The art of listening

As I practiced yesterday, I was struck by how much of what I call 'practice' is really just figuring out what to listen for. The inner voices, the way one chord leans into the resolution of another. It's easy to just get drawn in by soprano line - the melody. Our ears have been trained to do so, through years of conditioning.

But what about the counter-melodies? What about the harmony? What about the bass line - that foundation upon which everything else rests and resonates?

There are very few instruments that can play multiple lines of music at once. Mine is one of them. And of course, with that immense gift comes the enormous responsibility of caring for each individual line. It is, indeed a blessing and a curse to be given both melody and harmony. Managing both simultaneously is a tall order for a mere ten fingers. Indeed, it takes years of practice to develop the ability to bring out different lines at different times - to find the balance between them.

We have a term for that attempt at balance: voicing.
My last teacher was determined that I would never, ever play a chord that was not properly voiced. And I still hear her voice in my head as I sit in the practice room each morning.

But voicing is the end result. The goal.

The first step is listening.
Finding each individual line. Studying its contour.
Singing it, internalizing it, letting it become a part of me.
Appreciating how it relates to and interacts with the lines around it.

I have to know each line independent of the others in order to understand how they relate to each other.
And there are no shortcuts for that.
Listening takes time. It takes intentionality. It takes openness.

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I am taking a history class right now - a historical research class, to be precise. And this week, we have begun our exploration of different 'subfields' of history - which are essentially different filters through which we interpret or even begin to form our narrative of past events.

We have been taught to use these subfields as a means of finding other voices. Of telling stories that have been ignored. Of questioning our preconceived ideas about 'facts.' Not in an attempt to deny the existence of the truth, but rather, in an attempt to find the whole truth.

What if the story you have been told is only part of a bigger story?

Or, to put it in musical terms: what if the part of the song you know is only the alto part?
Is the alto part a true, integral part of the whole? Of course it is. But have you listened to the tenor line? What does your alto line sound like in the context of the whole? Do you realize that there's a whole orchestra behind you? Could it be that the song is actually completely different than what you assumed it to be?

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And so it is with people.

The daily interactions I have with students, colleagues, strangers, do not even begin to tell me the whole story. I hear one line, one phrase - and I am quick to jump to conclusions. I make assumptions about who these people are, about what they are thinking, about what their motivations are. But these little snippets of melodies cannot express the whole of the person.

So, I become a student of the score. I sing these individual lines in my head, let them resonate in me. I seek out other lines, and I find them in body language, in the breath, in the syntax of the sentence, in the gleam of the eyes. I listen for the unspoken message, the one that lies between the lines. I listen for the person. I listen for the Divine.

here's to the mess we make

Today I marched.

We came armed with instruments: a banjo, a jingle fish, a frog rasp, some spoons, and our voices. And we sang the whole way.

I was reminded of one who went before us. I had the honor of sharing the stage with him once, albeit not in the traditional sense. He shuffled up to the podium in his tweed coat, and glanced back at the sea of graduates behind him on the stage. There was joy in his eyes, as he paused to take us all in, a new generation of musicians, ready to raise our voices. And in that moment, I felt the mantle pass.

His remarks were simple and brief.
"If there is a human race here in a few hundred years, I think one of the few things to save it from its own foolishness will be the arts."

And so we carried his mantle today. We stepped out as artists and did what we do best. For the better part of an hour, we sang the words that he made famous (he did so together with his banjo that "surrounded hate and forced it to surrender").

Finding myself the caller, I started with his verses. We shall overcome. We'll walk hand-in-hand. We are not afraid. We shall live in peace. But as we continued to sing, new words poured from my lips. We shall live in hope. We shall be the light. We shall speak the truth. We shall live in joy. We shall live in love. I will stand with you. We shall overcome.

Others chanted. Some cheered. Many carried signs. And we sang on.

Gathering at the end of the march, we welcomed the crowd with our music. We circled up, and our numbers began to grow, our sound multiplying as more voices joined our ranks.

Truth be told, I did not agree fully with everyone that I marched with. But honestly, that was the beauty of it. I don't have to agree with you to love you, to stand with you...

...or to sing with you.

