Monday, November 23, 2009

I have this Thirst for Poems

I have this thirst for poems. Mary Oliver. Robert Frost. Anyone, really, who has just the right blend of the concrete embodied reality of the little horse standing by the snowy wood, or the soft animal body of the goose flying overhead, and the mystical tending toward the universal desires.

Attending to this thirst, I remembered that a book by Donald Hall, Life Work, was on my shelf. And, seeking more about form, an unopened Mary Oliver, A Poetry Handbook, on poetry's forms, a text for one who aspires to write poems -- like me. Earlier in the month, I read another wonderful text about writing, Reading like a Writer, by Francine Prose.

I watched a DVD movie, or should I say film, Local Color, a story of a young artist who wanted to learn from an old master. This film brought images and thirst together.

Rachel brought home a volume of poems assembled by Garrison Kiellor, Good Poems for Hard Times. In that volume, I found a form that I could imitate, to tell the story of getting fired. I still don’t know what I am going to do. But, I sat down and wrote the poem, because I knew that I would rather write than die. Getting fired made me feel a way of death, not of suicide, but some soul-killing thing that wanted to eat away at my heart. Writing the poem gave life to me and defended my soul from death.

Hall’s Life Work came into my hands as a bequest, a gift to my late partner, Nancy, in 1993, from our friend Jane, who loved books and poetry. Jane introduced us to Laurie R. King, still my idea of the best of the kind of fiction I want with me on a desert island.

Life Work I picked up some time after Nancy’s death, when I was wondering what would come next, as I wrote in a journal and talked into a micro-cassette recorder, talking to Nancy and missing her. I made some notes in the margins in that earlier reading. But I did not finish. I could tell that things were not going to go well for Donald, and I just could not deal with that at that time in my life.

As he recollected his grandfather's farming life, and his cancer appeared, I could not continue to travel with Donald. Nancy’s cancer was too close yet. So, I put the book on my shelf, with other poetry.

I read thirstily through the Keillor volume, but like a kingfisher watching for the shine of one fish at a time, finding the poets I knew well first. I put the volume down and picked Life Work up again.

I had to press through Life Work. It is a lovely little book, but it is not light reading. (My ordination mentor reminds me that I am very intense, so perhaps anything would be heavy reading for me.) I soldiered on to the end, as Donald began his chemotherapy, as he and Jane Kenyon held each other and wept in their anticipation of his dying.

When I finished Life Work, I picked up the Kiellor volume again and kingfished for Donald’s poems. I found Donald’s poem about Jane Kenyon’s death. What a sad irony and symmetry, that she died before he could die. She left him. His poems about her death, the theme of his book Without, express his “deep grief and fury” or so said one biographer.

I know that grief and that fury.

The partner of a colleague took her life last week. I wrote a poem to try to defend my senses against, again, death. How wonderful, how helpful to me, that I can turn to Donald Hall in his loss of Jane Kenyon, and to Mary Oliver in her loss of Molly Malone Cook (Thirst; Our World). Others have sought through poems to defend against death, to rage on Heaven and drag the clanging metal cups of their earth-prison cell against the bars and make themselves heard, to get. it. out. C. S. Lewis used his craft. Hemingway used his.

How many times in my own experience have I found myself overswept by a memory of a specific grief, and have been told to “let it go”? These phrases are so common because death is. Eventually, for some people, these phrases go on to become helpful; that’s why the very people who could not hear them when they were tossed out in the height of grief go on to say them to the other sufferers in the height of their grief. These phrases sell a lot of shiny and frilly commercial greeting cards. But, please, there must be a time for silence. Can a card contain silence in a kind of large blank space, with something at the very bottom, or centered in the middle, like "I am so sorry" or "I miss her, too." or "I do not want you to be alone. Come."

Who gets to decide when you let go? What is the deadline after which your grief becomes a pathology? I'll tell you one: some arrogant bastard in an office with framed diplomas on the wall. When you've exhausted your curses, against the insensitive types, and the Pollyannas and the Nietzsches (what does not kill you makes your stronger), then, I say, grab your own pen and paper and write it all down. Let it flow.

Where are the listeners to the stories of those who grieve? The listeners. Ones who listen. Listen. Here is a holy act, an act of the apostles of love, the ones who sit with and hear. That's how it is, reading Oliver's Thirst. Here are poems that give a glimpse of what it was like for her to lose her. And, maybe that helps, somehow, hearing how another tells it, this experience of losing and grieving.

