Cassidy Hall death, dying, goodbye, Intention, monastery, solitude, Thomas Merton

Maybe it’s time for me to let go of Thomas Merton

Today marks 53 years since Merton died in Bangkok, Thailand. I wrote the following article originally published by The Christian Century on December 6, 2021.

“How can we be sure younger generations learn about Thomas Merton?”

Every time I show Day of a Stranger, the documentary film I made about the Trappist monk, I’m asked some form of this question. Viewers find Merton’s words—which I excerpted from a set of stream-of-consciousness recordings made during his years as a hermit on the grounds of the Abbey of Gethsemani in Kentucky—eerily prescient, and, like me, they want to share them with others.

This anxiety about Merton being forgotten has come up at every single Merton talk or panel I’ve been part of since 2011. That was when I quit my job as a counselor to travel to all 17 Trappist monasteries in the United States and began to work on my writing, films, and podcasts about contemplative life. Though I, a queer, young, non-Catholic woman, was an unlikely Merton ambassador, I was often invited to be a part of presentations and celebrations of Merton’s legacy. Every time, people would look around the room, take note of their mostly White, mostly grey-haired neighbors, and wonder how that legacy can last, whether his wisdom will be forgotten.

Typically I have responded with encouragement, mentioning Merton’s interfaith dialogue, his modeling of friendship, or the expansiveness of his correspondence as the ways his legacy might endure. But at my last film screening, after much self-reflection on the question, I answered with my own question: “What’s wrong with Merton disappearing?”

This month marks 53 years since Merton died in Bangkok after giving a lecture on Marxism and monastic perspectives. At the end of the lecture, he said, “We are going to have the questions tonight. . . . Now, I will disappear.” It was only a silly little line at the end of a heavy and controversial talk, but perhaps it was also prophetic.

The desire to disappear is a well-known tension at the heart of Merton’s work and his spiritual life, a desire that was often in conflict with his vocation as a writer. In 1946, 20 years prior to his death, he wrote in The Sign of Jonas, “I have only one desire, and that is the desire for solitude—to disappear into God, to be submerged in His peace, to be lost in the secret of His Face.” In Thoughts in Solitude, written from his first hermitage, St. Anne’s Toolshed, on the monastic property, and published in 1958: “As soon as you are really alone you are with God.” In 1964, while attending mass after meeting with Zen Buddhist D. T. Suzuki, he wrote in his journal with apparent satisfaction, “No one recognized me or discovered who I was. At least I think not.” In a 1967 recording, he says, “I am struck today I think, more and more, by the fundamental dishonesty about a lot of my clamor.”

Merton was indeed controversial in his time, and his words remain relevant and often helpful. His correspondence and work explored and elevated other religious perspectives and experiences. He often seems to speak prophetically to the situations we find ourselves in today.

But Merton’s most recent work is now more than half a century old. And while his conversations spanned gender (Dorothy Day, for example), sexuality (James Baldwin, though it’s said he never replied to Merton, and I can’t say I blame him), religion (Thich Nhat Hanh, Abraham Joshua Heschel, D. T. Suzuki), racial justice (Martin Luther King Jr.), and environmental justice (Rachel Carson), Merton, as a White cis man and vowed monastic in a patriarchal church, perpetuates damaging exclusivity alongside his wisdom.

In truth, his prescience and ecumenism seem rare only if we’re looking at White spiritual writers or reading exclusively Catholic work from the 1940s–1960s. Does this context make his views appear more radical than they really were? I have to ask myself, before picking up yet another work by or about Merton, Who am I listening to who may be prophetically controversial today? What words am I reading now, by those whose experience is tethered to the present moment in the fullness of their lives? What marginalized voices of experience am I listening to? Am I going to the source on these topics?

I’ve learned from womanist scholars that as long as I perpetuate the domination of only a few voices in spiritual leadership, I hinder movement toward liberation for all voices. I cannot learn from Merton what it’s like to be a queer woman, or to be an LGBTQ person who is rejected by one’s church, or to be Black in America, or to be a refugee. Merton can provide historical perspective and observations, but he simply cannot speak into an oppressive situation separate from his identity and experience.

Merton himself was often reminding us to go deeper, look harder, be willing to take the effort and time to seek out, read, and listen to the wisdom of voices missing from our libraries and bookshelves. I wonder if this is his true legacy—urging us to transcend his own contributions. To challenge the status quo, go beyond the comfortable, and heed the wisdom of the marginalized who have been too often overlooked.

