to a poet that I love

Delighted with myself and with the birds, I set them down and give them leave to be. It is by words and the defeat of words, Down sudden vistas of the vain attempt, That for a flying moment one may seeBy what cross-purposes the world is dreamt. – Richard Wilbur, from the poem “An Event” (from his book Things of This World)

Dear Richard Wilbur,You passed away this fall, just a few weeks before I read this poem for the first time. I never met you, a great regret of mine. I don’t know that I would want to tell you something about the reading of this poem, what it meant to me, how it changed me, because I think the poem knows—and you its creator knows—that such conversation would fall immeasurably short. Words, and their defeat. The flying moment, the “drunken fingerprint across the sky!”So I want to thank you for that very thing, the defeat of words.When I first determined that I would be a writer, after I had read East of Eden, before I had read Peace Like a River, I believed words could be caught, slippery silver fish in a rushing stream. You wade in with your jeans pulled up over your knees, barefoot, sliding on the worn down places in the rocks, catching bits of grass between your toes. You press down, commanding gravity to hold you, and you slice the water with your hands and come back with a rainbow of scales thrashing in your fist.I never got beyond the catching in my imagination. I have no idea if I thought you release them back, or if I thought you took them home triumphant.The words never obeyed me. I pressed my feet into the river bed and I fished for them and they darted past me. I sat in front of the computer sure that words would emerge if I wedged my mind into creative crevices and when they didn’t I was furious with myself. I am a writer! I shouted. I am a poet! But words do not have ears, no matter how many ways I try to make them into living creatures. Words do not obey, no matter my metaphors. No, words are like and unlike the black birds of your poem –

“they tower up, shatter, and madden spaceWith their divergences, are each aloneSwallowed from sight, and leave me in this place”

Mr. Wilbur, how did I not understand?Your poem is a gesture, a promise that the life words echo is infinitely too rich for the “nets and cages of my thought.” Your poem gave me permission to believe that part of the work of being in the world is to abide alongside beautiful things, things that move and change, like the fish in the stream or the trickle of rain on my left shoulder when I stand in the right spot on the porch.We need this permission, to abide alongside the beautiful, to permit it to change without needing a pen to pin it down. We need permission to stand among the things that change in the world, and in ourselves, and know that the living of those things will defeat the words we try to put to them. Only then, I think, can the words take their place as what they are –Gestures, echoes, signposts along the way of what we have loved.Mr. Wilbur, thank you for defeating my words, which gave them back to me.Love,hilary

when it has been 20 weeks

Dear Jackson,You have a name! You love to remind us with every ultrasound visit that you are a boy, and the name belongs to you in the best way - it's been yours for so long. I love using it when we're on the go, you and I, grading papers or dancing in the kitchen or sitting on the porch, just being. I love talking to you with your name, Jackson, rolling off my tongue.This week we learned a little bit more about you, Jackson. We learned different things from different places - a phone call and a follow-up detailed ultrasound and a genetic counseling appointment. It's been a lot, but I think you probably know and feel my hand over the place where you're moving, that sense of change in the air, new plans, new preparations.You've got a facial cleft. From what we have learned so far, it extends up from your lip and involves your right eye and that side of your nose, and it goes back into your palate too. It happens sometimes; our bodies do unexpected things.You have some unique things ahead, Jackson. We are so grateful that we know now, when you're still wiggling around showing off your arms and legs, letting us hear your strong heartbeat. We are grateful because we can start to make sure we are ready to take care of you when we finally meet you this fall. And every single person who comes into the world needs taking care of. Me, your dad, the people who will meet you and take care of you in the hospital in September, the people at church, your grandparents. You will need some particular things - you'll need help eating, maybe with breathing at the beginning, and the doctors will do some really amazing things to help you with the cleft so that you can grow, grow, grow - so that you can become your full Jackson self. But everyone needs. Everyone has scars that help tell the stories of their lives - I am praying that you become proud of yours, even as I am proud of where they come from, proud of your mighty self here at 20 weeks, proud of you.Listen to me, my beloved first son: you have been befriended by the Almighty God. God is walking into every room, every waiting area, every surgery, every MRI or ultrasound or counseling appointment or wellness check, ahead of the three of us in the wild journey of becoming the family that we could not be without you. God is walking out ahead of us, and whenever we look around at the waves or the walls or the unknown-ness of it, when we cry out or you cry out, I want you to hear me: Jesus immediately calls back to us, "Take heart, it is I! Do not be afraid." Do not be afraid of needing help in the beginning. Do not be afraid of what could happen. Do not be afraid, he whispers to me as I look at your ultrasounds on the fridge -  do not be afraid of the many statistics that cannot add up to the story of your one impossibly precious life.So, Jackson, you whose name means God has been gracious, and whose middle name, David, means beloved, friend. At this the end of our twentieth week together, I put my hand over you and feel you push back at me, defiant already, sure of your own becoming, and we are making our hearts ready for you. We are making our hearts ready for the bigger wonder of who you are - the wonder of taking care of you, of learning your favorite things, of your discovery of the world.We can't wait for you to be here with us, Jackson. We can't wait to hold you and kiss all these places that bear the marks of being human, of being alive. I can't wait to meet you. Every piece of you.All my love,mom