See, there's something about music, about singing, in particular. It shatters your defenses, and brings unity in a way that few things can. There is something about raising our voices together in song. There is something other-worldly about it. There is something heavenly about it.


This week, I made my annual appearance at a movie theater and saw La La Land. It had been billed to me as one of those "every-artist-needs-to-see-it" kind of films, though I honestly didn't know much about it. I think I was expecting it to be a feel-good-Hollywood-ending kind of experience. What I got was a journey through the war of art.

I found myself tearing up many times throughout the film, the conversations and experiences of the characters resonating so deeply with my own life experience. But what finally sent the tears flowing was the scene in which one of the characters is trying to get the other to come back for one more audition...probably her one-thousandth. The two argue a bit, and he finally says, "Why won't you do it?"

"Because it hurts too much."

In the scene that follows, she sings a song that traces her journey as an artist.

A bit of madness is key to give us new colors to see 

Who knows where it will lead us?
And that's why they need us

So bring on the rebels 

The ripples from pebbles 

The painters, and poets, and plays 

And here's to the fools who dream 

Crazy, as they may seem 

Here's to the hearts that break 

Here's to the mess we make

It is indeed messy in my studio. The floor is littered with wrong notes and failed phrasings and tears. I spent awhile crying with Mozart this week. I may have yelled at Schubert a time or two. I fought some battles in myself, even just getting myself to that bench to begin with...let alone keeping my butt planted on it for any length of time.

But here's to the mess. Because today in that crowd of people, I knew for myself, This is what I can do. This is what I must do. Because Pete was right: we need those crazy artists and the foolish dreamers. Because it's hard to argue with each other when you're singing together.

it's a beautiful day in the neighborhood

I just moved to a new neighborhood.

I don’t love moving, and this one was my third move in four years.

But it feels right.

I spent two years living in a city where I felt like a misfit – a fish out of water. I felt like I was suffocating much of the time – and I never really ever felt completely safe. Sure, I found and cultivated sweet community while I was there, but I always felt like a part of myself was dormant, lost. And, while I do not love the labor it takes to leave somewhere, I do not know that I have ever been more glad to leave somewhere in my life.

I spent a year hiding out. In a little nook, with nothing but wild, untamed nature as my companion.  I think I needed a year of detox.  I needed to look out my window and see trees...just trees...no concrete.  I needed to rediscover myself and remember how to let my soul breathe again.  I needed to learn how to listen to the silences.

And now I’m here.

Yesterday I went for a walk, and at one point, I looked to my left and saw a community garden, each raised bed marked with a hand-painted sign identifying the caretaker responsible for tending it.  I looked to my right and saw a woman asleep on her roof.  And somehow, in that moment, I knew this was the neighborhood for me.

This evening, I wandered to the park which is a mere half block from my house. Every Thursday in the summer, there is a concert. And, around 5:55, right on time, people starting coming out of the woodwork, picnic dinners and lawn chairs in tow.

It was a Klezmer band tonight.

And there may or may not have been people dancing in the grass.

They also may or may not have been more than twice my age.

There are moments, when I’m sitting in my sun porch (yes, I have a sun porch), nibbling on chocolate and freshly-picked cherries, sipping a glass of wine…when a part of me misses my nook. Misses looking out the window and seeing trees and nothing else.  Misses the stillness, the energy of the quiet.

But, then there are also moments, when I'm sitting in my sun porch (yep, still have a sun porch), sipping my glass of wine, and I look across the street to see another woman appear on her balcony with her own glass of wine.
And in a moment, I know it’s going to be OK.

There are still silences to be listened to.  There is still space for soul-breathing.  There are still trees, abundant.

And there are people - there is community - to share them with.

yes

My phone rang this morning.
And I didn't want to answer it.

I was 1.5 hours into a 7-hour practice day. I have several binders of music to learn. And with 10 practice days left before it all has to be performable, things are just a wee bit stressful.

But, then again, I survived 75 voice finals last week...without the aid of coffee, wine, or really, any amount of practicing...and with the help of 2 bottles of cough syrup, 2 cartons of grapefruit juice and and far too many cough drops.   So, anything is possible, right?

Still, I didn't want to answer the phone.