Merton has words for those experiencing anxiety in the midst of change. In Conjectures of a Guilty Bystander, he writes of a crisis in the church in the 12th century, but he could have been writing about today:

In a time of drastic change one can be too preoccupied with what is ending or too obsessed with what seems to be beginning. In either case one loses touch with the present and with its obscure but dynamic possibilities. What really matters is openness, readiness, attention, courage to face risk. You do not need to know precisely what is happening, or exactly where it is all going. What you need is to recognize the possibilities and challenges offered by the present moment, and to embrace them with courage, faith, and hope. In such an event, courage is the authentic form taken by love.

“What you need is to recognize the possibilities and challenges of the present moment, and to embrace them with courage, faith, and hope.” I wonder if this is how Merton might have answered the question of how his legacy can endure.

On my way home from my last film screening, I went out of my way to stop by Gethsemani Abbey. After a rain-soaked hike, I paused at Merton’s grave, marked by a simple white cross en­graved with “Father Louis,” as he was known there. “They can have Thomas Merton,” he wrote in The Sign of Jonas of those who assumed they knew all about him solely based on his writing, “He’s dead. Father Louis—he’s half dead, too.”

What would happen if I let Thomas Merton die?

As I walked back to my car, I remembered the words from his essay “Integrity,” which had inspired my monastic travels in 2011: “Many poets are not poets for the same reason that many religious men are not saints: they never succeed in being themselves.” Maybe it is time to acknowledge that my long obsession with the words and wisdom of Thomas Merton did crowd out other voices and other perspectives, preventing me from hearing them fully—including my own.

A version of this article appears in the print edition under the title “Now, I will disappear.”

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Cassidy Hall Art, death, dying, goodbye, Heart, hospice

Time, Tenderness, and Terror: Reflections from a Hospital Chaplain

CW: Death, dying, grief, loss, infant loss

“Callouses form easily,” I was recently told in a meeting, “endurance takes time.” And I add to these words perhaps endurance’s movement into healing and growth takes both time and tenderness.

I’ve been learning that working at a Level One Trauma Hospital for the summer creates its own heap of secondary trauma and invitations into the agony of humanity and oneself.

At the beginning of the summer learning goals were discussed and my foremost goal was to not become numb to human suffering while also developing an endurance for care, empathy, and human accompaniment. I asked, “how can I build endurance without becoming desensitized to human suffering?”

Shortly after developing these goals, I encountered a number of unexpected deaths and grieving families during on-call shifts. One, a brand new baby who was well before birth and simply never began breathing. The other, a father, husband, and grandfather on Father’s Day. More recently, I was asked to tend to the bedside of a “terminal wean,” where ventilatory support is withdrawn from the patient as they begin to travel through the threshold of life into death. Another time, a notification on my pager to come to the bedside for “end of life.” In this instance, as I stood in a room with a family whose dear one was dying, I put my hand on the dying–holding them in the gratitude of what they brought to this earth by their presence. I put my other hand on the back of the grieving, as they wailed in disbelief, pain, and anguish. I shared and prayed no magic words, offered no comforting thoughts, and was only present to the moment. The waves of grief dominated these lives and rooms, as they do under these circumstances, and together we allowed the waves to roll through the space like a tsunami while striving to keep each other safe. 

The inexplicability of death never ceases to haunt my imagination. The ways death offers no real response to the question of why stops us all in our tracks. Believing all of life is entwined, I realize how little I stop to ask why a tree dies in the middle of a burning forest or why I perpetually participate in the ocean’s walk towards death. Why isn’t the hope of new growth in the garden as astonishing as a brand new human life or the sight of a patient on the other side of a heart transplant? How can I celebrate and grieve in the fullness of life’s connectivity? And still somehow these moments of accompaniment in alongside the dying and their loved ones are simultaneously holy and horrifying.

If I’ve learned anything about grief and human accompaniment this summer it’s simply that there are absolutely no proper words or language to offer to the grieving. I’ve gone into the summer knowing that there are plenty of wrong things to say and quite simply nothing right to say. In this way, the presence of personhood and accompaniment is an offering beyond words. The statue of immovable presence and peace amid unfathomable loss is at best a sentiment. A presence which can affirm the anger, frustration, sadness, pain, worry, grief, loneliness, agony… A presence to witness human suffering and acknowledge the terror of all that is unknown and unknowable.

