In 2006 at age 40 Christian Wiman conducted a retrospective examination of his life in his essay, Gazing Into the Abyss, American Scholar (Summer 2007).[1]
This post examines that essay and other writings by Wiman, now a 48-year-old writer and Lecturer in Religion and Literature at Yale University’s Institute of Sacred Music.[2]
Gazing Into the Abyss
He grew up in a “very religious household” of his Southern Baptist parents in West Texas who held “the poisonous notion that you had to renounce love of the earth in order to receive the love of God.”
In his late teens (while a student at Washington & Lee University) Wiman rebelled against his religious upbringing and stopped attending any church. This rebellion lasted for more than 20 years or until he was in his late 30’s.
After graduating from college, he began a career as a poet. Indeed, poetry became “the central purpose of his life” for almost 20 years, or until he was 36 years old. Looking back on that period, Wiman can see “how thoroughly the forms and language of Christianity have shaped my imagination“ and “how deep and persistent my existential anxiety” was. Although he rejects the notion that poetry does or should replace religion, Wiman admits that “poetry is how religious feeling has survived in me.” Indeed, the one constant he now sees in his own poetry is God or “His absence.” (In a subsequent interview he said, “my refusal to admit [God’s] presence—underlies all of my earlier work.”)
Then three “shattering” events occurred in his life: one, of “necessity;” the second, of “glory;” and the third, of “tragedy.”
In 2002, at age 36 he encountered the event of necessity or despair. He stopped writing poetry. This was a conscious decision because he told himself at the time that he had “exhausted one way of writing.” Now he believes the “deeper truth” is that he was exhausted. The connection he had felt between word and world “went dead.”
Nearly simultaneously, however, his “career in poetry began to flourish” as he “moved into a good teaching job,” which he left in 2003[3] to become the Editor of the Poetry journal (which he held for the next 10 years); and found a publisher for his previous work. However, “there wasn’t a scrap of excitement in any of this for me. It felt like I was watching a movie of my life rather than living it, an old silent movie, no color, no sound, no one in the audience but me.”
In about 2003, he encountered the event of “glory,” meeting a woman and falling in love with her. He recalls “color slowly aching into things, the world coming brilliantly, abradingly [erodingly?] alive.” He continues, “I was completely consumed” and “for the first time in my life, [I felt] like I was being fully possessed by being itself.” He now had “a joy that was at once so overflowing that it enlarged existence, and yet so rooted in actual things that, again for the first time, that’s what I began to feel, rootedness.”
This glorious state of love prompted a longing for divinity. Wiman and his lover started to pray –“jokingly” and “awkwardly” at first and then “with intensifying seriousness and deliberation”—by naming each thing they were thankful for and praising “the thing we could not name.” On Sundays they half-jokingly entertained the idea of going to church, and on “the morning after we got engaged, in fact, we paused for a long time outside a church on Michigan Avenue” (4th Presbyterian Church on North Michigan Avenue in Chicago?), but did not enter due to his resistance.
In any event, in 2004 when he was 38 years old, the two of them were married.
In 2005, on his 39th birthday, the third event—the one of “tragedy”—occurred. He was diagnosed with an “incurable cancer in my blood.” Christian and his wife “sat on the couch and cried, . . . mourning the death of the life we had imagined with each other.”
Over the next year, they found themselves going to church and discovering “where and who we were meant to be.” He also remembers the walks they took after church and the “moments of silent, and what felt like sacred, attentiveness . . . to: an iron sky and the lake [Lake Michigan] so calm it seemed thickened; the El blasting past with its sparks and brief, lost faces; the broad leaves and white blooms of a catalpa on our street, Grace Street, and under the tree a seethe [constant agitation] of something that was just barely still a bird, quick with life beyond its own.” This was “a love of the earth and existence so overflowing that it implied, or included, or even demanded, God. Love did not deliver me from the earth, but into it.” (These experiences also constituted a thorough rejection of his childhood religious belief that one had “to renounce love of the earth in order to receive the love of God.”)
By “some miracle I do not find this experience is crushed or even lessened by the knowledge that, in all likelihood, I will be leaving the earth sooner than I had thought. Quite the contrary, I find life thriving in me, . . . for what extreme grief has given me is the very thing it seemed at first to obliterate: a sense of life beyond the moment, a sense of hope.” This is a hope for “a ghost of wholeness that our inborn sense of brokenness creates and sustains, some ultimate love that our truest temporal ones goad us toward. This I do believe in, and by this I live, in what the apostle Paul called “hope toward God.” [4]
“To find life authentic only in the apprehension of death, is to pitch your tent at the edge of an abyss,” and according to Friedrich Nietzsche, “when you gaze long into the abyss, the abyss also gazes into you.”
“I was not wrong all those years to believe that suffering is at the very center of our existence, and that there can be no untranquilized life that does not fully confront this fact. The mistake lay in thinking grief the means of confrontation, rather than love.” Our “intuitions” of grace, eternity and a love that does not end “come only through the earth, and the earth we know only in passing, and only by passing.” Faith, therefore, “is not a state of mind but an action in the world, a movement toward the world.”
