Holy the Firm (4 page)

Esoteric Christianity, I read, posits a substance. It is a created substance, lower than metals and minerals on a “spiritual scale,” and lower than salts and earths, occurring beneath salts and earths in the waxy deepness of planets, but never on the surface
of planets where men could discern it; and it is in touch with the Absolute, at base. In touch with the Absolute! At base. The name of this substance is: Holy the Firm.

Holy the Firm: and is Holy the Firm in touch with metals and minerals? With salts and earths? Of course, and straight on up, till “up” ends by curving back. Does something that touched something that touched Holy the Firm in touch with the Absolute at base seep into ground water, into grain; are islands rooted in it, and trees? Of course.

Scholarship has long distinguished between two strains of thought which proceed in the West from human knowledge of God. In one, the ascetic's metaphysic, the world is far from God. Emanating from God, and linked to him by Christ, the world is yet infinitely other than God, furled away from him like the end of a long banner falling. This notion makes, to my mind, a vertical line of the world, a great chain of burning. The more accessible and universal view, held by Eckhart and by many peoples in various forms, is scarcely different from pantheism: that the world is immanation, that God is in the thing,
and eternally present here, if nowhere else. By these lights the world is flattened on a horizontal plane, singular, all here, crammed with heaven, and alone. But I know that it is not alone, nor singular, nor all. The notion of immanence needs a handle, and the two ideas themselves need a link, so that life can mean aught to the one, and Christ to the other.

For to immanence, to the heart, Christ is redundant and all things are one. To emanance, to the mind, Christ touches only the top, skims off only the top, as it were, the souls of men, the wheat grains whole, and lets the chaff fall where? To the world flat and patently unredeemed; to the entire rest of the universe, which is irrelevant and nonparticipant; to time and matter unreal, and so unknowable, an illusory, absurd, accidental, and overelaborate stage.

But if Holy the Firm is “underneath salts,” if Holy the Firm is matter at its dullest, Aristotle's
materia prima
, absolute zero, and since Holy the Firm is in touch with the Absolute at base, then the circle is unbroken. And it is. Thought advances, and the world creates itself, by the gradual positing of, and belief in, a series of bright ideas. Time and space are
in touch with the Absolute at base. Eternity sockets twice into time and space curves, bound and bound by idea. Matter and spirit are of a piece but distinguishable; God has a stake guaranteed in all the world. And the universe is real and not a dream, not a manufacture of the senses; subject may know object, knowledge may proceed, and Holy the Firm is in short the philosopher's stone.

 

These are only ideas, by the single handful. Lines, lines, and their infinite points! Hold hands and crack the whip, and yank the Absolute out of there and into the light, God pale and astounded, spraying a spiral of salts and earths, God footloose and flung. And cry down the line to his passing white ear, “Old Sir! Do you hold space from buckling by a finger in its hole? O Old! Where is your other hand?” His right hand is clenching, calm, round the exploding left hand of Holy the Firm.

 

How can people think that artists seek a name? A name, like a face, is something you have when you're not alone. There is no such thing as an artist: there
is only the world, lit or unlit as the light allows. When the candle is burning, who looks at the wick? When the candle is out, who needs it? But the world without light is wasteland and chaos, and a life without sacrifice is abomination.

What can any artist set on fire but his world? What can any people bring to the altar but all it has ever owned in the thin towns or over the desolate plains? What can an artist use but materials, such as they are? What can he light but the short string of his gut, and when that's burnt out, any muck ready to hand?

His face is flame like a seraph's, lighting the kingdom of God for the people to see; his life goes up in the works; his feet are waxen and salt. He is holy and he is firm, spanning all the long gap with the length of his love, in flawed imitation of Christ on the cross stretched both ways unbroken and thorned. So must the work be also, in touch with, in touch with, in touch with; spanning the gap, from here to eternity, home.