Somebody probably needs an accompanist, and I don't want it to be me.  I was up late last night, and I've been playing a lot lately, and I'm still trying to get healthy, and I'm attempting to be ready to move out of my apartment next week, and I have to bake a birthday cake for a friend, and I would just like to be home for an evening....and.....a million other things...

So, obviously, I answered the phone.

It was a voice teacher friend of mine. Her student had won a special award at the music festival that took place here this week (Thomas Hampson established the award in honor of his former teacher). And, he had been selected to perform at the honors concert.  Tonight.  And, his accompanist was unavailable.

Usually, I say no to these things.
I don't like doing things last minute.
I have enough music on my plate right now.

But it was a piece I knew and could probably play in my sleep.
And I live five minutes from the theater.
And I do happen to be free this evening.
And, most of all, this kid deserves to sing.  He deserves the chance to tell his story.  He deserves to be celebrated.  He deserves the chance to share his gift.

So, obviously, I said yes.
And, obviously, I'm glad I did.

Because I got to empower someone tonight.  I got to give him the gift of possibility.  And he took it and ran with it.

Sure, if I hadn't said yes, someone else might have played.  So maybe he still would have gotten a chance to sing and tell his story and share his gift and be celebrated.

But I got to be a part of the story-telling.
I got to be a part of the celebration.
I got to enable him to shine.
I got to help him share his gift.
I got to receive some of the blessing.


My phone rang this morning.
And I'm glad it did.

here we are

I can’t remember a time when I didn’t know you.

I mean, of course, I can.

I lived 20 years before I met you.   20 full years.

But somehow in your quest to know my story - the days, hours, years - the seasons - I lived before our hearts began their journey together – you have, in fact, in some mysterious way, become part of my whole story – even the parts you weren’t actually present for.

Sometimes I forget how much life we’ve actually lived together.

Sometimes I forget how much you’ve seen me through.

Sometimes I forget how much of me you’ve seen.

It’s true: you have seen me.  

You have seen past my attempts to hide, 
                right straight through my half-answers and avoidance tactics.  
You have seen me through the veil of your tears - you have seen me sitting in a pool of my own - week after week, month after month.
You have seen the passions and longings of my heart,
     and you have echoed them back to me in my seasons of forgetfulness.

You have seen me at my best,
                                            on the mountain top, doing my victory dance.  

You have seen me in the depths,
                                                                in the darkness, in the muck.

And never have you demanded an apology for what you see.

Never have you asked me to be anything I am not.

Not once have you been scared away by my honesty. In fact, you crave it. 
                   I’m pretty sure you have a full-on addiction to truth.

You see fully, and still you ask to know more.

Oh, how you ask.

Oh, how I love how you ask.

The inquisitive kind of questions, born of an insatiable curiousity.

The thumb-tack-on-your-chair kinds of questions.

 Why settle for "how are you" when you can ask "who are you"?

 Why settle for "what do you do" when you can ask "what brings you life"?

The questions that come out of frustration. Why? How long?

How long? 

How long, indeed.

You have taught me to embrace the season,
                                           even if it feels like it will never end.

You have taught me to be present where I am.

You celebrate when it is time to celebrate.

You grieve when it is time to grieve.

And when you have no idea what it is time for, you just keep digging.

It can’t hurt to till the soil, right?

And so we keep on tilling.

We dig our knees into the dirt once more, and with the sun beating down on our backs, we plunge our hands into the soil, and continue the seemingly endless task of sorting out the rocks, breaking up the clumps, one by one.

Sometimes we work in silence.

Sometimes we chatter away.

Sometimes we laugh so hard that we cry.

Sometimes we cry so hard that we laugh.

Sometimes we wonder if it will ever be more than just dirt.
Sometimes it seems impossible to believe that there will be anything
but acres, upon acres of brown.

But, here's to the brown.   Here's to the mud. 
Here's to the hope of green.
Here's to the seeds that will hopefully be planted at some point, and to the sprouts that will maybe, somehow, by some miracle, find their way to the light of day.
Here's to the laughter and the tears.
Here's to the truth that we hold to.     Here's to the truth that holds us.
Here's to living the questions. 
Here's to being seen and known and understood.
Here's to choosing gratitude.
Here's to being together, in all our brokenness.

