Lughnasa Harvest Moon
At Tu B’av, a minor holiday, now a celebration of love in Israel and dubbed by its restorers as Jewish Valentine’s Day, unmarried women would come together, all dressed in white, dance, and hope to find a partner. Matchmaker, matchmaker, make me a match.
We celebrated Tu B’av on August 15th at Beth Evergreen and Kate won a silent auction for a backstage experience at a local production of Funny Girl. We went last night. It’s tech week for Funny Girl and our friend Alan Rubin is a player.
I had nearly enough theater credits for a minor and acted quite a bit in high school, college and seminary. After that, nada, but Kate and I were regulars at the Guthrie. When I was in high school and middle school, our parents took us several years in a row to Stratford, Ontario, to the Stratford Shakespeare Festival. A passion, really, but one that has slowly faded.
Just before getting up this morning a strange, but somehow obvious thought occurred to me. While on the backstage tour we visited the dresser, an energetic guy who made or altered 490 costumes for the women in this performance. !. We saw the multiple props, a day bed, a drinks trolley, several doors with wheels, a set of steps for musical numbers, a kitchen table, a dressing table. Downstairs we saw the storage areas for costumes and prop making materials. We spoke with the dresser, the stage manager, the director, the actors, several of them, the lighting and sound people. All, to a person, warm and friendly.
We watched the rehearsal through until intermission at 9:30, then these old folks began to tire and went home.
Here’s the thought. Going backstage, seeing all the accoutrements for staging a play, especially going into the basement area, made me think of id, ego and superego. Of the masks and personas we wear. Of our brain as backstage, where we store props, costume changes, makeup, where we put together the elements of the show that is our lives. The show itself, and its superego, the director, is the life others see, the one we present as we strut and fret our hour upon the stage, then are heard no more.
Let me extend (overextend) the metaphor in one more significant way. All these various elements costumes, props, actors, the stage itself alter themselves for each new script. In other words it is the nature of the theater to be plastic, to use familiar elements for telling unfamiliar stories.
As our life goes on, we often get stuck in Groundhog Day times when we simply repeat the same script over and over. We don’t hear the audience, we don’t see the repetitiveness, are not aware that we’ve been mounting the same play again and again.
Here’s the takeaway for me. Examine the script. Become aware of the lines you’re delivering, the plot you’re pushing forward. Is it still the one you want? Is there another play you can put together with the props, the roles you’ve already played, the stage to which you’re committed? Could be. We can put on new productions, use familiar elements for unfamiliar stories. Might even be fun.
As the moon’s change, so does the Jewish calendar. We’re now in the month of Tishrei, its first day, Rosh Hashanah, the new year of the world. All over the world, throughout the diaspora and in Israel, Jews will be celebrating the new year, shana tovah. This is short for l’shana tova tikateyvu, “May you be written [in the Book of Life*] for a good year.”
I thought about two boys of a man I know. I pictured them both, slovenly and overweight, and thought, what went wrong with them? I had added to those two judgments an assumption that they were lazy, had not fulfilled whatever potential their father, a successful and kind man, hoped for. Since I don’t know either of them, it’s obvious this reaction said more about me than about them.
The strange things that come to me before I drop off to sleep. Thinking about Lycaon, the anti-hero protagonist of Superior Wolf. He sacrifices his own son, Nyctimus, at a once every four year festival, the Lykaia, to Zeus Lycaeus (Wolf Zeus). Stray thought then. Sounds like Abraham and Isaac. Oh. Wait. Abraham was a polytheist before his covenant with G-d.
Modern technology is so wonderful. Over the last few days I watched all five of the much maligned Twilight movies. You might ask why, at 71, I would subject myself to all those teen hormones, questionable dialogue, and odd acting. First answer, I’m easily entertained. Second answer, I’m revising Superior Wolf right now. Werewolves from their source. Also, a project I work on from time to time is Rocky Mountain Vampire. So, the Twilight saga is in the same genre as my own work, though aimed more at a young adult, tween to teen audience. Which is, I might add, a very lucrative market. Maybe, it just occurred to me, some of them will be interested in my work as a result of their exposure to the Twilight books and movies.
The supernatural is a dominant theme in my life, from religion to magic to ancient myths and legends to fairy tales and folklore. My world has enchantment around every bend, every mountain stream, every cloud covered mountain peak. No, I don’t know if there are faeries and elves and Shivas and Lokis and witches who eat children. I don’t know if anyone ever set out on a quest for the golden fleece or angels got thrown out of heaven. Don’t need to. We wonder about what happens after death, a common horror experience often and always. If we’re thoughtful, we wonder about what happened before life. Where were we before?
Our senses limit us to a particular spectrum of light, a particular range of sounds, a particular grouping of smells and tastes, yet we know about the infrared, low and high frequency sounds, the more nuanced world of smells available to dogs. We’re locked inside our bodies, yet we know that there are multiverses in every person we meet, just like in us. We know we were thrown into a particular moment, yet know very little of the moments the other billions of us got thrown into. My point is that our understanding of the natural is very, very limited, in spite of all the sophisticated scientific and humanistic and technological tools we can bring to bear. Most of what exists is outside our usual understanding of natural, certainly outside our sensory experience.
Spent most of yesterday on submissions. I revised School Spirit, taking 2.0 down to 2,700 words from 4,800, and submitted the revision to Mysterion. I developed a table in Word to track my submissions. It has these columns: submission, work, publisher, response, rejection, acceptance, contract, published. Later on today I’m going to begin revision of Superior Wolf, which I want to get out as soon as I can get it where I want it.