As I read through the poem, Last Days, (Hall) I felt again that desolation of loss. And now, I await the sound of the garage door opening and the door swinging in, and the chatter of the new family, the one I love and her little shadow, the child, whom I also love, but so differently. I love this little one like a custodian of a work of fragile art, belonging not to me, but to others for whom she is a priceless treasure, moving through this world here on a very bumpy path. This woman I love and her child are out playing basketball, boisterous and oblivious to the passage of each present moment and their proximity to mortality. And that is just how it should be. We know better than to stare into the sun. Besides, who would want to? We prefer to stare at what the sun makes possible: life. Our life together, here.

What more universal theme than death could there possibly be for poetry? How does anyone survive without it? Prose is just too facile, too prone to preaching. (Like now.) A poem can contain it all, from sorrow to fury. Just writing about it now feels shallow, like trying to find the perfect prize for my beloved in WalMart. As if some plastic imitation will do.

This reflection ends in listening. And, maybe a small pretty glass of something amber-colored, a fine Central American rum.

Donald Hall, the Poet, and his Book, Life Work

Other People and the Noise

How do you write poems in a house with other people, especially a child, and dogs that need to be fed, and a cat whose box needs to be cleaned out, who sits outside the upstairs bedroom and howls at you?

Donald Hall said that Gertrude Stein wrote in her Ford, parked at a busy Paris street corner. By law, drivers had to sound their horns when approaching an intersection. So, imagine the cacophony of that scene. She said the noise took the top of her mind off so she could pay attention at the right level. The next time I feel the top of my head coming off, I will look for my notebook and pen.

I can do it if I close the door, I can tune it all out, and I can write. If there is not music with good flatpicking guitar, because that makes me want to pick up my own guitar; or music with lyrics that compete with my attention and my present level of emotion, because that makes me want to make rhyming tunes; without these kinds of distractions, I am fine. If no one calls my name or asks anything of me, I can deal with it and let the noise go on behind the closed door.

I can’t really say that the background noise is helpful. I prefer silence, and a view out a window into trees, like now, in approaching winter, with empty limbs, and in the spring and summer, with leaves, with birds and squirrels, and grass and flowers. Just not people. Not words. Not music. Only quiet and the natural world. Kind of like AlderMarsh on Whidbey Island, WA, or a campsite at Brown County State Park.

Donald Hall said that he and Jane Kenyon worked in the same house at the same time, each having a study in opposite sides of the house, and for the entire morning, worked without disturbing each other. Then, they made lunch, and after lunch a short nap and sex, or was it sex and then a nap? Then errands. Then supper, followed by a ballgame and dictating letters. Sounds so nice.

I can work out of the playfulness of right-brain mind here in this back room overlooking the back yard, with the door closed. The puppies will want to come in and sleep in the seat of the recliner while I work. I sit on my big blue exercise ball.

I don’t need a typist for proofs. I compose while sitting at my desk on my big blue exercise ball, words moving across the screen of my MacBook. I edit and read out loud – another reason to crave solitude, no one listening to my phrases and sometimes curses.

Thank you, Donald Hall, for your book, Life Work.

String Theory: Or, How you have forever changed our holidays

reflecting upon the suicide of the partner of my colleague


Help me weave a web of care

back onto this weaving

this safe soft landing

some will want to fall, or lean for a moment, or rest some time

the one in the book of life said

love the one whole soul you have been given

the only one you will ever have

the only one whose skin in this present

time enfolding your only you in full


now

the one that leads you through the universe

cosmic imagining becoming something other

in your dreams

this pin-point of light a galaxy

within a galaxy

contains all the light of you

so you do this thing

release your light now or


later

it flows on in matter and energy


some know

more than they will say

what they know

they cannot bear

they cut their strands

binding them to time


to you they say

strings are there

linking time to time

forget syn-chron-ic


time

is because all

happens not at once

you are timeless and I am bound to now

always and only now


yet

you bound your strand to some fixed point

you could not bear the manner

of tendential time

and its gravity

pulling inward all your light

becoming a mountain

the size of a pin-point containing

now and future and what went before

flowing into the same space

falling and sliding and sweeping you in


until

you were only able to climb

the stairs and fall

into the constraint of one visible strand

the one that began at the bitter end

and led our gaze

into the up or the beyond

the space without time we cannot see

and on the other end

there is no end


on this visible end

you left something

sweetness of a kiss

love imperfect and sincere

and all this uncertainty

your little ghosty-faced dog


you have gone under the flow of time

our tears our seine for our memories of you

into the oceanic depth and expanse

or the nothing of everything at once


meanwhile

I -- caught in time --

tap myself at the temple

and grasp at my heart

bend over at the middle of my grief

my knees finding hard cold stone

say, oh, why can’t I remember

must I be reminded like this:

capture this moment and it dies

in your hand.


Help me weave a web of care

back onto this weaving

this safe soft landing

some will want to fall, or lean for a moment, or rest some time.





Wednesday, November 18, 2009

The man who looked like Gandhi in his mIddle years: Homeless, dying a slow septic neurological death

My brother, Pat. (born November 4, 1963)
A sweet man with a monkey on his back. I wrote this poem about him and his recent hospitalization.









The Man With the Dark Sad Eyes

Homeless, Dying a Slow Neurological Death

Anne G. McWilliams


Good Samaritan delivery

to the emergency department

found down in an alley

behind a bar

downtown.


The young blonde nurse

called the chaplain to come

to the neurological

intensive care unit

to please continue the quest

to identify the silent small dark man.


Trim of beard and spare of body

he lay in white sheets

dark sad eyes stared ahead

as if thinking deep thoughts

brow furrowing

in pain?

solution of lactated Ringers dripping into a vein

closed soft lips absolutely silent.

now and then startling his head up from the pillow

pointing the oxygen saturation probe

taped to his forefinger like the extra-terrestrial

phone home?

slowly soundlessly

you might say

deliberately

but probably not.


Compact and brown

like Gandhi in his middle years

hair black sprinkled with silver

peaceful and present like a saint

a peasant

a king

an imam

a holy man

a professor.


Dark sad eyes beneath

wire framed glasses

free of scratches

clothing neat

soiled with human waste

collegiate

blue chinos

rugby shirt

Rockport shoes

no socks.


Bag of belongings

signs of ER detective work:

his clothing and

Googled pages

images of India

Pakistan

Middle East

Africa

Elephants

Camels

Taj Mahal

Jameh Masjid

Pyramids of Giza

Arabic script

God is Great

Allahu akbar!


Word spread to speakers of languages

the United Nations

of a hospital’s underclass

housekeeping

sanitation

cooks

the dark-skinned people from the basement trades

came up the service elevators to the fourth floor

in the middle of the night

to speak phrases

Urdu

Farsi

Hindi

Arabic

Swahili

Tamil

tribes of

Kenya

Ethiopia

Madagascar

Liberia

no answer

no evidence of comprehending

dark sad eyes looking

wise

lost

dying.


Signs of Islam

cut of hair and

facial hair

female staff please

do not touch

or pray

falsely

avoid offense

to person

place,

and faith.


All of our projections

could not find him

create him

identify him.


Infection crept through

every cell

sinus abscess

sick brain

sepsis

seizure

and, without a word or sound

after a long time

death.


In death, illusions fell away

like leaves of paper shredded

in the nursing station

in morning shift change

as with the battle-hardened on the front lines

the tongues did wag and strip away

what dignity created in mystery

we remember -- disgusting --

he stank of urine and feces

and decomposition

and gangrene of the sinuses.


My brother is often homeless

alcohol dependent

drug-addled

twice head-injured

left for dead

he looks like a world traveler by foot

dark skin, black hair sprinkled with silver

a beard not so neatly trimmed

and dark sad eyes.


You might place him

without ID

in Italy

Brazil

Nicaragua

He could be Roma

Latino

Uzbekian

I don't know

Call the UN.


Will a young blonde nurse

in the neurological

intensive care unit

page a patient service assistant

to give him a bath

with the green soap

call a patient old chaplain

to hold his hand

to speak softly to him

fetch an extra blanket

a drip of water

with some sugar in it?


Will he

reek with lingering stench

finally naked

beneath clean white sheets

brunt of chatter

at change of shift

man of mystery.


And after

a long time

laid to rest

without benefit of clergy

the coroner's burden.