when I find dirt on my wedding shoes

I had a plan for my wedding shoes, even before Preston proposed to me. I'd seen them in a magazine the previous Christmas and in so many wedding Pinterest pictures. They were the perfect color pink - ballet pink, the kind that's gentle but strong and not too flashy but not too pale - made of what look like satin ribbons, flat but elegant. I've wanted to be graceful like a ballerina for a long time (far longer than I actually studied ballet, I should admit), and these were the shoes I imagined wearing.They fit perfectly, and I kept them in their box without ever touching them or wearing them. I would show them off in hushed whispers, the tissue paper crinkling, slip them on for no more than ten minutes and always inside. I couldn't imagine ever wearing them anywhere - they were the thing I thought would make me beautiful.--And today I was cleaning our closet on a whim listening to the rain outside and I tried on my wedding shoes again, just to see. I don't know if any of us are very far from thinking beautiful things are magic, and so I stood amid the dust and the old scarves and the sweaters and I slipped them on.They fit perfectly.They're covered in dirt.I began a lament, half-formed the words on my tongue and half whispered them to the mirror, looking up and down and wondering where all this dirt had come from, if I should put them somewhere safer than in the midst of all my other ordinary shoes, as if they should be kept safe from my ordinary life, from my growing self.--But I couldn't stop looking, noticing, and then I realized: the dirt makes them beautiful.The dirt is the witness to the growing of a young marriage, the beginning, the glorious running through the world and the slowing down, the catching each other, the catching ourselves, the being constantly caught up in God. They're bearing the marks of marriage: the almost five months, the honeymoon where we got tattoos and the wandering through the grounds of my high school where we got married, the scuffs of grass from down by the river where we walked in the haze of a Texas summer. I can squint and see the mystery green pen marks I tried to erase with a Tide pen now permanently etched at their edges. They're wearing history now, a bit of rainwater, worn from being stamped in frustration or impatience. And they wear the history of love, how different and the same it is, how easy it is to forget that love is always moving in wild uncontrollable circles, bringing more people in, bringing you closer to the one you love, sealing the ark and the ache of marriage with every click of the lock and every first peek of sun too early in the morning.--We tell ourselves to make memories because time goes too fast, to take pictures, to Skype every detail back home lest we lose sight of who we are or were or could become.But perhaps our lives are already bearing witness to it. Perhaps it is we who are too worried to notice that the rest of our ordinary is holding and bearing to us the story of us, of our marriage and jobs and moves and fights and triumphs. Perhaps our shoes, even those we were so afraid to touch, are beautiful when we let them wear and retell our stories.Perhaps the dirt on my wedding shoes is a better storyteller of this hallowed beginning than I can hope to be.And perhaps, I should stand still in the perfect pink shoes now flecked grey and brown and that funny hint of green in my closet on a Saturday and listen.The story they tell is so beautiful.Love,hilary