On the more difficult days I often ask myself, how does one mark the death and grief of total strangers with whom they’ve accompanied in some of the most impossible and insufferable moments of life? Are these moments tattooed on my soul like a mark of memory, are they (the dead and their families) now threaded together within the expanding quilt of my existence, or are they lost in the ether of full and busy days with little to no time for sacred pauses? Maybe instead, grief becomes a part of me ––of us, like a new limb, an added layer of emotion, or the daily piece of jewelry we put on before we begin our day.

Many of us can agree that not only is healthcare in America a broken system, but so too are its hospitals. The lighting, the noise, the anxiety, the loneliness, even its spiritual care programs which often offer little spiritual care for their own – this is a difficult place to heal and grieve. And when it comes to working in these spaces: detachment often means survival, disconnect allows for life beyond the walls of work, and disengagement is frequently a way to stay sane.

So as I reflect more deeply on my impossible goal of building “endurance without becoming desensitized to human suffering” I instead ask “how can I offer time, tenderness, and presence amid the mystery and terror of death?” The tsunami of grief comes when it comes, stirring up unfathomable emotion and unknowable pain. I can only be present to yours, mine, ours, show up, and offer some small sense of solidarity in the midst of all that is unknowable.

And, so, all of the answers to my questions land here: There are no answers. There’s no way to perfectly witness or accompany human suffering. There is no ideal way to witness grief. It can only be honored, tenderly seen, lovingly acknowledged, and any forms of healing and growth are both a process and an art. An art tethered to uniqueness by the way that each human interaction is unique.

As I walk out of the hospital on the more difficult days, I pause for a moment of acknowledgment in the hospital chapel. I speak names in my heart and shake my head with the tension of emotions. I offer the unknowable to the unknown, the mysterious to the mystery, the hopelessness to the possibility of hope. 

For nothing is fixed, forever and forever and forever, it is not fixed; the earth is always shifting, the light is always changing, the sea does not cease to grind down rock. Generations do not cease to be born, and we are responsible to them because we are the only witnesses they have. The sea rises, the light fails, lovers cling to each other, and children cling to us. The moment we cease to hold each other, the sea engulfs us and the light goes out.

James Baldwin, Nothing Personal

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Cassidy Hall Art, Creativity, death, dying, goodbye, listening, podcast, solitude

(Another) Ode to Mary Oliver

That’s the big question, the one the world throws at you every morning. “Here you are, alive. Would you like to make a comment?” (Mary Oliver, Long Life, Forward)

We’ve all been reading a number of poems by and tributes to Mary Oliver since her death on January 17, 2019. And, to be honest, that’s exactly what this is… Another tribute, another ode, another homage.

I’ve often thought of her as my spiritual friend––reaching out beyond the page, sitting with me in sadness, elation, and especially awe. Her writing has a way of pointing the reader to wonder in the most simple moments and profound ways.

I was on a lunch break when I heard the news of her death. It was raining and my mind was detached from everything at hand, so I opted to go be with her in some small way by finding her in a bookstore nearby. And, of course, we all know Mary Oliver isn’t found indoors. Her work is steeped in the great outdoors from her long walks collecting clams, to her undeniably sacred practice of paying attention.

There are plenty of things I think about when I consider Mary and her canon of work: I am drawn to an endless list of poems, prose, essays, and even her instructional books for writers and poets alike. But, in an attempt to be true to what this poet-teacher has taught me, I want to focus on how and where she guided me in paying attention. 

Instructions for living a life.
Pay attention.
Be astonished.
Tell about it.

(Mary Oliver, Red Bird, Sometimes)

Mary taught me that when I fail to live headlong into life––and love, I’m as good as being breathlessly underground.

In her love and adoration for her partner of over 40 years, photographer Molly Malone Cook, she pointed to the many ways she noticed her. In The Whistler, she writes of her beloved M: “All of a sudden she began to whistle. By all of a sudden I mean that for more than thirty years she had not whistled. It was thrilling… I know her so well, I think. I thought. Elbow and ankle. Mood and desire. Anguish and frolic. Anger too. And the devotions.” And in Long Life, she says of her life with M: “The touch of our separate excitements is another of the gifts of our life together.” 

How do I love you?

Oh, this way and that way.
Oh, happily. Perhaps
I may elaborate by

demonstration? Like
this, and
like this and

no more words now

(Mary Oliver, Felicity, How Do I Love You?)

Mary taught me about how loving the world takes many forms, all of which take uninhibited attention.

