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.
ABOUT THE AUTHOR
ANNIE DILLARD 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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By the same author
An American Childhood
Encounters with Chinese Writers
Teaching a Stone to Talk
Living by Fiction
Pilgrim at Tinker Creek
Tickets for a Prayer Wheel
Copyright
HOLY THE FIRM. Copyright © 1997 by Annie Dillard. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.
EPub Edition © JULY 2007 ISBN: 9780061871658
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Annie Dillard, Holy the Firm
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