all I know how to do is read

"To write good poetry," he said, that cold afternoon, the kind where the fall burns to winter, our bodies huddled in bulky sweaters, feet crammed into rain boots a bit too small for us, pens and pencils out and at the ready over the white spaces, "you must read good poetry."This was not the first time he said these words, not even the first time he had reminded us that most of the work of poetry is reading it.We were ready to slice sentences like bread into fragments tripping over the page, to pair words the rhymed with precise, clean movements. We wanted the ease of the clicking consonants and the sticky slow rhythm of iambic pentameter. We were ready to be poets - but perhaps most of us thought poetry was the easiest art, since it had the most silence?He told us to read.It was Mary Oliver and Pablo Neruda and Ellen Bass. It was Katha Pollitt and Tom Hennen and Donald Hall and Richard Wilbur and Linda Pastan and a hundred others who write into the vast world without our knowing, most of the time. Every day, a poem. Every day, a person who saw the world and who spoke it back, its absence, its presence, its earthy goodness, its salt.He told us to read, and for the first time I became hungry for words, for the way they each sound and how they flow into one sound which is many which is one meaning which is many, again. I wanted to read as I had never read before, savor the pages of the thinnest books, not the hefty pages of great American novels and trying physics textbooks. No, give me the lightest touch of pen to paper, the silence of Emily Dickinson's dashes and the desperate yawning chasm of Edward Hirsch's "Self-Portrait as Eurydice". There is something deep in the words, something I would start to grasp just as I finally let the book slip from my fingers, and with it, the memorized neatness and the words and all that was left was the impression that I had met something, been asked a question, been gifted a bit of living fire.He told us to read, and I have been reading.And not just the books in the old poetry bookshop down the side street in the heat of summer when I am falling in love with Preston, not just the poetry I find and write and make, no, I have begun to read the world.I have begun to see the way the sun rises slow in the April and too fast in fall, how there is a dance to rain against a windshield, a hypnotic, unending chaos that draws you in. I have begun to read the steps between home and the pond, the wind like Braille against my fingertips, hands moving like scissors as I run. I have begun to believe that to read the world like this is, indeed, to love the world, as it is, as it must be, as it yearns to be.It is this way with the man who shovels snow too early in the morning to talk back to the silent trees. It is this way with the woman I see making her way nervously, heels-clicking, down the sidewalk towards the post office on Saturday, the way it is with the bird chatter or the dog and his patient tail thumping the song of our mornings.All I know how to do is read, for poetry does not teach you to write, only to see everything new through the ache between your eyes and your pen, between the word you must delete despite your love of it, its syllables and sounds, because the poem itself does not need the word. I know how to read and, if I am patient even with myself, the world who is patient with me still will read me, open me up like the well-worn copy of Farmer Boy that I watched my father open, night after night, years ago.This is the most brazen command of and to the poet - read. Love,hilary

fragments of glory

I tell him that it is like this: when you write, when you create, you carve out of the ordinary a sculpture, a story of the beauty of God, a story of the beauty of your own being that moves and shifts and desire and builds. We are meaning-seekers.You carve out with pen to paper, and fragments fall around you, dust swirls through the air. You don't always notice, how the pieces fall to the floor near your feet, because you are seeking and carving the big story, because you want to know the wildest version of it - the biggest vision, the brightest horizon.But I want to know the fragments.The fragments are glorious - the stories of the one afternoon of insignificance, where you ran along the same path you always run along, but perhaps, for a moment, you thought about how nature teaches you to sing of God. The stories of the coffee where you were ten minutes late and she forgave you, with the fullness that astounded you as you slid apologetically into the chair, as you listened to her, and as you realized that perhaps forgiveness is simple like bread, like manna, daily, quiet, and good.The fragments are glorious - the days driving along the highway alone, the seemingly unimportant and anonymous stories of how you sat in the library writing a paper for yet another class you don't totally understand the meaning of, the yet-again of school meetings and parent-teacher conferences and board rooms and emails.I tell him, that's what is beautiful about blogging, isn't it? That in the spaces we create online, we don't have to always seek a sculpture of the most beautiful, biggest story? That sometimes, we can pour out the fragments of our lives, watch them spill over the edges of the table, and see -they are fullness of glory. I used to want to quit blogging every other day, stepping half-in and half-out, convinced that without a big story how could I possibly be considered a writer. I spent so much time at the foot of my bed with this thought, that I didn't have a sculpture, a grand weaving together of things, a purpose in my words or in my tiny online home.But then it is years later, and somehow I have still promised that I would do this thing that I hardly know how to do, that I would still write, and I am sitting on Skype with him and feeling the ache of those miles, and I wonder, out loud, about the fragments of story that so often fall to our feet. I tell him that this is his gift - that he weaves back the fragment bits and reminds us of the glory that lies in them. That this is what he teaches me to do.And perhaps that is the beauty of these online spaces, that they are wide and broad and wild enough to show the light of our everyday, to reveal that our fragments are glorious.Light shines through fractured windows, doesn't it?Maybe these are all fractured windows with the fragments of our glorious, every day living.Maybe that's what makes them so beautiful.Love,hilary

