The Mysterious Little Christmas Tree

Kiama-Gerringong, NSW

For you beautiful heart whoever you might be

Do not forget to show hospitality to strangers, for by so doing some people have shown hospitality to angels without knowing it.” (Heb. 13:2)

“Everything in this world has a hidden meaning.” (Nikos Kazantzakis)

“There are millions of homeless people in the world because humanity does not have a proper conscience.” (Mehmet Murat ildan)

“Sometimes it's easy to walk by because we know we can't change someone's whole life in a single afternoon. But what we fail to realize it that simple kindness can go a long way toward encouraging someone who is stuck in a desolate place.” (Mike Yankoski)

There are moments in our lives that have a deeply moving effect on us. They manifest a change in us. We normally remember these moments for the remainder of our lives. They can be sad experiences brought about by some devastating event or they can be joyful happenings which we might normally recollect as anniversaries through the passing of the years. Then there are  those “moments” which can leave us spellbound and spine-tingling with awe. Think back, if you will, to some of those occasions. Perhaps it was at the Louvre in Paris when you first came ‘face-to-face’ with Leonardo da Vinci’s famous ‘Mona Lisa’. Or maybe it was that time in London’s National Gallery when you saw Rembrandt’s ‘Belshazzar’s Feast’. Something inside of you is viscerally shifted, your response to such artistic human endeavours touches you to the core. And what of such places which have been flamed by the divine: the Temple Mount; the Church of the Holy Sepulchre; the Blue Mosque; the Bodh Gaya. So then it can become too easy [or habitual] to dismiss those occasions which might fill us with a different sort of awe, and to oftentimes pass them over thinking, yes, quite lovely, but way too mundane.

Source: https://www.kiama.nsw.gov.au/Council/Projects/Hindmarsh-Park-upgrade

Today, on my early morning walk down by Kiama’s scenic harbour in the company of one excitable Mishka, the canine member of our family, we came across a profoundly moving sight. In a rarely used bus shelter on the lower end of Hindmarsh Park,[1] what I saw brought me to tears and what is more, touched me no less than those times when I stood in awe before the sublime artistry of our great masters. What did we see? In the shelter were two suitcases and a blue trolley with an umbrella strapped to its side. Through one of the side glass panels my eye caught a shimmering object on the bench. It was a small plastic silver star. It was placed there with a purpose as the surrounding evidence would show. Below the star itself, was a colourful [but broken] toy windmill. Little pieces of twig were arranged strategically around the windmill’s wooden blades. Attached to the twigs were a variety of shells as ornaments. All this industry was laid out on the top half of the bench. Clearly, this was a Christmas tree. I wondered which sensitive heart was behind such an honest creation. What might have been this person’s story? My eyes welled up as other parables of a similar sort came to me. I thought of the symbolism of what I had just seen and of the significance of such an act by someone who had obviously lost a lot somewhere along the way. I reflected on my comfortable life and my home which lacks nothing. And maybe once or twice before I had felt such raw and brutal proximity to that origin myth and of the implications of the exile from Paradise [if you still believe in such things].[2] There is much I would have liked to have said to this ‘angel’. To have embraced them and for my tears to have spoken to their heart when my words would only have meant something if I was to hold them back anchored to my tongue. I was defeated by the untold grace of this unexpected encounter. This work of angelic inspiration poured from the purest gratitude is reminiscent of the “widow’s offering” who gave all she had from her poverty (Mark 12:41-44). And no less magnificent in its intent than the breathtaking creations we come across in the great museums of the world.  I was dwarfed by this humble little Christmas tree. And religion, at least of the rubric kind, had little to do with it. It was the ‘tremendous mystery’ of the hour.

Postscript

The next day, on the afternoon of the 14th, Mishka and I were again out walking down at the harbour, which on our return will take us back past Hindmarsh Park. As we approached the bus shelter which the day before with its mysterious little Christmas tree, had opened up that flood of emotions in my heart, I could see something circular, like a bright large orange ball. Now, I wondered, what could that be? The closer Mishka and I got to the bus shelter, the one which housed this mysterious little Christmas tree, it became clearer that the bright large orange ball was in fact a small furry head. I once again peered through the glass window. It was a teddy bear! I smiled. It was perched on the window’s ledge watching over the Christmas tree with its hands outstretched as if in the orans position, like a ‘platytera’ on a half-dome. At the same time its eyes, which were still intact despite the unmissable signs of age on the body, were also surveying, protecting the bags and blue trolley from the day before. On the way back to the car, Mishka and I paused. We turned to look at that fantastic spot from where only minutes ago we had walked past. I understood the manger, or better still, the creche in the traditional Nativity imagery in yet another light and felt grateful beyond words to this travelling soul. Saint Seraphim of Sarov, Leo Tolstoy, and all the others, and those who came before, the Prophet Isaiah, and after them, Gwendolyn Brooks, were right, of course. Real beauty which is neither artificial, nor affected, is more often hidden, and waiting to be discovered, where you might least expect it. I remember Rembrandt and am struck by that spellbinding awe, but this recall does not comfort my spirit when it is aching. On the other hand, this ‘wandering angel’, already, is comforting my night pains and revealing insights into another, more enduring splendour.

 

[1] https://library.kiama.nsw.gov.au/History/Explore-Kiamas-Past/Local-history-stories/Hindmarsh-Founding-Orphans

[2] I use the term “myth” here in a similar way to Carl Jung’s conventional interpretation: https://www.youtube.com/watch?v=1hcogiUUNnM

So what then is this journal all about?