From “Yes! No!” Mary declares, “To pay attention, this is our endless and proper work.” And from her book Thirst, “My work is loving the world. Here the sunflowers, there the hummingbird – equal seekers of sweetness… Am I no longer young and still not half-perfect? Let me keep my mind on what matters, which is my work, which is mostly standing still and learning to be astonished.”

Mary taught me how recognizing the divine, alive in nature, isn’t just a way to live, but the only way to be more fully alive.

In her almost liturgically rhythmic words about nature, she shares in “Morning Poem,” “each pond with its blazing lilies is a prayer heard and answered lavishly, every morning, whether or not you have ever dared to be happy, whether or not you have ever dared to pray.” And, in Upstream she writes, “I could not be a poet without the natural world. Someone else could. But not me. For me the door to the woods is the door to the temple.”

Mary taught me the ways in which paying attention to myself can be an opportunity for growth and change.

From her short poem, “The Uses of Sorrow:” “Someone I loved once gave me a box full of darkness. It took me years to understand that this, too, was a gift.” And then, from “Wild Geese,” “You do not have to be good. You do not have to walk on your knees for a hundred miles through the desert repenting. You only have to let the soft animal of your body love what it loves.” Finally, once again from Upstream, “Certainly there is within each of us a self that is neither a child, nor a servant of the hours. It is a third self, occasional in some of us, tyrant in others. This self is out of love with the ordinary; it is out of love with time. It has a hunger for eternity.”

In these ways––paying attention to love and the beloved, paying attention to the natural world, paying attention to ourselves––is not just about a life well lived but a life whose legacy is love. In her book Gravity and Grace, Simone Weil writes, “Attention is the rarest and purest form of generosity…. Absolutely unmixed attention is prayer.”

Mary Oliver’s life testified to what it means to live into that great prayer of attention. She quite literally walked the things she wrote, lived the things she spoke, and always paid attention.

So I just began with these little notebooks and scribbled things as I — they came to me. And then worked them into poems later. And always I wanted the “I.” Many of the poems are “I did this. I did this. I saw this.” I wanted them — the “I” to be the possible reader.

Mary Oliver in interview with Krista Tippett 

Thank you, dear Mary. Your courage in life perpetuates courage to live headlong in all of our lives.

When death comes
like the hungry bear in autumn;
when death comes and takes all the bright coins from his purse

to buy me, and snaps the purse shut;
when death comes
like the measle-pox

when death comes
like an iceberg between the shoulder blades,

I want to step through the door full of curiosity, wondering:
what is it going to be like, that cottage of darkness?

And therefore I look upon everything
as a brotherhood and a sisterhood,
and I look upon time as no more than an idea,
and I consider eternity as another possibility,

and I think of each life as a flower, as common
as a field daisy, and as singular,

and each name a comfortable music in the mouth,
tending, as all music does, toward silence,

and each body a lion of courage, and something
precious to the earth.

When it’s over, I want to say all my life
I was a bride married to amazement.
I was the bridegroom, taking the world into my arms.

When it’s over, I don’t want to wonder
if I have made of my life something particular, and real.

I don’t want to find myself sighing and frightened,
or full of argument.

I don’t want to end up simply having visited this world

(Mary Oliver, When Death Comes)

Now, I picture here being reunited with her darling partner Molly Malone Cook as they wander the great outdoors of the unknown.

RIP, MO (1935-2019)

 

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Cassidy Hall Art, busy, Creativity, goodbye, Intention, listening, monastery, pilgrim, reminders, solitude

When Letting Go Is Holding On

“My dishonesty with myself and others hinders the honesty of all humanity, hinders the progress of all people.” Journal entry on 2/12/12

In 2012 I made the decision to let go of some certainty in my life for the sake of exploring something unknown. I quit my job. I quit my salary-paying, insurance-giving job full of security and certainty so I could travel to the seventeen Cistercian monasteries of the United States. As someone who isn’t Catholic, this was a surprise to everyone I knew. I would say that this decision surprised me too, but as I went on doing what I was supposed to do each day, I only felt myself dying a million deaths. It doesn’t surprise me I took on such a drastic measure to keep on living.

So much of my life at the time was wrapped up in what other people thought of me and meeting the expectations meant sticking to the script. Quitting a secure job with a salary and benefits wasn’t just an unwelcome improvisation—it was dangerous one. And thrill seeking was absolutely not a part of those predictable characters’ make up.

Yes, I was open about my sexuality, but only quietly, only where I felt safe. Sure, I was open about my spirituality, but only to the degree that it blended in a room. Yes, I loved my job and the amazing people who crossed my path while working it, but it became mostly an uncomplicated way to pay the bills.