the ache is still beautiful, a letter to preston

Do y’all remember when Preston and I were writing all those letters last year, Tuesdays and Thursdays, writing out this ramble through faith and life and coffee late at night and Gossip Girl and all the rest? And how, those letters, they were the beginning of something wondrous? We are beginning again, new and the same, our selves familiar and not. You can read his last letter to me here.Dear Preston,I will never, ever, ever, EVER do long-distance.Was that what I said? Did I say that to you once, in a conversation, in passing, probably tilting my head the way I do when I'm not sure what I'm saying is true, but I want to convince you that I'm being really thoughtful? I imagine you were painting in your garage at the time, and I could hear the paint hit the canvas with some kind of fierceness that I didn't understand. You paint forcefully, and sometimes I think maybe that's the way of making beauty; a little forceful, the way that brightness asks for strength to bear it. Sometimes, when we're on Skype and you can't see me, I close my eyes, and listen to you painting, and the silence says more than my words will.But me and that long distance. My vehemence when I said those words seems to grow in my memory, a defiance to it I'm not sure was there, but makes a story somehow wilder, so I tell it that way. I was stamping my feet against the old hardwood of my bedroom floor, or something like that, insisting that the way of love must be just something daily, something clear and easy and full of Friday nights barefoot on a beach or along a boardwalk somewhere and that attempting to build across miles and continents and time changes was the worst idea, ever.Never mind the stories I have been told my whole life. Never mind the long walk through the woods behind campus that sunlit afternoon when my dear friend told me that our choices weren't ever about distance, but about steadfastness in the face of it. That distance could be agonizingly hard but that the space created between those two distinct places, and those two distinct people, would be nearer and closer, a mystery closed to those who watch it. And of course that afternoon, when my mother opened the pages of her own writing to me, the binding frayed and worn by love and how she, like me, said she'd never do long distance.But I knew the ache already, I said. I knew the work. I knew the uncertainty. I would never give it a try.I knew so little, P. I knew so little of the ache.Because this? This ache is beautiful.This is the ache of remembering how we sit side by side at that kitchen table and make worlds with our words, offering each other living water for the journey. This is the ache of how I can hear how you laugh with me, almost falling off your chair, how I can feel your hand brush the small of my back as we go up for Eucharist, how I remember the way you look at me sometimes, this look of wonder that just takes my breath away.This is the ache of how our hearts whisper loud across time zones but gentle when we're in the same room. This is the ache of wanting to tell you when I burst in the door out of breath from running with God that I realized, just then, the radical grace that is when God and I are quiet, together, how I can feel Him running with me but how sometimes, when I complain to Him (like I did the other day) that He feels far away His words are sharp and quick about the reason He runs with me (love, and sanctification, and my feeble heart). I'm longing to tell you, not in messages or typed words, but in the look on my face and the unspoken question I know you'll ask me, and how I will answer just by nodding and smiling. And we will have said a thousand things without saying them.I knew nothing about the wild love of long distance. I knew nothing about how the bridges it builds withstand the longest days and heaviest hearts, how the spaces of Skype and these two blogs and how you write my name on an envelope, they are spaces that are gifts, too. And I am the first to say, to you, to whoever might read this, that the distance aches and hurts and the dip and sway of it sometimes knocks me over.But I'd not be me if I didn't admit to you, that more truly, I knew so little of this, how beautiful it is. How wondrous they seem now, the people I thought foolish for trying something I called impossible. How beautiful, how brave. How I now want to call each of them up and say, "I need you to know I see your courage and your strength, how you wove the threads that kept you, cocooned in love." How I want to tell them that the ache is agonizing and how I miss you,but how their ache, and ours, is still beautiful.Love, always,hilary

