prayers.  They actually have a dedicated room in the top floor for Muslim children to pray!  I’m happy that the school has such sensitivity to the spiritual needs of these immigrant children.

I’m sure people know the book “Prayer- Language of the Soul”, a book of prayers from around the world compiled by Philip Dunn.  He quoted three of Guru’s prayers in the book, but he prefaced the main section of the book “A Gathering of Prayers” with this particular one:

“I must realise that my God-Satisfaction

Is only a prayer away.

Therefore let me embark

On my prayer-journey

Lovingly and confidently.”

(From Twenty-Seven Thousand Aspiration-Plants part 197, by Sri Chinmoy)

I saw that book for the first time in early 2001 at the now-vanished National Wholesale Liquidators bookstore on Kissena Boulevard.  One disciple saw the book there, read from it, and discovered Mr. Dunn had quoted Guru so many times.  She read out those poems from the book at a function soon after, and also said that Mr. Dunn had included a long bio on Guru, naming him as the founder of the Sri Chinmoy Oneness-Home-Peace-Run.  Guru was very amused, and said he himself had actually seen that book at the National Wholesale Liquidators but didn’t look at it because the book was “too big.”

At the end of the day, I stopped by the thrift store again, and bought some beautiful vinyl records, including a symphony by Sibelius conducted by Leonard Bernstein, and also a collection of Renaissance madrigals sung by Alfred Deller, one of the greatest counter-tenors of all time.  Then, I noticed there was a magic shop next door.  It said “Witches Coven” or something like that so I thought it was a Halloween themed place.  When I went inside and I saw the many paintings of goat skulls, and also lots of candles, incense, statues of Greek gods and goddesses and esoteric books, I realised it was an occult store.  I spoke to one of the proprietors, “Graham”, and asked him when the human sacrifice was and he said, “Monday at eight, as always!”   Then I asked him if he was Wiccan because I saw his Pentagram necklace, and he said that no, he’s an actual witch- not just a nature worshipper.  I asked him what tradition he followed and he told me he’s not allowed to tell me.  Then the co-owner stepped out from the back room.  His name is Blake.  When I saw his name tag, I recited the first stanza of William Blake’s famous poem “Tyger, Tyger burning bright.”  Both Graham and Blake looked alarmed, raised their index fingers, did something like a jig, spat over each shoulder and uttered an incantation in a different language.  I asked them what they were doing and Blake said, “We were casting a counter-spell.”

I said, “But that wasn’t a spell!  It’s a poem by William Blake!”

“Well, we nullified the spell with one of our own,” he insisted.

Then I said, “Did you cast a spell on me?  What kind of spell?”

“I’m sorry- but I am oathbound.  I cannot tell the secrets of my spells.”

Is this where our civilization is going?  Poetry is witchcraft?

Anyway, I left without buying anything from the warlocks and took a long cold journey home on old smelly Chicago trains and buses.  That night I played one of the Deller records, that featured a beautiful dirge for Henry Purcell by Dryden set to music by the unjustly forgotten composer John Blow:

“Mark how the lark and linnet sing;

With rival notes

They strain their warbling throats

To welcome in the spring.

But in the close of night,

When Philomel begins her heav’nly lay,

They cease their mutual spite,

Drink in her music with delight,

And list’ning and silent obey…”

Such beautiful music, beautiful poetry, and so soulfully sung.  I got these records for a song and was able to hear these beautiful ancient songs.  Life is good, after all.

 

During the 2006-2007 Christmas Trip, one of my friends observed two disciples arguing in front of Guru.  The first disciple, “Larry” contended that Guru’s meditation has changed over the years.  He referred to some of the early meditations that have been recorded (for example, this one) and said that it appears, in the early days, that Guru took a little time to enter into his highest consciousness.  His eyes would go up, and swivel, and seek, and his face would change expression as he passed from world to world, until he was fully submerged in his highest meditation.  It took a few minutes.  He contrasted that with his then-current meditations, where he would simply close his eyes for a second and would enter immediately into his highest consciousness.His interlocutor, “David” angrily protested and said, “No, Guru’s meditations have always been the same!”