Photograph by Eleni K. Michael (2020)

Photograph by Eleni K. Michael (2020)

September 22nd 2011

Saturday, Bucharest, Romania

N.B. The two little paragraphs below are lifted from my journal which I have oftentimes been happy to share with you. They were drafted on a pleasant September afternoon in Bucharest in 2011. I hope one day to publish it if I can manage to get it into some controllable order. Here I was struggling with the definition of the journal which is a commixture of various literary types ranging from: autobiography, to memoir, to confession, to a history of surveillance, to travel journal, to dream analysis, and to storytelling. But the real question then, as indeed still is now, what is its authentic purpose and what are my true motivations?

… … … … … … … … …

Truth is the correspondence between language and reality, a simple definition which probably sits well with most. Then what of truth in literature?[1] How are we to understand metaphor, myth, or even fairy tale for instance? Is there a better example of the evident stresses that this ‘correspondence’ will often elicit than the battle over the exegesis of the biblical account of creation in the Book of Genesis? What is the cognitive value of this universal ‘story’ and what kind of ‘truth’ is it meaning to convey? And what of the ‘spiritual truths’ put in the mouth of the Starets Zossima by Dostoevski in his masterpiece The Brothers Karamazov? Or how ‘true’ is Plato’s famous allegory of the cave? An autobiography, a memoir, a life-journal, for example, to what extent are they both literature and science? And how long does a text or document maintain a stable and determinant meaning before the deconstructionists get to it and challenge its structures and propositions? These questions became especially problematic for me from the moment I made reference to method and hence appealed to one of the great canons of science.

One way to arrive at some kind of practical resolution is to think in terms of context.[2] In this specific instance the style and genre framing the journal (whether the narrative as a whole or its smaller constituent parts), would determine the exegetical approach that the reader is being asked to follow in the quest to interpret the text. That would assume, of course, that we have come to some agreement as to what we mean by text in the first place![3] As a case in point, it could mean that if the author makes reference to a “dream” then it is a “dream” and not a “vision”, this might seem to be a subtle distinction for some, but in-between a dream and a vision lies another world. So when Samuel Johnson writes “[t]he value of every story depends on it being true”,[4] it all comes down to how we comprehend ‘story’ and what we expect each time we turn the first page of a book. From the moment I reference this document as a life-journal the reader comes to it with certain well founded expectations. First of all, that it is a ‘true story’ which can be tested and weighed up against its fundamental expositions and that it is not a work of fiction (though there might be elements of fiction scattered throughout, i.e. segments of ‘magical realism’).

[1] https://www.newyorker.com/culture/cultural-comment/truth-lies-and-literature

[2] https://www.etymonline.com/word/context

[3] http://kontur.au.dk/fileadmin/www.kontur.au.dk/OLD_ISSUES/pdf/kontur_07/jan_ifversen.pdf

[4] https://books.google.com.au/books?id=GFtVAAAAcAAJ&pg=PA61&lpg=PA61&dq

Lucio Dalla’s Caruso

Qui dove il mare luccica e dove tira forte il vento Su una vecchia terrazza davanti al golfo di Sorriento…
Here, where the seas shines, and the wind howls, on the old terrace beside the gulf of Sorrento…

On an afternoon in the summer of 1986 the Italian singer-songwriter Lucio Dalla (1943-2012) wrote what was to become one of the most beautiful and heartrending songs of recent times. It has been covered by an impressive number of the world’s finest singers on a diverse range of stages and in different tones. The song is the unforgettable Caruso.[1] The story behind its inspiration was revealed by Dalla himself in an interview he gave to an Italian newspaper. He relates a story told to him by the owners of a hotel in Sorrento where Dalla lodged for some nights.[2] It was the hotel where the great Italian tenor Enrico Caruso himself had stayed shortly before his death from peritonitis in 1921. He was aged 48. At the time he was suffering from pleurisy and empyema and was in awful pain. The celebrated Caruso was giving singing lessons to a young girl with whom he would become infatuated. Lucio Dalla stayed in the same room, the “Caruso suite”. It was this impromptu story, of an impossible love emanating from a dying man who looks into the eyes of a beautiful girl in full bloom, which inspired the singer-songwriter and registered the song into our imagination.[3]

E’ una catena ormai Che scioglie il sangue dint’e vene sai…
It is a chain by now that heats the blood inside the veins, you know…

I first heard Caruso from Pavarotti and Bocelli. It resonated deeply from the start for its mesmerizing melody and elegiac lyrics. Even so, it was only when I was older that it struck me for all of its other implications. This happened when I unearthed the breath-taking Lara Fabian who gives perhaps the most impressionable of all the performances. Mercedes Sossa, the legendary Argentine singer known as “La Negra”, is probably the most soulful. I listen to the song often. It transports me to different destinations. Not only as I grow older and consider the decay and ruin of my own flesh, but particularly when I reflect on the relationship I have with my wife and on the miraculous circumstances which brought us together.

Ti volti e vedi la tua vita come la scia di un’elica…
You turn and see your life through the white wash astern…

The English philosopher Roger Scruton who specializes in aesthetics (the study of beauty and taste) has recently published a marvellously engaging and intelligent piece on the BBC’s A Point of View where he considers what it is that makes for great music.[4] One of his key contentions is that good music is “a language shaped by our deepest feelings” and not “put together on a computer from a repertoire of standard effects”. Dalla’s delicate song in the celebrated tradition of the canzone Napoletana does sit comfortably in the first category.