Hoopla! All that I see arches, and light arches around it. The air churns out forces and lashes the marveling land. A hundred times through the fields
and along the deep roads I've cried Holy. I see a hundred insects moving across the air, rising and falling. Chipped notes of birdsong descend from the trees, tuneful and broken; the notes pile about me like leaves. Why do these molded clouds make themselves overhead innocently changing, trailing their flat blue shadows up and down everything, and passing, and gone? Ladies and gentlemen! You are given insects, and birdsong, and a replenishing series of clouds. The air is buoyant and wholly transparent, scoured by grasses. The earth stuck through it is noisome, lighted, and salt. Who shall ascend into the hill of the Lord? or who shall stand in his holy place? “Whom shall I send,” heard the first Isaiah, “and who will go for us?” And poor Isaiah, who happened to be standing there—and there was no one else—burst out, “Here am I; send me.”

There is Julie Norwich. Julie Norwich is salted with fire. She is preserved like a salted fillet from all evil, baptized at birth into time and now into eternity, into the bladelike arms of God. For who will love her now, without a face, when women with faces abound, and people are so? People are reasoned, while God is
mad. They love only beauty; who knows what God loves? Happy birthday, little one and wise: you got there early, the easy way. The world knew you before you knew the world. The gods in their boyish, brutal games bore you like a torch, a firebrand, recklessly over the heavens, to the glance of the one God, fathomless and mild, dissolving you into the sheets.

You might as well be a nun. You might as well be God's chaste bride, chased by plunderers to the high caves of solitude, to the hearthless rooms empty of voices, and of warm limbs hooking your heart to the world. Look how he loves you! Are you bandaged now, or loose in a sterilized room? Wait till they hand you a mirror, if you can hold one, and know what it means. That skinlessness, that black shroud of flesh in strips on your skull, is your veil. There are two kinds of nun, out of the cloister or in. You can serve or you can sing, and wreck your heart in prayer, working the world's hard work. Forget whistling: you have no lips for that, or for kissing the face of a man or a child. Learn Latin, an it please my Lord, learn the foolish downward look called Custody of the Eyes.

And learn power, however sweet they call you, learn power, the smash of the holy once more, and signed by its name. Be victim to abruptness and seizures, events intercalated, swellings of heart. You'll climb trees. You won't be able to sleep, or need to, for the joy of it. Mornings, when light spreads over the pastures like wings, and fans a secret color into everything, and beats the trees senseless with beauty, so that you can't tell whether the beauty is
in
the trees—dazzling in cells like yellow sparks or green flashing waters—or
on
them—a transfiguring silver air charged with the wings' invisible motion; mornings, you won't be able to walk for the power of it: earth's too round. And by long and waking day—Sext, None, Vespers—when the grasses, living or dead, drowse while the sun reels, or lash in any wind, when sparrows hush and tides slack at the ebb, or flood up the beaches and cliffsides tangled with weed, and hay waits, and elsewhere people buy shoes—then you kneel, clattering with thoughts, ill, or some days erupting, some days holding the altar rail, gripping the brass-bolt altar rail, so you won't fly. Do you think I don't believe this? You have no idea,
none. And nights? Nights after Compline under the ribs of Orion, nights in rooms at lamps or windows like moths? Nights you see Deneb, one-eyed over the trees; you vanish into the sheets, shrunken, your eyes bright as candles and as sightless, exhausted. Nights Murzim, Arcturus, Aldebaran in the Bull: You cry, My father, my father, the chariots of Israel, and the horsemen thereof! Held, held fast by love in the world like the moth in wax, your life a wick, your head on fire with prayer, held utterly, outside and in, you sleep alone, if you call that alone, you cry God.

Julie Norwich; I know. Surgeons will fix your face. This will all be a dream, an anecdote, something to tell your husband one night: I was burned. Or if you're scarred, you're scarred. People love the good not much less than the beautiful, and the happy as well, or even just the living, for the world of it all, and heart's home. You'll dress your own children, sticking their arms through the sleeves. Mornings you'll whistle, full of the pleasure of days, and afternoons this or that, and nights cry love. So live. I'll be the nun for you. I am now.

A
NNIE
D
ILLARD
is the author of ten books, including the Pulitzer Prize winner
Pilgrim at Tinker Creek
, as well as
An American Childhood, The Living
, and
Mornings Like This
. She is a member of the Academy of Arts and Letters and has received fellowship grants from the John Simon Guggenheim Foundation and the National Endowment for the Arts. Born in 1945 in Pittsburgh, Dillard attended Hollins College in Virginia. After living for five years in the Pacific Northwest, she returned to the East Coast, where she lives with her family.

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