Tuesday, November 17, 2009

Amperage, or, Why We Had To Let You Go































Amperage, or, Why We Had To Let You Go


It’s not only that

you’re not working out or

there are questions about your performance in group and your issues with authority,

or that your life could really use some clarity.

But, see, it's like this: you tipped your hand

too soon and let us know

you are not happy

here with us

you have no joy

and too many others

played their hands

close to the vest

and

just

left.


So, really, it's a business decision, you see: our attrition rate

is too high and our VP is threatening some involuntary attrition on us.


And, so, we had to

beat you

to the draw

before you could finish this cycle of trauma and death and birth

before you could make more friends here

we had to

fire you

before

you

could

quit.


It’s not that

you needed this job so much

but, we found out

you did -- here, have a tissue--

and, therefore, you understand, we had to take it away from you

before

you could find something else.


We know you want to be home

with your poetry

with your puppies

and your power tools

and your welding machine.

It's just that

you seem to be quite a poet

and we are

afraid of you

because we know how much hay a poet can make with places like this

and people like us.


We want you to be home, too.

We need no poets here, plowing in these parched fields of the corporate mind

We have our soul-speak

and you have your heart-break

and so

you

will please

sign here -- no?

Leave your badge and keys

and we will walk you out

into your poetry and amps

and whatever comes next.

As for us

We'll keep stomping about, welding our cold steel processes

onto this veil of love covering

the thin places between heaven and earth.



Image is from this web site, accessed 11/17/09

Friday, July 31, 2009

More pool animosity

Imagine the lawsuits that resulted in the inclusion of these warnings in the pool pump manual, especially the "evisceration/disembowelment" item:

WARNING – Suction Entrapment Hazard.
Suction in suction outlets and/or suction outlet covers, which are damaged, broken, cracked, missing, or
unsecured cause severe injury and/or death due to the following entrapment hazards:
Hair Entrapment- Hair can become entangled in suction outlet cover.
Limb Entrapment- A limb inserted into an opening of a suction outlet sump or suction outlet cover that
is damaged, broken, cracked, missing, or not securely attached can result in a mechanical bind or
swelling of the limb.
Body Suction Entrapment- A pressure applied to a large portion of the body or limbs can result in an entrapment.
Evisceration/ Disembowelment- A negative pressure applied directly to the intestines through an unprotected suction outlet
sump or suction outlet cover which is damaged, broken, cracked, missing, or unsecured can result in
evisceration/disembowelment.
Mechanical Entrapment- There is potential for jewelry, swimsuits, hair decorations, fingers, toes, or knuckles to be caught
in an opening of a suction outlet cover resulting in mechanical entrapment.

Thursday, July 30, 2009

Water, water everywhere?

The Ryme of the Ancient Mariner, Samuel Taylor Coleridge is still hooked into my brain from the college poetry class, "Water, water everywhere and not a drop to drink."

As abundant rain falls here on our lawn and our garden, we curse the rain's inconvenience for mowing after work, but we welcome the rain upon our kitchen garden because we have declared we will not use municipal water in the garden.

I think this must be one of those predictable irrationalities -- we withhold city water from the garden, yet we frequently add water to our swimming pool.

By the way, I hate that pool. I spent $5,000 that I could really use now, on a new liner for that @#$% pool before I even moved in here! I hate the pool. I am waiting for the rain to slow now so I can go out and replace $100 worth of parts in the pump -- which had to be replaced last summer for about $500. It's almost like owning a boat, except with a boat, you do have a small chance of going out and catching something to eat. I refuse to eat any wildlife that turns up in the skimmer by accident.

Thursday, March 19, 2009

First, You Make a Roux: Theology of Pastoral Care


Part I: Prolegomenon to My Theology of Pastoral Care: First, You Make a Roux

First, an Item of Cultural Competency

What the *&^% is a Roux? And, how do you pronounce it? Roux = roo, rue, rhymes with blue, true, shoe, canoe.

Metaphors rely upon shared worlds. When I wrote this essay, I assumed enough people were acquainted with popular figures such as Emeril (Bam!) and Justin Wilson (the Cookin’ Cajun), and that Cajun cuisine had charmed its way into every enclave of America, even the insular New England states (wink to D. C. at FCUCC). Hasn’t everyone had a bowl of gumbo, a plate of jambalaya, a serving of Ć©touffĆ©?

