Many of you know I’ve been working on my directorial debut film, Day of a Stranger: the first film about Thomas Merton’s final years in his own words. For this short film, Patrick Shen and I recently took a winter trip to the hermitage and The Thomas Merton Center for filming, and from that have pieced together the latest teaser below. Thanks to Patrick for his brilliant editing and always working with me in such a way that allows us to both remain true to who we are as artists and ultimately humans.
Film Timeline: With a goal of having our rough cut by summer of this year, we are still completing some fundraising for post-production including editing, color correction, music, and sound design. DONATE HERE.
“Hurry ruins saints as well as artists. They want quick success and they are in such haste to get it that they cannot take time to be true to themselves. And when the madness is upon them they argue that their very haste is a species of integrity…”
–– Thomas Merton, New Seeds of Contemplation (p.101)
How did you get inspired to create a film about Thomas Merton and his hermitage?
“We live in an age where men manufacture their own truth.” — Thomas Merton, Sermon on The Feast of the Immaculate Conception (Recorded 12/8/1962)
Even aside from politics, our days host an array of their own problems. Many have viewed the life of a monk or hermit to be a departure from the world and its many problems. But I’ve come to see this going away from the world as a way to love it—and its humans—more deeply.
I began reading Thomas Merton’s New Seeds of Contemplation sometime back in 2011. This evolved into a Gethsemani Abbey pilgrimage which led to me traveling to the seventeen Trappist/Cistercian monasteries of the US to talk to monks and nuns about silence, solitude, and contemplative life. Somewhere along the way I became more and more interested in Thomas Merton’s work and hermitage years—why would such a brilliant person who has so much to offer the world go away from the world. The joke was on me until I began to read further into his desires for solitude and how this tension and paradox was another way of expression, another way of showing solidarity with the suffering of the world.
There’s a tension in the contemplative life—a tension that holds a paradox. This tension is intertwined with the pain of the world while meeting said pain in the silence and solitudes of our everyday lives (a paradox to many). This doesn’t make sense to everyone and the contemplative path is certainly not for everyone, but I do sincerely believe aspects of it can benefit the whole world.
Day of a Stranger is a title taken from one of Thomas Merton’s most beloved essays (May 1965). The essay was published in Latin America as a response to a journalist’s question about what a typical day in the life was like for Merton in his new hermitage home. Unbeknownst to Merton or the journalist that this would be his final home and “Dia de un Extrano,” (Day of a Stranger) was published in Papeles, a journal from Caracas, Venezuela in July of 1966 (also published in The Hudson Review in the summer of 1967).
Other questions answered:
What has surprised you the most about listening to Merton’s old tape recordings?
You were a co-producer of In Pursuit of Silence. How did working on that film help to shape your creative process for Day of a Stranger?
Why, a half century after he died, does Thomas Merton remain so popular? What do you think is at the heart of his appeal?
“…I want to be with those who know secret things
or else alone…” Rainer Maria Rilke
I was around 8 years old when I began to have reoccurring dreams about death. With a rush of adrenaline, shocked and relieved to be alive, I’d wake up only remembering I was dead and floating in a white sky-scape of silence. I was alone, lost, and stagnant in limitless space and eternal time. This dream doesn’t sound grim to me anymore, but at 8 this nothingness had me sprinting to my parent’s bed. These dreams created in me a reverence for mystery and a deep longing to know the unknowable, to hold the ungraspable, and to forever chase what can never be met.
We live in a world that loves to know. We like to intellectualize things, name people, describe experiences, and we covet our ability to share tangible evidence of these ungraspable things. Metaphors, on the other hand, hold meaning for the nameless. Metaphors help us to make sense of the unknowable things. We spend our lives clothing the many mysteries we encounter with metaphors which may not otherwise have any meaning.
Defining is an interesting tool. It can be both harmful and helpful. We often use names to remain in control. We control our environment by regulating it, containing it, qualifying it. Most often names are used to define in order to make the definer feel more comfortable. Having a sense of knowing or grasping more creates comfort, and comfort makes us feel in control. Yet, I can’t help but contend that a controlledexperience always takes us away from a mysticalencounter. Holding creates an impossibility of beholding. And as a monk once told me, “Naming the nameless can leave all unrecognizable.”
Naming an encounter by way of our senses implies an unattainable certitude when really the elusive nature of mystery befalls all of our understanding. Silence is unnameable. To say something is or isn’t, to say something has a name or doesn’t, implies a dualistic nature. And in our desperate nature to cling, we are left time and time again barefaced before the mystery silence is. Only when we rid ourselves of this dualistic nature, we begin to see mystery for what it sincerely is. We begin to touch the bottomless depths of something hosting imponderable facets.
While working on In Pursuit of Silence, the topic of silence as a spiritual or religious practice came up on a regular basis. Silence is not necessarily spiritual or religious, and yet for some it may be entirely spiritual or religious. Silence is not a stranger to being likened to God in some fashion, yet similarly silence’s markings have been precisely that not of God, at least by concept. Silence holds the tension of absence and presence. Silence lives and breathes in the paradox of mysteries. Silence is infinite in its magnitude while remaining invariably naught. Silence is fully here and fully there, as much as it is nowhere and everywhere. But to create silence into being solely dualistic is to strip silence of its infinite possibility.
Maggie Ross has named silence as salvation. Others, like Saint John of the Cross, have marred it with a place of darkness and despair. And yet, these implications don’t diminish the capacity of the thinker to associate such an absence, or presence, with silence as it relates to God or otherwise. And, this is the beauty of silence: it finds its way of understanding into each individual mind.
“One might say I had decided to marry the silence of the forest. The sweet dark warmth of the whole world will have to be my wife…So perhaps I have an obligation to preserve the stillness, the silence, the poverty, the virginal point of pure nothingness which is at the center of all other loves.” Thomas Merton, Day of a Stranger
For me, silence has been a place where I find the divine and I find myself. While my wariness of silence has been potent since my first meeting, I realize this is because of the depths of the unknown to which She has taken me.
Silence is where I meet myself and my fellow human.
Silence is where I see my darkest corners and my hidden faults.
Silence is where I meet God.
Silence is where I can grow and evolve.
Silence is where I bathe in wonder.
Silence is where I listen.
I often consider those reoccurring dreams first leading me to a lifelong love affair with the forever unrevealed. I consider the terrified 8 year old worrying her way through life, reaching for something always withheld. To be honest, not much has changed. My worry is now anxiety. My reaching is now a longing. Only now, I sit drenched in wonder as I tirelessly stretch out my arms towards the unknown. Now, I smile in awe as I untiringly attempt to package the mystery in language.