So, I’m facing my fear, not only that, I’m leaning into it, grabbing it by the scruff of the neck and saying, “Come on, now. Message received. Stop already.” This is partly mussar driven, the practice I wrote about on 
Publishers and editors and agents, even critics and readers, are not lions or hyenas on the veldt. The fear I’ve allowed to rule me for the past three decades however has believed them so. The shame then is a complicated emotion which recognizes the self-deception and self-protection. It knows I’ve chosen the critique of intimates, why hasn’t Charlie ever published, to the critique of possible readers. That’s embarrassing, but it’s where I’ve been for a long, long time.
I know that fear vitiates trust. If we’re afraid of another person’s motives, we’ll never get to know them well. If we’re afraid of public speaking, no one will hear us. If we’re afraid of our own motives, we’ll take few risks. In these cases, if we face the fear, listen to it, talk it down, choose to act differently, then we may find love, may discover that people want to know what we have to say, may open ourselves to the world’s rich opportunities.
Ouch. I got this note back:
Then, I paused. Wait. This is the moment I wanted. Lean into the shame and embarrassment, see what it means. Why do I feel that way? So many reasons. Personal competence. A big risk taken with no results. Kate’s been so supportive of my writing. Most of all though it’s my work, being rejected. And it feels bad.
Not sure here all of a sudden. It was shame that I felt when I read this note. Didn’t realize it, name it until I began writing this. Why though? Why shame? Perhaps it’s from that old, underlying conundrum, am I living up to my potential? Who’s to say? Perhaps it’s wanting to be seen as a creative person, a writer of books, yet secretly suspecting that I’m not worthy of those identifiers. Perhaps it’s as simple as failing and being ashamed of failing?
What I do know, for sure, is that this shame, a hot desire to hide, to cover myself, to flee works against me, is not for me, in any way. And I could identify that paradox in another, in Kate or one of the Woollys, or a friend at Beth Evergreen. I would have compassion for it, yet also have a tough love move against it. It’s not who you are, it’s an attack on yourself from within. Perhaps we could call it Shaitan, the Devil because it is evil to push yourself down or to push another person down. Why? Because living is all we have and shame makes us shrink from life.
At the Mussar Vaad Practice group we all come up with a practice for the coming month, a practice based on that month’s middah or character trait. Each month the congregation has a middah of the month. Emunah, or faith was the middah last month. My practice focused on sharpening doubt, a practice that made me feel more alive, more grounded in faith as a necessary human act.
That same fear is the one I faced after the Durango trip, writing 
I’m embarrassed to write this, ashamed I’ve been so fearful, yet I have been both embarrassed and ashamed for most of the most of the time I’ve been writing. Now is not different. The only way I can make it different is by finding publishers and agents and getting my work to them.
Here’s the key idea, from Mordecai Kaplan: the past gets a vote, but not a veto. That is, when considering tradition, in Kaplan’s case of course Jewish tradition, the tradition itself informs the present, but we are not required to obey it. Instead we can change it, or negate it, or choose to accept, for now, its lesson.
Which brings me to another realization I had this week. Just like environmental action is not about saving the planet, the planet will be fine, it’s about saving humanity’s spot on the planet; the idea of living in the moment is not about living in the moment, it’s about remembering we can do no other thing than live in the moment.
The past is gone, the future is not yet. Always. We can be sure, confident, only of this instance, for the next may not come. To be aware of the moment is to be aware of both the tenuousness of life, and its vitality, which also occurs only in the moment. To know this, really know it in our bones, means we must have faith that the next moment will arrive, because it is not given. Not only is it not given, it will, someday, not arrive for us. That’s where faith comes in, living in spite of that knowledge, living as if the next moment is on its way.
Probably not many folks count down to the Summer Solstice, but I do. It marks my favorite turning point in the year, the point when the dark begins to overtake the light. Yes, it’s the day of maximum daylight, but that’s just the point, maximum. After the summer solstice, nighttime begins a slow, gradual increase until my favorite holiday of the year, the Winter Solstice.
Summer and the light has its charms and its importance, too, of course. A warm summer evening. The growing season. The ability to see with clarity. The sun is a true god without whose beneficence we would all die. Worthy of our devotion. And, btw, our faith. So I get it, you sun worshipers. My inner compass swings in a different, an obverse direction.
Faith. The middah of the month for Beth Evergreen. Emunah. Last night at MVP, the mussar vaad practice group, we talked about emunah. Rabbi Jamie and Marilyn said that in the early days of mussar classes at Beth Evergreen, some time ago, the middah that caused the most consternation was this one.
One of us in the group last night said, “The universe is for me.” I have other friends who believe the universe is a place of abundance, or, as author 
Turns out quite a lot. Another of us last night told a story of night diving. A favorite activity of hers. She said she turns off her diving light and floats in the night dark ocean. While she’s in the dark, she imagines a shark behind her. The shark may kill her in the next moment, but until that moment she is keenly alive. This is, for me, a perfect metaphor for faith. Each day the shark is behind us. A car accident. A heart attack. A lightening bolt. A terminal diagnosis. Yet each day we float in the dark, suspended between this moment in which we live and the next one in which we are dead. And we rejoice in that moment. There is faith.
This is the existentialist abyss of which Nietzsche famously said, “If you stare into the abyss, the abyss stares back at you.” Living on in spite of its direct glare, that’s faith. This sort of faith requires no confidence in the good or ill will of the universe, it requires what Paul Tillich called the courage to be. I would challenge that formulation a bit by altering it to the courage to become, but the point is the same.
So. My practice for this month involves, in Rabbi Jamie’s phrase, sharpening my doubt. I will remember the shark as often as I can. I will recognize the contingent nature of every action I take, of every aspect of my life. And live into those contingencies, act as if the shark will let me be right now. As if the uncertainty of driving, of interacting with others, of our dog’s lives will not manifest right now. That’s faith. Action in the face of contingency. Action in the face of uncertainty. Action in the face of doubt.