Here in the Midwest, I have introduced my palate to many strange things: goetta, chicken and noodles served over mashed potatoes, chili that is not really chili served over spaghetti, chili that is chili served over elbow macaroni. Before landing here, I have eaten New England boiled dinners, I love steamers, and I love lobster so much I won’t eat it anywhere else but on a New England coastal picnic table. I pine for true Mexican poblanos in crĆØme sauce. Rice and peas in Bolivia were somehow tastier than blackeyed peas and rice here at home. I will be very disappointed if I never get to go to Argentina for a steak. The curious palate is a good friend.

When I submitted this article, without this introduction, to my foodie friends, they received it with glee, finding it relevant and even provocative in a Pavlovian sense. One friend went right out that day and bought the ingredients to make a lovely gumbo for a dinner party that weekend.

Now, here in Indiana, I find that my reference to the roux has fallen flat like an unleavened biscuit left too long in the oven. There is no ring of truth, no salivary response, no urge to shop, cook, and serve. How, then, can I possibly expect to connect this phenomenon of my experience with my new world? How can I get an A on the assignment, to write my theology of pastoral care?

Not only must I explain, but I must get the attention of my examiners, who seem not only ignorant of this delicious preparation, but are also not the least bit curious to know or understand. I must take responsibility for this, to be sure my communication has not failed in our mutual service.

Isn’t this the way diversity works? Something strange and unknown comes along. To have any hope of crossing into the awareness of the Other enough to raise curiosity – the first step in empathy, I believe -- I must make these incurious and possibly suspicious readers hungry. I need to try to win them over, to bring together our two horizons of understanding, to create a hermeneutical moment that will satisfy both/all of us to the best possible degree. Only with this effort can I hope to convey the richness, vitality, and piquance of my cherished pastoral theological concepts.
The Roux Defined

A roux is the base for many recipes in a Southern kitchen, especially an Acadian or coastal kitchen. Try a quick Google search on the phrase, First, you make a roux. I got 3,180 hits. The phrase has become a code, a watch-word for those cognoscenti of the kitchen. The clichƩ also serves in any situation to indicate that there is one essential starting point for any process. Want to change the oil in your scooter? First you make a roux, meaning, Do you have the tools? Do you know the grade of oil to use? What kind of vessel are you going to use to catch the old oil? Want to perform surgery? First, you make a roux. Do you know what a scalpel is? Have you taken gross anatomy? Can you also suture? Nothing starts until you have the essential, crucial, most necessary ingredients.

Strictly speaking, the roux is the thickening agent added to other ingredients to form a stock, a sauce, a stew. This thickening agent is far more desirable than the lightweight corn starch and water, which should only be used in an emergency or in Chinese cuisine. In this strict sense, a roux begins with some form of flour (I use wheat) and oil or fat or grease (I usually use canola). Stricter traditionalists would use a tasty animal fat such as butter, lard, or the grease drained from a cooked cut of meat, preferably pork. The flour and the oil are stirred together into a thick paste.

The color of the roux is also a matter of folkloric argument. One dish calls for a light roux, one for a dark roux, one for a medium roux. You can measure the length of cooking time for a roux by the number of beers that are consumed while stirring the roux. What I’m talking about here is, to what degree can you cook the roux, browning the flour and oil, before burning it, to produce the solid line of bass and baritone that will hold up the range of symphonic flavors you will add to your creation?

With more practice, more refined nuances can be achieved in color: peanut butter, chocolate, coffee, brick, black. Flavors become more nut-like with more browning. Never stir more flour into a roux at the last minute. Under-cooked flour is pasty; it must be given enough cooking time to blend. Vegetable oil will get the darkest roux because the oil has the highest tolerance for heat. Butter and other animal fats will burn quickly. Olive oil will burn more quickly than canola.

Once the roux has attained the color you desire, add vegetables such as onion, celery, garlic, carrots – stout and flavorful vegetables that provide much of the seasoning. The French and Acadians call the mix of celery, onion, and carrots the marapois. Adding these ingredients to the roux and allowing them to cook to a transparent consistency will draw their flavors into the roux.