Here's to being here.               Wherever here is.

thin places

"...music is about as physical as it gets:

your essential rhythm is your heartbeat; your essential sound, the breath.

We're walking temples of noise, and when you add tender hearts to this mix,

it somehow lets us meet in places we couldn't get to any other way."

- Anne Lamott

I make music. For a living.
Sometimes I forget how great that is.

Because, truth be told, there's a lot that's not so great about it.

There are moments, days, weeks...seasons....when I question what I do. Why don't I just go get an office job that wouldn't demand so much of me...that I wouldn't care so much about...that would actually give me a decent salary, and dare-I-say-it....benefits?

My hours are long...and irregular. It's not uncommon for me to work 12-15 hours a day, 6 days a week. I often wonder what it would be like to work 8-5 and actually leave my work at work and have...a weekend. When I don't have a gig, I have rehearsal for a gig...or I should probably be practicing for said gig.

My work is never done. At this moment in time, I am responsible for roughly 400 pages of music. So really, when I say I make music for a living, what I mean is, I juggle music for a living. I live from one performance to another. I've barely got time to celebrate one recital, before I'm prepping for the next one.

I am constantly being critiqued...by my colleagues, employers...and myself. I struggle to remind myself that while my daily performance is important - and while I should absolutely strive to bring my best to everything I do...my worth is not found in how many right notes I play, or how dazzling my technique is. I struggle to remember that I am more than a musician.

It is not easy to be a musician in today's world. Musicians (and artists of all kinds) are forced to burn the candle at both ends. We juggle full schedules of rehearsals, lessons, performances. And when we're not practicing, rehearsing, performing or teaching - we become advocates...trying to convince our society - and sometimes even ourselves - that what we do matters...that it is necessary.

I make music. For a living.

Sometimes I forget how great that is.

Even as I sit here, I have begun and erased at least 2 dozen sentences, as I attempt to express my wonder, my joy - my sheer delight in the fact that someone actually pays me to do what I love. I honestly don't even know where to start.

I get paid to interact with poetry and melody. 

     To absorb it - let it affect me, change me, become part of me.
I get paid to create. 

     To paint with colors of sound.
I get paid to collaborate. 

     To journey with another - and cultivate something new together
I get paid to tell stories. 

     To give voice to another's, to reveal my own.
I get paid to express. 

     To speak hope, joy, freedom, comfort, truth.

The Celtic mystics use the term "thin place" to refer to a sacred space - one where the veil between the material world and the eternal world is thin. 

Poet Sharlande Sledge describes them this way:

"Thin places," the Celts call this space,

Both seen and unseen,

Where the door between the world 

And the next is cracked open for a moment

And the light is not all on the other side.

God shaped space. Holy.

I think I am beginning to realize that my work is one giant "thin place."

I spend my days on the edge of the divine. Of course, we're always on the edge; the divine is always present - all around us, within us.

But somehow, when there is poetry, when there is music - when they swirl and resonate together - when we add the tenderness of our hearts to the mix - the veil becomes so thin, you forget it's even there.

and the light spills out from the other side. 

I make music.  For a living.

Sometimes I forget how great that is.

the charming gardeners who make our souls blossom

"At the end of the day, people won't remember what you said or did;

they will remember how you made them feel."

- Maya Angelou

I love the rhythm of the seasons.  I love to watch the transformation of the world around me, as the long days become long nights, and the bare branches sprout blossoms once more.  I love that when everything is still and cold and frozen - this is the time we choose to call the "new year."  Of course, in other parts of the world, the new year is ushered in by sunlight and warmth.  But, no matter.  I love that here, in the dead of winter, when all around us is snowy darkness, we turn our face into the icy wind and look forward with expectation into what is to come.

Sometimes I think about how overwhelming life would be if we didn't keep time - if we didn't count the seconds, minutes, hours, days, months, years, decades.  I can hardly fathom what it would mean to have the moments stretch on and on, without any sort of definition.

No, we are created for rhythm.  Of this I am sure.  We need structure - we need definition.  We need to be able to categorize and compartmentalize things.  We need to be able to leave things behind: "2013 was a hard one - I'm glad it's done."  We need to be able to look ahead: "2014 will be better, I can already tell."