Guru took Larry’s side!  He indicated that his meditations did change.  This is not totally illogical!  Guru did say that he had transcended his own Transcendental Consciousness, which is inconceivable!  Even at that level, this unparalleled height, the Master manifested progress.  I actually enjoy watching those old videos!  I like watching Guru’s eyes move, and the incredible volcanic intensity on his face.  But, he transcended that in his later years.  I guess he could enter into God-Height the way most of us drink Coca-Cola.

—

Yesterday, I was waiting in a crowded bus terminal to catch a Greyhound to the far-western suburbs.  It was crowded and loud.  To pass the time I listened to Messiaen’s Quatuor Pour La Fin Du Temps(Quartet For The End Of Time), which is such a sublime work.  Just sitting there, in a big crowd, with some people smoking, listening on my blue tooth (which connects directly to my implants), I had one of the most remarkable musical experiences of my life.  I tend to avoid streaming or listening to music online.  I’m attached to my records.  But it felt right to listen to that piece at that moment.  It sounds like a cross between French Impressionist music and Argentinian tango, upbeat and nostalgic at the same time.  It was a remarkable performance, and I realised that music appreciation depends on my receptivity in the moment.  At that very point in time I was open to the music, and it lifted me higher.  He actually wrote it while interred in a Nazi labor camp!  The piece is oddly scored- for a cello, clarinet, violin and piano.  But those were all the musicians available in the camp.  The cello was missing a couple of strings to boot!  And yet it works, it takes me on a journey.  Whenever I’m waiting in line in a crowded place, the “Quartet For The End Of Time” will be my go-to musical solace.

—

The day after Sundar died I had to take an Uber to work because of the harsh weather.  I never do this, but my back was against the wall and I had no choice.  My driver was a very educated Frenchman, and we discussed our shared love of Post-Impressionism and late Beethoven string quartets.  He made me laugh.  I told him I practised meditation with a spiritual Master and when he inquired about my unusual name I told him it meant “fast-climbing tree.”  As I was getting out of the car he gave me the kindest smile and said, “You are the most beautiful tree I will see today!”

I felt at that moment that maybe Sundar’s soul  had sent this man to give me a little consolation.

When I walked into the store, I had the strangest experience.  I noticed that the grocery store was absolutely beautiful.  I felt so uplifted by the beautiful store.  I never had that experience before. I asked my friend, who is a Goth, if he noticed the store had gained celestial beauty overnight.  He said, with a smile, “No, it still looks like a crypt!”   Once again, I wondered if Sundar’s soul was blessing me, and helping me to see the beauty and wonder in my everyday life.

Then, later in the day, I had an inner experience.  I can’t really go into detail, but I got a little message from Guru!  I don’t usually have this kind of certainty about my inner experiences!  Usually I have to take care to separate my inner experiences from my mental hallucinations.  But in this case, I feel it was real, and I can stand behind it.  It was a nice experience- Guru was saying something nice about my appreciation and love for his poetry.  Once again, I feel that Sundar’s soul blessed me from a different plane of consciousness and gave me a little extra receptivity.  That’s a real friend.

We’ll be Celebrating the 50^th anniversary of Guru’s completion of Transcendence-Perfection (843 poems done in 24 hours) in New York this week.  I’ll be there.  I am really looking forward!

I only had one extensive discussion with the Master, and that is my question and his immortal answer on the great composers Bach and Beethoven.  Recently someone gave me the good news that my transcription of this talk has, after nineteen years, finally appeared in book form.  I am so, so happy.  I transcribed this talk and sent it out to be compiled and eventually published.  But one of the things that I found striking, as I was transcribing it, was how carefully Guru chose his words, sometimes pausing mid sentence for a few seconds to find just the right word.  Often he would preface statements by saying things like “This is just my own inner feeling or observation.”

I’ve shared a lot of personal information about my life on this and other forums.  I guess the fact that I write on public forums means that I have to write in an organized way that other people can understand.  But that becomes a kind of self-therapy.  I feel the act of writing and sharing gives me more control.  I put my problems (and yes, adventures, triumphs and foibles) down on the page.  I can see them.  I can name them.

A friend of mine called me a while back, and mentioned some aspects of my life that I’ve shared here, and gave me an unsolicited summary, mostly in his own words, of the Master’s views on them.  He mentioned “The Cosmic Law” several times.  I thanked him for his kind and illumining commentary and then excused myself, as I was in the middle of cooking hash browns.