The stage of adding ingredients to the flour and oil is still the roux. Only when a liquid is added, such as stock, water, beer, wine, and the flour and oil disperse into the liquid, and vice versa, does the roux cease to be strictly the roux. Then it becomes the next stage: the base, the sauce, the stock, etc. But, the roux is always still present. The flavor and color of the flour and oil permeate the recipe and make all the difference in the overall success of the meal. Different vegetables, spices, and meats flavor and define different distinct recipes, but the essential starting point, the roux, is the foundation. Now, on to pastoral theology.

Part II: My Theology of Pastoral Care: First, You Make a Roux

The possibilities for theology of pastoral care are quite thick and rich and might prove to be overwhelming to prepare. Within the span of a few pages, I find only three categories are manageable, but these three can give shape to a satisfying enough recipe. I wish to present my theology of pastoral care by using three broad categories, incarnation, community, and healing. They form a thick and rich base for pastoral care, just like the elements of oil, flour, and the heat that binds together a roux fit for any good stew.

Recently, my niece requested a copy of my recipe for The McWilliams Family Roux, as if we have such a thing, a named recipe, codified within our family kitchens. Her request is precious. Her father (my brother, Robert, rest his soul), was a fine cook, and she saw him prepare many wonderful meals from scratch. Such a thing as a McWilliams Family Roux brings tears to my eyes, and brings to mind a recipe tested over time, applied the same way in all circumstances with such consistency that its endurance is unassailable, and its identity would be immediate for anyone who tasted it. Ah, yes, this gumbo started with The McWilliams Family Roux, no doubt!

There actually has never been such a recipe as The McWilliams Family Roux, until I wrote it for my niece and posted it as a note on my Facebook page for her and all friends to see, use, comment on, take issue with, improve, disprove, or whatever might come to mind. In fact, at the end of my writing, I invited all such interactions with my recipe. One friend reminded me that the document I posted for my niece was of such length and illustrated with such stories as to account logically for the failure of her use of my much shorter version sent to her on an index card. Now that she has all of the little nuances of time, temperature, color, and stories of applicability to varieties of soups and stews and gravies, she will replace her card with this longer and much more colorful example.

As I present my theology of pastoral care, I have a similar feeling to approaching the task as I did in presenting The McWilliams Family Roux to my niece. I have made long years of study of the theology of pastoral care. I have written about it, taught it, and performed it for so long, yet taking up the pen to set out a reasonable account seems as if it must be happening for the first time, ever.

Rather than turning to trusted texts of Seward Hiltner, Nancy Ramsay, and Emmanuel Lartey, I am going to tell this story of my theology of pastoral care as I did for my niece. I am going to start by telling what I do, making recommendations along the way and illustrating with enlightening encounters in which I have found the method to have proven to be, as for Goldilocks tasting the porridge of the Three Bears, “Just right.”

Incarnation

My theology of pastoral care begins with the concept of Incarnation. I am most familiar with the Christian version of incarnation – the embodiment, flesh-and-blood realism, actual presence – in the world of God’s person for God’s people, Jesus of Nazareth. Many faith traditions have exemplary figures of self-giving divine love sent to care for those who are suffering. I take my own call to action from the story in Luke’s Gospel, 4:18-21. Jesus announces to the people, "The Spirit of God is upon me; God has anointed me to tell the good news to the poor, to announce release to the prisoners and recovery of sight to the blind, to set oppressed people free …”

I take this passage personally, as my own call to be God’s embodiment in the world, to be present with those who are oppressed, poor, imprisoned, wounded. Acting upon these words is, for me, the work of pastoral care, bringing the people of God into places of suffering in the world.

In the hospital setting these past four months, I have seen this text presented to me time and time again. I shared with my CPE group the stories of two different cases, two women caught up in desperate circumstances of poverty, oppression, disease, and mental handicaps. In each situation, these women were preyed upon by others who were also broken and suffering. Social service agencies could have served as a form of incarnation, addressing the poverty, addictions, and mental handicaps suffered by these individuals. Who will help if these democratically erected services fail? Somehow, the incarnation is present in the chaplain’s witness and the nurses’ ministrations of care. I felt the limitations of my usefulness in each story, yet I felt that I was called to be God’s agent to advocate for the well-being of each. Only God knows how their stories will continue. My call is to be faithful in these moments, to do and be God’s person, to embody God’s presence.

