So how did it go this time around? At the end of the sixty days, I can report that even though not once was I seen singing and dancing in the streets in these last weeks, I did feel some joy--best defined for me as feeling of lightness, freedom, optimism, and agency that knows what to do with itself. The following three "new" experiences attest to this.
The Sukkah at My Mother's Senior Living Community |
Before I describe my first "new" experience, you should know that my birthday on the Jewish calendar
is Tishrei 15, the first day of the post-Yom
Kippur holiday of Sukkot. During the seven days of Sukkot, Jews allegedly spend as much as time as possible in the sukkot
(plural of "sukkah") we build according to Torah-given
specifications. Constructing and residing in these temporary habitations reminds us of the impermanence of human-made things and of life itself--and the permanence and eternity of G-d.
As an apartment dweller for my whole adult life, I've never built a sukkah in my yard. But being born on Sukkot always has always felt like a spiritual opportunity that I didn't know how to turn into a blessing.
Meanwhile, this year, though my sister, cousins, and I talked about getting together during the holidays, we never managed to do so. This lack of shared holiday festivity initially made me very sad: it seemed that the very different ways we live our lives as very secular Jewish people made gathering difficult. But my sadness dissipated when I read about the lulav (made of willow, cypress, and myrtle branches bound together in very specific way) and the etrog (citron) in 60 Days.**
These objects symbolize four different kinds of people, all of whom are essential to the community, and none of whom--even those who study, pray, and do good deeds with real love in their hearts--matter more than others. The custom of Sukkot, both in and out of synagogue, is to shake the lulav and etrog*** together in six world directions--north, east, south, west, and toward the heavens and toward the ground. As Jacobson explains, "These movements manifest the unity of the 'four kinds'--and the Divine unity--in all the parameters of space in the entire universe, which it is our responsibility to elevate" (122).
Suddenly, I saw our family diversity as a microcosm of this world of diverse human types that can't always be knitted together well without real effort. I decided right then that I would host a family gathering on the first night of Hanukkah. To up the chances that everyone would be able to come, I sent "save-the-date" emails two days later.
On that same day--I'm finally getting to the experience that I've actually been preparing you to read about--as I was walking to my car after having visited my mother, I decided to walk into the sukkah that had been erected in the courtyard adjacent to where I had parked. No one else was there, but on a card table were a lulav, an etrog, and two laminated sets of instructions for how to shake them together. So I shook them. And in that moment, I felt joy--real connection to G-d; other people, past and present; and the natural world.
My second "new" experience happened about a week later when I was suddenly awakened very early one morning**** by an unfamiliar voice that said, "There's a good chance that G-d will strike you dead this year." Needless to say, I didn't feel joy.
At first, afraid, disturbed, taken aback, I wanted the facts. Who said it, I wondered. G-d speaking of himself in the third person? Some unknown person of much authority? I myself, or a chorus of my inner demons? Given how much death has been in the foreground of my life in the last couple of years, it made sense that I might be wondering about the when and how of my own.
Quickly I went from fearful to coolly responsible. "Be careful," I told myself. "Be sure that Scott knows where all the financial stuff is and that he has the latest passwords. And do my sisters know where to find my mother's financial and medical stuff? I better remind them."
Untitled Recent Painting by Scott Ketcham |
Finally, with that possibility in mind, I thought of the holiday season's constant messages about the inevitability of death, the blessing of life, and the loving and eternal omnipresence of G-d. So five minutes after I heard this sobering pronouncement--which, thankfully, didn't decree that I would die this year--I was reminding myself to cherish my life and to live it fully and deliberately every day.
Had I not been far into the process of doing the 60 Days book, I may not have gotten to this life-focused point at all, let alone quickly.
I am glad to be able to tell you that my third and final "new" experience was not in the least disturbing, though it too involved hearing words that felt more like they were coming through me than from me.
Last Tuesday, the middle of three warm, fog-blanketed days along the Massachusetts coast, I decided to walk near the salt marsh and the beach not far from my home. A primarily descriptive poem came to me as I got to the edge of the marsh on Quincy Shore Drive opposite Wollaston Beach:
The early morning voice announcing that you might be struck dead this year reminded me of a piece in the string quartet concert Nanette and I attended at the James Library in Norwell on Oct. 29. The piece was "Memento Mori" composed by Nina C. Young in 2013. It was inspired by the inscription on the sundial in the Paris botanical garden. It means "Remember that you will die." Why? So that you might appreciate life and live. Your early morning visitor may have been saying the same thing. And so did you in your poem when you wrote "all is forgiven." Everything is connected, baby!
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DeleteHi, Susan--Thanks so much for reading and commenting. I just found Nina C. Young's piece on youtube and listened to it--thought it was strange but beautiful--and definitively evocative of the her experience in the botanical garden and the thoughts it gave rise to. "Everything is connected, baby!" is right! And we have to appreciate the life we have, which we seldom know to do as much younger people. Thanks again!
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