In the last few years, it has become my New Year's tradition to pause for a few hours and reflect on the year.  Sometimes I read through my journal (provided it was a good year for journaling).  Sometimes I re-trace the journey month-by-month.  Sometimes, I just sit, mesmerized by the tree lights or the flickering candles, savoring the sweet stillness.   And I am always surprised at how powerful it can be to take the time and space to actively remember.

365 days ago, I was preparing to tackle my final semester at Peabody, having no idea that 12-mos. later, I would have completed my first semester as a music theory professor.

I am amazed at how much can be crammed into a single year....at how much has changed...and at how much is exactly the same.  I think back on what has transpired - the milestone events - large and small - the ones that happened on a stage, the ones that happened in a practice room, and the ones that happened in my living room.  

I stumbled upon this Maya Angelou quote, as I was flipping through my journal this evening. From what I can gather (I am not always the most detailed in my journaling), it was Denyce Graves who quoted it, when I was playing for one of her students' lessons one afternoon. She framed it within the context of singing - within the world of theater....which makes total sense. We don't necessarily remember how an actor moved his hands or even with what inflection he delivered the line - but we will remember being moved. We will remember a line or a phrase cutting straight to the heart.

Yes, there are specific moments I remember from the last year.  There are words, phrases that people have spoken to me in the last 12 months - and I will continue to replay them for years to come.  There are things people have done for me - small things, and ginormous things - that will remained ingrained in my memory.  

But Maya's right.  I remember them because of how they made me feel.

So then I got to thinking...as is prone to happen when wine and chocolate and candlelit lanterns are involved:       How do people make us feel?

Uneasy.

Awkward.

Small.

Fearful.
Weak.

Stupid.

Alone.

Worthless.

Safe.

Loved.

Heard.

Understood.

Seen.

Important.

Peaceful.

Forgiven.

Empowered.

Thankful..

Free.

Needed.

Alive.

We are not responsible for the feelings of others.  We feel what we feel - and we really have no control over that, at least to an extent.  But at the same time, we must also never forget that our words and our actions carry great weight and power.  The people we brush shoulders with every day are precious, extraordinary, fragile.

I always find it fascinating to read the list of "most influential people of the year" (by somebody's standards) and peruse the catalog of people who have passed on in the last year.  Many of them, I've never heard of. Most of them have had little or no direct impact on my life.

Because the people that matter most to me are the people whose faces now find themselves plastered to my frig.  And as I allow my eyes to drift over those precious faces, the feelings come surging back.  I see the eyes of one who sees me. I see the smile and, in my head, hear the laugh of one who makes me come alive.

For the most part, I cannot tell you what it is exactly that they did or said.  But the feelings run deep.  And the feelings remain.

And so, as I close the book on yet another year, I do so with gratitude.  I marvel at the mystery of human interaction.  I am awed by the glimpses of the divine that I see all around me.  I give thanks for the fingerprints - so divinely human - that have left their mark on my heart.  

Photo Credit: Chinwe Edeani  -  www.photosbychinwe.tumblr.com 

the white belt

The Sabbath is setting on this, my final Sabbath before the school year begins. The lanterns around my living room are lit, and I am finishing off a glass of wine as I close this day, this season, of rest.

I was on campus briefly this weekend and felt the nervous energy of freshmen and their parents as they moved their life’s possessions into their tiny dorm rooms. I know that energy well; I was one of them, once. I know the intensity of the schedule – the orientation events, the placement exams, the ensemble auditions, the dorm initiation activities. It will be a whirlwind few days, and then on Wednesday, thirty-five students will stumble into my classroom – excited, nervous, terrified, bright-eyed and bushy-tailed, hoarse from the yell-off and Mock Rock, loving life more than ever before, wondering if this is really for them.

Truth be told, I am not ready for them. Sure, my syllabus is posted, but I was smart enough to write “SUBJECT TO CHANGE” at the top. How you are supposed to plan the activities and readings and assignments for EVERY SINGLE DAY of class before you have even seen the whites of their eyes is still completely beyond me. So it has been submitted to the powers that be – but there are still lessons to plan, lectures to write, exams to create. 