I thought I was “doing all the right things”, but as I did them, I couldn’t shake the nagging; the blatant certainty that there was more to this life and that it wasn’t reserved for the few, and that it might even extend to me. Fitting everywhere but belonging nowhere—it was no longer enough, and something inside me sensed my restlessness could only be calmed by letting go.

Quitting my job to pursue that which was pulling me from the center of my heart made me feel exhilarated in a way that I hadn’t experienced since the beginning of these piling expectations. The monasteries, their silence, their mystery, their unique provision of solitude felt like they could be an exception to the lack of belonging I sensed at every turn. As I gave more and more thought to this longing within me, the unknown abundance of mystery that was before me, a unique way of exploring my interior spaciousness, I knew I had to go.

And when I stepped inside these sacred places, overcome with a sense of belonging, I knew instantly I had not made a mistake. It was in these moments away that the focus sharpened and I could sense my place in the world more clearly. It was a space where the noise of any perceived audience’s approval or disapproval literally and metaphorically cleared from my life and I could hear the voice of my heart instead.

So, I poked my head into seventeen spaces bathed in prayer and talked with monks and nuns about silence, solitude and contemplative life. I didn’t realize until the pilgrimage began that part of this expression of my true-self was bound up in my existential and spiritual curiosity that had been a part of my meandering thoughts since childhood. We further explored topics related to social justice, the true-self, acedia, mental health, and community. My joy and curiosity could not be contained.

This strange pilgrimage was spurred on and then validated by Thomas Merton’s words in New Seeds of Contemplation, “Many poets are not poets for the same reason that many religious men are not saints: they never succeed in being themselves… They never become the man or the artist who is called for by all the circumstances of their individual lives. …They wear out their minds and bodies in a hopeless endeavor to have somebody else’s experiences or write somebody else’s poems.”

This idea of spending my life on the things that aren’t of me is something I have had to navigate in my own way. It’s a lesson that is never over once it is over. It certainly isn’t easy for me to be true to myself. I have to learn and then relearn nearly every single day.

I know, for example, that in my writing life there are many topics I’ve avoided for reasons I’d rather not admit. Reasons that ultimately declare the comfort of others and myself as more important than the truth and freedom of all humanity. Reasons that shun my inner spirit and remove dignity from my identity. I learned long ago on my pilgrimage that the danger in not being my true-self had a ripple-effect that was larger than just me. My self-expression, being true to who I was, affected other’s ability to do the same.  After all, we belong to each other. I knew then it was time for a change. It was time to let go of the world’s agenda for my life. And, it’s just as true now as it was then.

“Trust is very much about going beyond the guarantees; engaging into the future that is beyond what is known and seen.” A Monk of Mepkin Abbey

When I arrived home after nearly a half year on the road, I had no extreme revelations or clear-cut certainties to reveal. I only emerged with a new sense of listening to the heart of who I am and an openness to the silences and the stillnesses that speak into that true identity. I began to let go of those preconceived notions the world had seared into me for years, I began to let myself unfold and go off script. 

“I don’t want to stay folded anywhere,
because where I am folded, there I am a lie.” Rainer Maria Rilke

All of life is loving as much as it is a constant letting go. Sometimes that letting go is an initial step away from the noisy world into finding out more of who we are. And, sometimes this requires a grieving. A grieving of a narrative we’ve clung to or been told, or grieving a sense of certainty or ownership. But we cannot begin to meet ourselves without this letting go. We cannot begin to reunite with the wholeness of who we are until we strip ourselves of assumptions, predictions, and expectations. We cannot hold on until we truly let go.

“There is in us an instinct for newness, for renewal, for a liberation of creative power. We seek to awaken in ourselves a force which really changes our lives from within. And yet the same instinct tells us that this change is a recovery of that which is deepest, most original, most personal in ourselves. To be born again is not to become somebody else, but to become ourselves.” Thomas Merton, “Christian Humanism” in Love and Living

Cassidy Hall is a writer, photographer, filmmaker with a MA in Professional Counseling. Cassidy’s writing is featured on The Huffington Post, Patheos and her website, www.cassidyhall.com. You can find her on twitter @cassidyhall | instagram @casshall | and Facebook cassidyhall77

Cassidy’s forthcoming book, “Notes On Silence,” co-authored with Director Patrick Shen can be pre-ordered here.

Originally posted on The Sick Pilgrim Blog.

 

 

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