Here Wiman draws upon a favorite metaphor of Simone Weil: two prisoners are in adjacent solitary confinement cells and communicate using taps and scratches on the wall between them. Weil says, and Wiman concurs, this is like the wall that separates us from God. Wiman concludes his essay, “the wall on which I make my taps and scratches is . . . this whole prodigal and all too perishable world in which I find myself, very much alive, and not at all alone.” Now he constantly is “trying to get as close to this wall as possible . . . [and] listening with all I am.”
Subsequent Writing
In the “Preface” to his latest book– My Bright Abyss: Meditation of a Modern Believer (2013) [5]—Wiman referred to readers’ reaction to the “Abyss” essay.[6] He said this reaction made him realize there was “an enormous contingent of thoughtful people . . . who are frustrated with the language and forms of contemporary American religion . . . [but] feel the burn of being that drives us out of ourselves, that insistent, persistent gravity of the ghost called God.”
This realization prompted him to write essays or meditations “to figure out my own mind. I knew that I believed, but I was not at all clear on what I believed. So I set out to answer that question, though I have come to realize that the real question—the real difficulty– is how, not what. How do you answer that burn of being? What might it mean for your life—and for your death—to acknowledge that insistent, persistent ghost?”
Kathleen Norris, another contemporary author of religious/spirituality books, says that My Bright Abyss “reveals what it can mean to experience St. Benedict’s admonition to keep death daily before your eyes.” She adds, “With both honesty and humility, Wiman looks deep into his doubts, his suspicion of religious claims and his inadequacy at prayer. He seeks ‘a poetics of belief, a language capacious enough to include a mystery that, ultimately, defeats it, and sufficiently intimate and inclusive to serve not only as individual expression but as communal need.’”
My Bright Abyss is now on my iPad to be read.
Conclusion
Wiman’s essay reminds us all of the importance of periodically examining your own life. For him this task is assisted by the discipline of writing. I share this belief, and some of my blog posts attempt to do this although without the felicitous vocabulary and style of Wiman.
Like Wiman, I grew up in a religious home although not as fundamentalist as his. Like him, I abandoned religious belief and practice during my college years, and my time in the spiritual desert, like his, lasted for about 20 years. During this period, my “central purpose” was lawyering, which in some ways was similar to his focus on poetry. My reclamation of a religious and spiritual life, however, was not precipitated by “shattering” events like Wiman, but rather by an inner emptiness and a sense that the secular world did not have all the answers to life’s problems.
I share Wiman’s belief that the language and forms of much of contemporary American religion leave much to be desired, but I have found a church–Minneapolis’ Westminster Presbyterian Church–that, in my opinion, speaks to the world as it is and has become my spiritual home as I have shared in posts to this blog.
Moreover, Westminster recently was host to a national conference of the “NEXT Church” movement that seeks “to foster relationships among God’s people:sparking imaginations;connecting congregations; offering a distinctively Presbyterian witness to Jesus Christ.” To that end,“Trusting in God’s sovereignty and grace, NEXT Church will engage the church that is becoming by cultivating vital connections, celebrating emerging leadership and innovation, and working with congregations and leaders to form and reform faith communities.”
==========================================
[1] I first learned about Wiman and the “Abyss” essay at the June 8, 2014, “Virtues and Values” adult education class at Minneapolis’ Westminster Presbyterian Church.
[2] My review of Wiman’s essay also draws upon the following: Wikipedia, Christian Wiman; Yale Univ. Institute of Sacred Music, Christian Wiman; Bill Moyers, Poet Christian Wiman on Faith , Love, and Cancer (Feb. 23, 2012); Jeter, Exclusive: Christian Wiman Discusses Faith as He Leaves World’s Top Poetry Magazine, Christianity Today (Jan.-Feb. 2013); Yezzi, Cries and Whispers, W.S.J. (April 19, 2013), ; Krista Tippett, Christian Wiman—A Call to Doubt and Faith, and remembering God (May 23, 2013) (includes audio of Wiman reading some of his poems); Kathleen Norris, Faith Healing, N.Y. Times (May 24, 2013); PBS, Christian Wiman Interview (Oct. 25, 2013), ; Stimpson, Review of Christian Wiman’s ‘My Bright Abyss: Meditation of a Modern Believer, Huff. Post (Mar. 24, 2014); Domestico, Being Prepared for Joy: An Interview with Christian Wiman, Commonweal (April16, 2014).
[3] Wiman has been a Visiting Professor of English at Northwestern University, which I suspect is the teaching position he references in the essay; the Jones Lecturer at Stanford University; and Visiting Scholar at Lynchburg College, all before assuming his current position at Yale’s Institute of Sacred Music.
[4] Presumably this a reference to 1 Timothy 4:10: “For to this end we toil and struggle, because we have our hope set on the living God, who is the Savior of all people, especially of those who believe.”
[5] His other recent books are Hard Night (2005); Ambition and Survival: Becoming a Poet (2007); and “Every Riven Thing” (2010). This Fall “Once in the West,” a poetry collection, will be published.
[6] The “Abyss” essay was retitled as “Love Bade Me Welcome” and published in his book, Ambition and Survival: Becoming a Poet.