There are certain things I must cover this semester – concepts they must learn, skills they must acquire, knowledge they will be held accountable for. So I have planned and planned. I have sat and stared at the calendar, wondering how it’s possible to fit so much into a mere 14 weeks. How many days can we afford to spend on seventh chords or non-harmonic tones? I have grown dizzy as I have tried to figure out the best order for introducing various concepts. Lord knows I’m still torn on whether or not to explore minor scales before our discussion of the circle of fifths. I have spent hours wondering how much I will be able to fit into one hour of class time. Will we be able to cover all four triad qualities AND discuss the qualities of triads built on the various scale degrees?

With all this planning and preparation, it would be easy for me to begin this year with the mindset that I am here to teach my students something.

But the truth is: I am here to learn. I am here to learn their names and their faces. I am here to uncover their abilities, their strengths, their weaknesses. I am here to listen to their stories, their dreams, their passions.

As I sip my wine this evening, I turn, as I have often done at important moments in my musical development, to what I have come to refer to as my “musical Bible” - a book called “Zen Guitar” by Philip Toshio Sudo. My copy has been well-loved; its pages are browning, the cover is wrinkled, and there are hundreds of underlined phrases, sentences, paragraphs and notes in the margins.

This particular evening, I find myself flipping to the chapter on wearing the white belt, the color worn by a beginner. As he works and learns, his belt gradually dirties and eventually turns to black – the color worn by a master. But he does not stop there; he continues to work, and as he does, the belt fades and eventually returns to white. It is a never-ending cycle. It is not about “arriving” at a destination – but is instead about being faithful to the process.

My choir director in college used to refer to us as “wearers of the white belt” – those who have, as Sudo describes, chosen to “set aside all knowledge and preconceptions and open [their minds] to learning as though for the first time.”  Wearers of the white belt come with empty cups, ready to learn and receive.

We've all known the people who’ve come in with all the answers. We see them coming, a mile away, and we start heading in the opposite direction. We’ve also been those people. We’ve come in with everything figured out, ready to teach the class or flaunt our vast wisdom and experience. And oh, the things we’ve missed. The lessons we haven’t learned. The nuggets of wisdom we let slip through the cracks.

Sudo says it well: “The moment you think you know everything there is to know, you will have lost the way. The beginner’s mind is the mind of wisdom.”

It’s true – I do have things to teach, wisdom to offer, experiences to share. But I also have much to learn, new perspectives to discover, fresh insights to gain.

On Wednesday, 35 students will stumble into my classroom.

On Wednesday, 35 teachers will stumble into my classroom.

So tonight I don my white belt.

Tonight I empty my cup.

I am ready to learn.

Photo Credit: Chinwe Edeani www.photosbychinwe.tumblr.com

open the door

“…I know I am really free

to share bread and intimacy,

to laugh and exchange mercy.”

                            ~Ted Loder

It was my mother who taught me to set a proper table. And for years, I watched her host family holiday gatherings, serve the famous Trotter pizza to medical students and residents, whip up another overnight coffee cake for friends whose jet lag had awoken them at 4:30AM. How many conversations have been shared, with her in the kitchen, and a guest seated on a barstool at the counter? And how many times had I heard her repeat her mantra? Specialness is worth it.

My own cooking ventures began at a young age, with the creation of “turtle bread.” It was, as it sounds, bread – in the shape of a turtle. And over the years, I have had various successes and failures in the kitchen. Who could forget the time I forgot the baking soda in my muffins? (Not to be confused with the time my mother put black pepper in hers.)

The seeds of hospitality that had been planted in my youth took root in my own life when I set up my own home for the first time, my junior year of college. That was the year that 4 of us had the crazy idea to leave the door to our home open – and host community dinners 3 nights a week. I know that more than a few people thought we were nuts – what if no one came? What if too many or the wrong people came? No matter. We set off on our adventure, unsure of where it would lead us.

But on any given day, if you had walked into our house, you might have discovered a few freshmen doing homework in front of the fire place, or an RA and her entire hall making cookies in our kitchen, or a bunch of chemistry majors enjoying dinner around our table, or 45 people eating eggs and bacon in tuxedos and choir dresses.