dear hilary: the love equation

Dear Hilary,I have another question for you. This year, boys have been a huge distraction.When I decided I like a boy, it begins to consume my thoughts and actions. I change the direction I walk to class just to "accidentally" run into them, I scheme ways to end up in situations with them, I make sure to get to math class early just so I can find a seat beside them. I do irrational things all the time. Maybe it's infatuation or lust, but then why does it feel so real then? It just seems impossible to shake this frame of mind. I want to stop obsessing, but at the same time I like obsessing. Is any of this natural? Is it unhealthy? Or maybe it goes deeper, and I am just desperate to be loved and treasured. Even so, my heart is aching from these boys- this is something that seems so silly but has such a legitimate weight on my heart.Love,A little obsessedDear A little obsessed,You know what I can't stand, really, truly, cross my heart shoot me ten times before you make me ... ? Settlers of Catan type games. I'm terrible at them. I lack all the strategy. And that makes me mad. And then I do something stupid, I don't want to admit it, or I do, and I basically just end up feeling pissy. Not a fun time. I like cards, I like charades, I like 20 questions that I turn into 20,000 questions, I like Mafia and a thousand other ones. But make me settle villages and stuff, and I'm sunk.So last year this boy that I really liked brought me to a friend's house on the water, and a funny group of us - maybe five or six people - sit down to play ... yep, you guessed it, one of those bridge-building farm settling monasteries and something about blocking other people's castles games. I wasn't jazzed about it, but I played the whole game.And not because that's the polite thing to do, though my mother did raise me to be polite. I did it to impress the boy. I did it to keep his attention. I did it with some well-timed doe-eyed looks in his direction, a wink or two. I can only imagine if I could see myself I would laugh - here I am, making faces at the game in my head, and then whenever he makes eye contact, holding on for dear life to those brown eyes and hoping he'd look just a bit longer.In the love equation in my head, playing this game + batting my eyelashes + walking by his office by the mailroom in my work outfit + some well placed comments about German philosophy + drinking a second cider at the bar on a Thursday night x my hope squared = LOVE.I think most of us do this, just as you describe your own love equation to me - if you sit here in math class + walk past them and if you use the Pythagorean theorem to calculate just where they might get coffee after school that day... maybe that's how you get them to see you. Maybe that will = LOVE.I want to separate out how real your feelings are from whether your changing seats in math class or walking in a different direction has a tangible effect on a relationship. Your feelings are real; you are attracted and interested, and honestly I'm going to hazard a guess that some of it is infatuation, some of it is exploration, some of it is longing, some of it is that delightful butterfly feeling when you recognize how wonderful and lovely someone is, and there is a whole lot more feeling that can be easily categorized. That will all be real no matter what you do or don't do on a given day of the week or a given Saturday night game night.And yes, honey, I think some of it is maybe a little bit much. I liked the feeling of liking someone so much I wound up playing games I didn't like and changing how I walked and what I wore and what I talked about (though I love German philosophy). When the excitement of adventuring into romantic feelings becomes the trump card in your (even small) decisions, I think it's good to take a step back. Changing your behavior won't make anyone like you more or notice you more - it won't satisfy those longings to be treasured and appreciated and loved, it won't do much of anything. Remember Sugar - real love moves freely in both directions. Love moves freely. It moves when not constrained by constantly monitoring behavior, input and output, looking for an equation that will finally work. It moves when your longing to be more of who you are meant to be, your longing to lean into the true and beautiful and good of your life, equations abandoned, is where all your energy is going.Resist the temptation to take my words and make them another voice in your head that calculates the way towards those boys or that kind of love, dear one. You can't force contentment and the growing wings as a way to get those boys to notice you. You can't ask your heart to long for the good/true/beautiful so that the boy in math class sees you - that's no different from calculating which seat.Instead open up your hands and heart and start asking the question - what are those lupine seeds I'm going to scatter today (thanks, Miss Rumphius)? How can I do one more thing to make this world a little more beautiful? Who are the people right here, right next to me? How do I make their world a little more beautiful?  We don't have to play Settlers of Catan. We don't have to change seats. Real love is on the move already. You and me, together, we can just open towards it.Love,hilary