Community

The second essential ingredient is the setting of community. Pastoral Care as a discipline of study is relatively a recent addition to theological education. The timing could not have been better orchestrated. At the beginning of the 20th Century, the sciences of psychology, psychiatry, sociology, and anthropology took root in the American and allied European universities and centers of health and healing, and along with them, the field of pastoral care flourished. For many decades, pastoral care was maintained within the boundaries of human sciences, as an extension of the theories and practices of these sciences, especially as a study of the individual and his or her maladjustments to the modern world. However, many recent scholars and authors have pointed out that the exchange between theology and the human sciences was not reciprocal.

Psychology, psychiatry, sociology, and the other human sciences did not embrace theological explanations of the roots of human suffering in the mainstream. Such concepts as sin, bondage, oppression, spiritual dis-ease, and soul-sickness were regarded as relics of a former age of superstitious religiosity. The mainstream of pastoral care did not disagree, and for a very long time sought to distance itself from the backwaters of theological understandings of the human condition.

Lately, however, pastoral theologians have begun to write and teach that the language, theories, and practices of the human sciences cannot fully explain the features of and answers to human suffering. Human community and its core values, whether expressed through churches and other gatherings of faith, family systems, neighborhoods, or cultures, are better places (than the institutions of human sciences) to reorient suffering people, to help them find the bonds of trust and safety, the stories of meaning and belonging, and the resources of restoration that they need. Meaning, belonging, restoration, and trust are but a few essentials of human flourishing within community. Finding these in the actual exchanges of understanding of both theological and human science resources is the responsibility of pastoral caregivers. We are trained to recognize the differences of explanations and benefits of both worlds of meaning, to act in the interstices of these worlds and help mediate between them for the benefit of individuals and communities.

In the hospital context, the range of community of care-giving is visible in weekly or daily care planning meetings on units of care such as Family Medicine, Hospice, and the Neonatal Intensive Care Unit. Chaplains are accepted members of the team in these units, along with nurses, physicians, specialists, housekeeping staff, social workers, psychiatrists, and many others, as decisions are made for discharging patients after their stay in the hospital. Patients’ own pastors are invited to be part of the ongoing care of their parishioners. Surely, the opposite can be true, that faith communities can sometimes limit possibilities for flourishing, but when possible, involving an opening for meaningful engagement in church, synagogue, nursing home, and other supportive systems can improve the outlook for someone’s suffering. Even the act of privately praying with an individual has a communal aspect, opening up the communication beyond the single voice or thought to include others.

Healing

Finally, the element of healing brings together the paradoxical notions of hope amid suffering, abundance amid poverty, sight amid blindess, binding up of wounds, and freedom of captives. Healing is found in many expressions besides recovery of a previous state of apparent wholeness. Wholeness may depend upon a new sense of meaning of the term, “healing.” A wounded person may not recover to the condition that existed prior to the wounding. Healing for that one might not be a visible condition of restoration of a limb, an eye, or a body part. Healing might refer to some aspect of the person that is not readily understood to be related to the “presenting concern.”

I met with a young man, father of four children, son of a broken marriage, with himself having been married once before, and kept at a distance from two of his children. He was waiting to have part of his hand removed due to an incurable infection. He was helpless to change the outcome of this disease. He also was in need of help from his mother.

His current family became homeless while he suffered helplessly in the hospital, uncertain of their future. His lover and two children of his current relationship needed the young man’s mother to open her heart and her home to take them in. The young man knew that he could not afford to keep his family in hotels while he recovered, and other than his mother, the only people the children and their mother could turn to was a stepfather with a history of child sexual abuse.

Turning to his mother was his only choice. Not even a homeless shelter would take them in because they were not married. He was truly poor, oppressed, wounded, and captive. Because of a long history of poor impulse control due to a mental illness, he had been estranged from his mother and her husband. This young man had to beg his way back into his mother’s grace to secure a safe home for his family. Going back to this home would represent a kind of healing for this young man. As he left the floor for surgery, he was hopeful of his mother’s mercy.

As I conclude this over-long essay, I find that these three essential ingredients of incarnation, community, and healing provide an excellent base to start any substantial program of care. This recipe holds up well, invites the addition of varieties of texture, flavor, and setting. As many of my favorite recipes begin, so begins my theology of pastoral care: First, you make a roux.

Image borrowed from http://www.cajunfrenchblog.com/2009/01/louisiana-leroux/ who got it from http://www.flickr.com/photos/deadhorse/401048298/ until I can shoot my own.