As I was eating my crisped hash browns, after my friend’s sermon, I reflected that there are no outsiders in Guru’s world.  There is no-one we can call the “other.”  We’re all just reflections of God, manifested in the world.  My friend basically said that people like me are not in harmony with the cosmic law.  I just inwardly laughed but said nothing.  I laughed because the cosmic law is my only friend.  It is the sign of God’s Grace that we live in a world of cause and effect and can therefore find the fastest routes to progress.  And the cosmic law is infinitely supple and generous.

If there is a sincere inner cry, then the cosmic law will support the seeker, will carve out for the seeker innumerable breaks and exceptions.  Aspiration and a sincere inner cry are superior to our mental formulations of the universal laws.

The Master is always right, and the truths of all the scriptures, if they are both timeless and universal, are to be venerated and upheld.  But the problem is that truth is living and flexible, and often inscrutable.  We come to understand it through decades, even lifetimes of spiritual discipline.  For unillumined people like my friend, and of course, like me, to promulgate the law like Emperor Augustus, is just silly.

Ultimately it doesn’t matter what is written in the shastras or (please pardon me) even what Guru said.  What matters is whether we have realised these divine truths in our own being, and are expressing those truths in God’s own Way.

My friend called me a few days later and offered me a genuine apology for his hasty words.  I thanked him, but I am also guilty of misusing Guru’s language, or misapplying it.  Guru said that there is a particular nation where the people possess such oneness with Mother Nature, and such simplicity, that we do not even have to meditate.  We can just mix with the people, absorb their simplicity, and this will be like meditation.  Once I was working on a manifestation project with a gentleman from this country and I told him what Guru said, that the people there are extremely simple and we don’t have to meditate because the people have such a meditative consciousness.  And he said, “Well, actually we are very busy with our own lives, and we’re just trying to get through the day like everybody else.”

What Guru said was very nice- the people in this nation are simple.  It’s fine if these words come from the Master, because the Master was offering these observations to a particular group of devotees in a particular context.  It’s different when it comes out of the mouth of Mahiruha, where it comes across as something like: “Look at the noble savages!  They have such an easy life, unencumbered by running water and Snap Chat!”

This person was right to be offended.  It was a stupid mistake on my part, and I’ve learned.

Once an Indian politician was asked about her sister, who was taken hostage by religious extremists, but was eventually released after the Indian government paid a large ransom.  The question was whether she felt the government did the right thing by buying off the terrorists.  And she said, “Today, as a sister, I will say she should have been freed.  Tomorrow, as a politician, I may say something else.”

And this is why Guru was so careful even when answering a totally non-controversial question like the comparative genius of Beethoven and Bach.  Any remark, however innocent, can be de-contextualized and twisted.

As a seeker, you have all the truths.  Your own realisation will shine far, far brighter than all the scriptures and commentaries ever will.

This poem is most relevant:

“Poise is the hyphen
Between what you have heard
From God
And what you have told humanity.”

(Sri Chinmoy, Ten Thousand Flower-Flames, part 50, Agni Press, 1982)

 

I’m listening to Haydn’s Opus 50 quartet no 3, in E, one of the strangest quartets ever written.  Hayn’s music is characterized by concision and economy, but in the opus 50 quartets, the laconic quality becomes almost oppressive.  It’s like Haydn’s playing racquetball in the tiniest court, and hitting the ball from every possible angle, until you can’t believe the inexhaustible nature of Haydn’s imagination, turning leftover Turkey bones from Thanksgiving into the most miraculous post-holiday meal.  The music resists labels like happy or sad; Haydn is all about life expressing life for its own sake.

I sometimes get the sense that Haydn had serious mental and emotional problems, but that he took them by the throat and made them work for him.  He sublimated them into his music and forced them to dance; he turned his worst inner enemies into his most effective and eloquent servants.  Anyone can listen to Haydn’s music and follow suit; he teaches you how to live a beautiful life.

***

Today I was talking to a fellow teacher about various external world situations.  She told me that she believes in God and that God will take care of the world.  I appreciated her wisdom and quoted Guru’s aphorism: “Falsehood is fearless.  Truth is deathless.”  I said it four or five times.  She was so moved!

