The second installment of my UU-Pagan series, The Mystery of the Many: In Silence and Song, goes live today over on the Patheos CUUPS blog! In it, I tackle a topic I've long been pondering: how polytheistic mysticism differs from the ways we usually talk about the divine mystery and the purpose of spiritual community in a mostly-monotheistic Western culture. My lived experience of progressive values leads me to the conclusion that it is not a unity of agreement that we are seeking, but the freedom to disagree in a multitude of astounding and beautiful ways, each seeking our own paths. How do we cultivate spiritual community in the face of this diversity? I think UU offers some surprising alternative approaches....
The Pagan gods are not exactly known for their forgiving natures. Yet as divine powers of regeneration and return, they offer a forgiveness all their own. Not the forgiveness of escape and abdication, nor the forgiveness of a benevolent Almighty on whose behalf we can act with unchallenged dominion. Rather, theirs is the forgiveness of restored responsibility, the response-ability that we possess as natural beings and citizens of the earth. After all, what do we seek when we seek forgiveness, but the chance to start again?
Tidepooling is a practice in patient observation. It's also a reminder that some things happen in their own sweet time. That's the thing about low tide. Sun, moon and earth turn through the steps of their celestial dance, and once in a while you get lucky and the three of them meet just right in a moment of revelation. You have to be ready. I'm often humbled to realize how oblivious I can be to the wonders of the natural world all around me. And what treasures might yet be hiding right in front of me, in plain sight. After all, there are so many different ways to hide.
Between research and writing, there is a lacuna in which almost anything can happen. The hush is nearly unbearable. In my mental landscape, ideas rustle and nudge towards one another through the tall prairie grasses, their haunches twitching with tension, ready to flee. Eros is thick in the air. Ecology rubs up against ritual theory, playing with the hem of her skirt. Bruce Lincoln is making eyes at Lewis Hyde. The deer of my dreams raise their heads to listen hard for the hunter. The salmon of wisdom are working their way home. Any moment, I'm going to start writing. Any moment...
Our relationship with nature gives rise to a paradox, in the same way that love creates a paradox. The paradox of love closely parallels the on-going struggle we have with the question of whether we are a part of nature, or separate from it. When we think of nature as our beloved, we discover that the answer is in fact: both. To be a nature-lover is to recognize this paradox: when we love nature, we see that our love both unites us with and differentiates us from what we love. In this way our love of nature affirms the most basic truth of our experience as self-aware creatures: that we are both a part of and apart from the world around us, that we are both whole individuals ourselves, and united in a whole that transcends our individuality.
Not all of our companions will elbow their way into our lives and demand our attention. Some of them linger beyond the limits of our ordinary experiences, leaving only footprints and snapped twigs as traces of their presence. These are our guides to the depths of mystery and wilderness. They are dark wanderers who cross our paths only in the obscurity of a moonless night, whose form we seem to see only just on the periphery of our vision before it dissolves again into the tangled undergrowth of the unknown. They are the companions whose presence we sense with the thrill of uncertainty, that mixture of excitement and terror that gives rise to awe. Their breath is the sound on the edge of hearing that we catch just when we think we are alone. Lest we forget that nature is not only familiar and intimate, but deeply wild and strange. Lest we forget that some things are hidden, and will remain hidden. The bear is, for me, this kind of companion.
We want so very much to understand our gods, to know them intimately, to see how they work in our lives. It is tempting to dissect, to analyze, to categorize. And sometimes, it is necessary, even beneficial. We are categorizing creatures, we human beings. We pick out patterns as a matter of survival. When it comes to our gods, we reach for them not only with our prayers and offerings, but with our reason and our intellects — we would know them with our whole selves, in all their parts, in part so that we might know our own selves better in all our parts. The challenge is to delve into theology without killing its subject, to try our hand at analysis and critical thinking without pretending that the numinous divine is a dead thing that will hold still beneath our careful knives. Theology is not dissection. It is much more gruesome than that; it is vivisection.
Steampunk isn't going away any time soon. It speaks to a deep ambivalence that many of us hold about the modern, industrialized cultures that we live in — societies in which computer technology seems each year to get more obscure and esoteric, in which skill and creativity are treated as less important than fame and wealth, in which ecological damage and environmental destruction persist despite our vast scientific knowledge about how the ecosystems of the world work and our own role in that destruction, and in which strict gender and class norms are often subtly (or not so subtly) reinforced even in the same breath as we congratulate ourselves on our diversity and tolerance. Steampunk looks back to the historical roots of modern culture in the generations before the first world war, picking at old scars and still open wounds, exploring what went wrong and what we might have done differently. It is absolutely vital that we engage in that process, even in the face of ghosts we would rather leave undisturbed.
We turn through a world of tension and pressure, movement and poise. Cycles within cycles that turn together, their teeth in rows — the still center of being, that emptiness around which every gear circles. This is the clockwork of the universe, a shining mandala of interconnection and interrelationship. The delicacy of craftsmanship expressed through the primal forces of the elements: forged metal, fire, water, steam and space. All these have their place, turn their way, in an intricate dance with one another. The steampunk shaman knows the intricate patterns of the dancing world. Her wisdom penetrates the delicate work of friction and force, knowing exactly when to introduce the slightest pressure, and where, and how hard. No brute or bully pushing her will onto the world, she turns, she gives way, she waits in the center of stillness and open space, waits for the gears to shift into alignment. When her work is done, you might say it was all just coincidence, the wheels of fortune spinning out through inexplicable chance. This is the work of the steampunk shaman: she turns the gears of coincidence. Through creative nonaction, all action is done.