2019 has begun quietly. (For me, at least–I can’t speak for you.)
I’ve been home for a while now and will be home a little while longer. Events worth noting have included lots of time spent at Caldwell (more than I intended, really), lots of time spent with friends from high school and before (more than I expected, really), a brief, exciting ambulance ride to the ER (I’m fine, totally fine), and a trip with my family to Staunton to see Shakespeare (because that’s what we do).
If you don’t know anything about this Staunton place (which probably just means you haven’t known me very long) it’s right in the heart of the Shenandoah Valley in Virginia, which might be the most beautiful place in the whole American South. It’s all close winding creeks and green grass and steep, steep hills woven over with blankets of quiet tree branches, surrounded by wave upon wave of blue mountain ridges. Even its dilapidated buildings with cracked shutters and mossy, caving roofs are soul-wrenchingly picturesque. During the Civil War they called it the breadbasket of the Confederacy because its fields were so fertile, and, perhaps, for me, more than any other place in the South it seems to be marked like Cain, to be aware of both its beauty and its sin, but unable to reconcile them. I think it is what my friend O’Connor called “Christ-haunted.” It is a place that makes me want to sit very still.
To that end, I spent a lot of time over Christmas and the days that followed, as we went up to those mountains and down into that green valley, thinking about restoration. It showed up in my poetry reading for Christmas day and then I thought of it again as we walked through and over the cemetery full of lilting nineteenth century gravestones by the big Episcopal church in Staunton. I wondered about those graves, how they lay so still and quiet and temporary. How the promise of Christmas is not brand-spanking-newness, something never-before-seen, but even more miraculous: God making skin-to-earth contact, causing the lame feet to run at last, the long-silent lips to speak, and the dead to sit up in their grave-clothes and breathe fresh air. He makes the first things new and whole again.
Then on Saturday night we went to see Winter’s Tale, which begins so grim. “A sad tale’s best for winter,” Mamillius says. Leontes bursts out in a fit of unwarranted jealousy so lethal that by the end of the third act his wife and son are dead, and his best friend and daughter are so far banished that they are presumed so. But then in the final scene of the play, which takes place sixteen years later, the statue of Hermione, penitent Leontes’ now long-dead queen, steps down off its pedestal and takes him by the hand, alive again. He turns to the audience, to the heavens, to anyone who will listen, and says with awe, “O, she’s warm!”
So this theme of restoration kept coming up this weekend, but I’m not sure if I have anything to say about it except that it is. It exists. It’s all true. “She’s warm.”
Happy New Year.