“Falsehood is fearless.  Truth is deathless.”

She asked me what I felt it meant and I explained that we usually think of fearlessness as a positive quality.  But in the case of falsehood, it is not good for it to be fearless.

“Fools rush in where angels fear to tread,” warned Alexander Pope.

Falsehood has no fear because it is arrogant, and does not see the red lights.  Fearlessness based on stupidity is not a good thing.  Just because you don’t see the stop sign does not protect you from the oncoming traffic.

“Truth is deathless.”

It’s an interesting formula, isn’t it?  Falsehood is fearless, but not deathless.  Truth is deathless.

Falsehood’s bravery, its “fearlessness” will take it to an early grave.

Truth has nothing to fear from falsehood’s fearlessness.  It is deathless.  It does not have to exhibit its bravery.  It knows what it has and what it is.  It is eternal, immortal, deathless.

As I repeated the mantra for my colleague six or seven times, I felt the power behind the words.  She grabbed a piece of paper and wrote it down.  I always like it when people value Guru’s poetry.

***

Interestingly, those many years ago, nineteen years now, when Guru was answering my question on Beethoven and Bach, he said at one point, and this is my paraphrase, “When we think of Beethoven, it is like a fully blossomed tree- very huge tree.”  And when Guru uttered those words I leaned into the microphone and said “Yes!”

But I have the recording, and my “Yes!” did not register on the tape.  But I clearly remember saying it.  Maybe I did not say it into the microphone?

But Guru must have noticed my reaction to his comparing Beethoven to a tree, I guess, because when I got my spiritual name a few weeks later, it included the word “Tree.”  Guru’s awareness and discernment is so fine, and so exact.

I was telling another co-worker of mine about the meaning of my name.  Guru wrote, in explication of “Mahiruha”:  “The God-seeker and the God-lover’s fastest God-climbing aspiration-Tree.”  And I really felt the significance of my name!  I rarely think of it, the meaning.  So, today I decided to devote my time after work to explicitly spiritual activities:  I listened to some of Guru’s records, including “Meditation-Sun”, produced by the Canadian disciples around 1977, and I also read some of Vidagdhas’ diaries of her life with Guru in the Eighties.  Today I read about Guru’s wonderful meeting with the comedian Eddie Murphy in 1988.  Guru had a banner created for him that read : “Welcome Eddie Murphy, Emperor of Parody”.  I think I heard that Guru really like Eddie Murphy’s smile.

A poem I stumbled across in my study of Sri Chinmoy’s 1978 book From the Source, To the Source:

 

“O sun of my soul,

I devotedly love your deity.

O moon of my heart,

I soulfully love your beauty.

O star of my life,

I surprisingly love your purity.

O sky of my search,

I amazingly love your generosity.”

 

I love that first line especially: “O sun of my soul, I devotedly love your deity.”  I remember when Guru gave me my name on 16 November 2016, and I was looking into Guru’s eyes and Guru wasn’t meditating, he was contemplating.  If people can find the video “Concentration, Meditation, Contemplation” where Guru demonstrates these three realities, they can see the vast gulph between meditation and contemplation.  As I looked at Guru as his eyes began moving, each on its own track and trajectory, I had the strangest feeling that I was looking at Guru not as a disciple, but as a peer.  It lasted only a fraction of a second, a nanosecond, and then I was back to being a disciple, a devotee, an aspirant.  But I saw something.

Maybe this poem, from Twenty-Seven Thousand Aspiration-Plants may shed some light on my experience:

 

“True, you have felt something divine
Inside your Master
At least for a fleeting second.
But to his extreme sorrow
You have not felt anything divine
Inside yourself.
Before you pass
Behind the curtain of Eternity,
Your Master wants you to feel
Something divine
Inside your own heart,
Even for a fleeting second.”

(Sri Chinmoy, Twenty-Seven Thousand Aspiration-Plants, part 15, Agni Press, 1983)

A close friend of our Sri Chinmoy family here in Chicago works as a naturopath/homeopathist, and he treats disciples free of charge as a service.  Out of the blue, he contacted me recently and asked if I still gave tours at our great local art museum- the famed Art Institute of Chicago.  I told him I did, and he asked if I would give a tour of the museum to a young man, and also tell him a little bit about our Guru, Sri Chinmoy, as he is very interested in our way of life.  Of course I agreed!