It was all an experiment, really; we learned by doing. We learned how to make a meal stretch when 5 (or 15) more people showed up (for the record: baked potatoes are a magical and wonderful and...filling food). We learned that anything will taste good if you put avocado on it.  We learned that BBQ-ed bread is an…interesting delicacy. We learned what made people feel safe and loved. We learned what unique skills and gifts we had to offer as individuals…and we learned even more as we watched each other. We learned what community looks like, how to foster it, how to be intentional in relationships. We learned how to confess our failures and shortcomings, and how to receive grace and forgiveness. We learned how to love each other, as opposite and “other” as we are, and how to walk with each other. We learned what we had fervently believed all along: if you open your door, people will come.  People will come because they crave safety and intimacy and community…and yes, home-cooked food.

That first year in the Open Door was a special one – one that I know I am still reaping the benefits of. Those women, some of whom I barely knew at the outset, have become my soul sisters, my tribe. They continue to be the ones that know and love me the best, though we are now separated by mountains and oceans. We have known each other through triumphs and tragedies, and have fought to stay connected through all the changes and new seasons life has brought us.

And we all, at different times, have expressed longing to be back in that house again. I think we would all agree that while we have experienced moments of sweet community since then, nothing has come close to matching what we shared in those few months we spent together. But instead of feeling despair at what we have lost, we each have come, in our own way, to realize that our time at 10420 Whitworth Dr. was a time to fan the flames. We know what intentional community can look like, and we consider it our calling to foster that in whatever circles we find ourselves in. We each took a candle with us when we left, and we’ve lit our own little corners of the world in our own special ways.

My own candle has traveled far and wide. And it has looked different in every home I’ve resided in since the Open Door. I will never forget the few days my mom and I spent looking for an apartment in Baltimore. On our final day of searching, we hit a wall. The deadline to decide on a place was fast approaching: it was mid-afternoon and we needed to be on the light rail by early evening in order to make our flight back to Seattle. In typical Baltimore fashion, it was hot and humid, and I happened to be experiencing one of the worst allergy attacks I’d ever had. With both of us on the verge of tears, my mom had the wherewithal to tell me it was time to make a phone call to Spokane, to one of my Open Door soul sisters.

So there I sat. On the bench outside the St. Paul Laundromat, dripping with sweat, tears and snot. Thankfully she answered, and even though she hadn’t laid eyes on any of the apartments we’d seen over the past few days, she told me what I needed to hear:

“You love hospitality. You need to have a space where you can be free to welcome others.”

And she was right.  I hung up the phone. Signed a lease.  Hopped on the light rail, sweaty, teary and snotty…but at peace.

I didn’t know what that candle would look like in Baltimore. I couldn’t leave my door open all the time. I didn’t have the money or the time to host community dinners every week. I didn’t have a team of sisters to share the load with me.

But the truth remained: if you open it, they will come.

And so they came. One at a time, for breakfast-for-dinner. In large groups, for bean cake, mulled wine and mandatory fun. Armed with side dishes and salads and dining room tables and chairs for the Easter dinner that fed 17, all crammed in and cozy in my tiny living room.

I’ve been reading Shauna Niequist’s new book – which is, in part, about cooking – but mostly about sharing life around the table. As I read this morning the following quote jumped off the page at me:

“What people are craving isn’t perfection. People aren’t longing to be impressed; they’re longing to feel like they’re home. If you create a space full of love and character and creativity and soul, they’ll take off their shoes and curl up with gratitude and rest, no matter how small, no matter how undone, no matter how odd.”

And as I opened the book just now to copy that quote down, I glanced at the name of the chapter it is found in: Open the Door.

So here I am again, in a new space, with a new place to call home. As it is with all of us who shared that time in the Open Door, I packed my candle at the top of one of the boxes. It’s the last thing to go in, and the first one to come out. Why wait until “everything’s settled” to open the door? How easy it is to forget that the presence of people is what makes everything feel settled.

So the candle is lit, once more. I don’t know how many will find their way to its flame, nor what their stories will be. I can only pray that they find safety around my table – a place to be seen and heard and loved. A place to laugh and exchange mercy. A place to share bread and intimacy.

The candle is lit. The table is set. The door is open.

Photo Credit: Chinwe Edeani www.photosbychinwe.tumblr.com