 

I met this seeker, “Mark”, at the museum.  Accompanying him was his dearest life-long friend “Steven.”  I did a double take as soon as I met Mark.  I knew him from somewhere, but I couldn’t place it.  But his speech, his mannerisms, his face, were all strangely familiar.  I gave the guys the whole grand tour of the museum.  At one point, I was standing in front of one of my favorite paintings, “The Plough and the Song” by the great Armenian painter Arshile Gorky.

I told them my own feelings about the way Gorky captured the life-breath of another dimension in his paintings- how they represent life itself on a different level of consciousness.  This is why his paintings are so engaging and full of life.  I also quoted from Sri Chinmoy’s words on how to recognize a soulful work of art, and I applied it to Gorky’s masterpiece:

“If a work of art makes you feel that there is a most beautiful child inside it, you can know that it is a soulful work of art. If you see inside it a most beautiful child, and if you feel that this child is talking to you and you are talking to him, then you can know that it is soulful art.”

(From Sri Chinmoy, Art’s life and the soul’s light, Agni Press, 1974)

 

As soon as I mentioned the name “Sri Chinmoy” Mark’s whole face changed.  He told me he was sitting in the chiropractor’s office- it was his first visit, and he just looked at one of the Jharna Kalas that the doctor kept on the wall, and that he started shedding tears.  He told me that he is an artist, and is getting his PhD in visual art, but the moment he saw Sri Chinmoy’s artwork he wanted to do his PhD on Sri Chinmoy’s Jharna Kalas, or at the very least incorporate what Sri Chinmoy did into his own artwork.

Mark told me, “I told my chiropractor that I had just got back from Pondicherry.  I was on a pilgrimage to Sri Aurobindo’s Samadhi.  I have always loved Aurobindo.  When I got back I decided to pursue a course of naturopathy treatment.  But the moment I saw Sri Chinmoy’s Jharna Kalas, I realised I had gone all the way to Pondicherry and back just to learn that Sri Aurobindo is my uncle, and Sri Chinmoy is my father, my God-Father.”

I was so startled- I was speechless!

He then told me he immediately ordered Sri Chinmoy’s books Transcendence-Perfection and My Flute and he read them cover to cover.  I started reciting poems from both books and Mark was so happy and gratified that I knew these poems by heart.  He told me that Sri Chinmoy’s poems stay with him more than any poems ever have.

I realised then that this was the very reason I felt that I knew Mark, from the first moment we met.  He is an inner disciple of my Guru, and has been so since his very birth!
And this connects exactly to my last post- that Guru’s new children are coming.  Mark is just twenty-eight years old, yet he has at least a lifetime of intuitive knowledge of Guru inside him.

Steven is still seeking for a path, I believe, but supports Mark wholeheartedly in his journey.  Steven asked me a volley of questions afterwards in the car, on our way to an Indian restaurant, but very perceptive, respectful and insightful questions.  He was impressed that I read Guru’s books for many hours a day, and that he told me “You have a great knowledge of your Teacher.”

At the restaurant, Mark told me that his art mentor at his school was thrilled to learn that he has become so deeply interested in Sri Chinmoy’s artwork, because he too admires Sri Chinmoy.  One day, sometime after he had informed his professor of his love and admiration for Guru’s Jharna Kalas, he  was drawing a three part abstract painting in class, a triptych.  His professor stood behind him and watched him paint for a long time.  It was an abstract work, with no words or anything representational.  But his professor pointed to the left panel and said, “This part represents one of Sri Chinmoy’s ancient incarnations.”  He pointed to the panel on the far right and said, “This is one of Sri Chinmoy’s more modern incarnations.”  And then he indicated the central panel and said, “This is Sri Chinmoy’s most recent life- as Sri Chinmoy.  You have captured three incarnations of Sri Chinmoy.  This is excellent!”

 

During Mark’s first visit to New York, I showed him all the original paintings at Annam Brahma and at the Smile of the Beyond.  One of the most senior disciples noticed how spellbound Mark was by Guru’s paintings, and gave him one of his own original Jharna Kalas!

I am so grateful to these new disciples, these fiery aspirants and God-lovers.  They are the future.