dear hilary: on bringing sexy back

Dear Hilary,Right before Christmas I look at myself in the mirror and scold myself furiously for all the chocolate I've eaten. For the hours I didn't work out. For the way my stomach puffs out, and I lack good posture, and my eyes are an in-between color like my hair is and I never do anything to it and basically I'm just doomed to look like this. I want to change that. I hear people say it's possible, to love yourself, to think your own body is sexy. To think that your butt looks good in those jeans. To believe that, despite even the worst of worst hair days, out of me radiates a sexy, desirable glow.But no one tells you how to actually believe it. So I want to know.Love,Mirror, Mirror on the WallDear Brave Sexy Girl on Fire,I write this to you sitting on my unmade bed that is covered in approximately 5 shoes, a coat, a cell phone, a wool blanket, Christmas cards spilling out of their case, leftover work papers, ribbon and cough drops. I am wearing 4 inch high heels and orange running shorts and my sweaty white T-shirt, having just jumped around my room in said high heels to Usher's, "Scream" and P!nk's "Blow Me One Last Kiss" and the Glee mashup of "Rumor Has It" and "Somebody Like You". I jumped around my room. I shimmied. I swung my hips in what vaguely resembles a circle. I cha-chaed. I salsaed. I shook whatever could be shook. I put my hair down. I put my hands in the air. If there was sexy in the world, I brought it back.I changed your name when I wrote back to you, Brave Sexy Girl on Fire, because we don't get to see our heart's desire in the mirror when we call to it. We don't get to see the "fairest of them all". The problem with asking a mirror is that it will only show you what you already think. It will show you a snapshot of those nagging thoughts. It isn't a new voice; it's just an echo.But. What if you whispered, "I am a brave sexy girl on fire"?Just, what if you did that?What do you think would happen?I dare you to put on high heels and Usher. I dare you to jump around. I dare you to shout to your bedroom walls that you are a brave sexy girl on fire. I dare you to do it wearing a sweaty t-shirt, orange running shorts and four inch heels.It's cheesy, love, but it's true. We have to speak the truth out loud more often than we realize. We have to speak it out ahead of ourselves, so that when we wake up each morning and go to bed each night, it is already waiting for us. The truth about sexy isn't like logic. You can't commit it to memory. You can't plug yourself into one end of the equation and POOF! Out comes a belief on the other end.This is a truth that is three-dimensional, living, a heartbeat inside your heartbeat. This is a truth that you build, with every dance party. With every act of kindness, every smile to a stranger on the street, every dollar you pull out of your wallet to tip the girl at the coffee shop, every outfit that you rock in the morning (especially the ones with cowboy boots, neon pink, ruffles... you catch my drift). You build this belief in your own sexiness. In cupcakes and shimmying hips and three hours reading a good book and dreams about grad school and falling in love. You build it.So this letter ends with a dare. A dare to you, Brave Sexy Girl on Fire. I dare you to jump around dancing and saying, I am a brave sexy girl on fire over and over. I dare you to begin to build.Because you don't have to do a single thing different to glow like the French sky on Bastille Day. You don't need to do anything to your hair or your stomach or your eyes or your hair to have the glow. It is already so gut-wrenchingly radiating out from you I can see it, right now. I can see it in your letter. That's why I name you Brave Sexy Girl on Fire. Because I can see you, glowing, all the way from here.I dare you to revel in it.Love,hilary

a meadow, and time

The gravestone is just the same as the others. I slide my back against it, feel the warm sun bleach the ends of my hair. What is special about this man? I barely noticed his name, more interested in the twisting Spanish moss over my head, the heat shimmering around me, the gnawing in my stomach. I don't feel watched over, haunted by the dead in this graveyard. It's the living who follow me: the things I so desperately want, the fourteen year old self I cannot begin to understand, the braces that I don't get to shed yet. It's the friends I can't seem to keep. My head swirls, all the same problems, all the year full of them. I trace circles in the dirt instead of writing in my journal about this Selma graveyard. I don't care about this. I don't have anything to say. I look over to where Elizabeth sits, her dark sheen of hair rippling in the sweaty sun. I want to be that beautiful, and my body shivers with the thought. She is writing, a head full of good thoughts. I imagine that she paid attention to her gravestone. That she is telling their story, whoever they are, the bones under her feet. I imagine that she understood what the assignment was.I am at the beginning of high school. I wear strange knit pants and too many collared shirts with a couple of buttons that always strain against my chest, because I haven't learned how to breathe in and out inside my own body, and I keep imaging I'm shaped like the girls I see around me. I don't know how to put on any makeup, but I believe I should, so it's stashed in between underwear and socks in my duffel bag. It has stayed in the same place for the whole three weeks, because I'm afraid of it. It's not really my makeup anyway, just the free stuff from a Clinique bonus, but I took it in a moment that felt brave, and now, I'm paralyzed.The sun streams through the moss, and I can hear a bird calling out for its mate, but the call goes unanswered. It drops off into silence, only to screech louder, more desperate. I imagine the bird has come home to the nest and she is missing. The cry rings out over my head - where are you? Where are you? I still haven't put a word on paper. I feel thirsty and tired and the sun keeps beaming on me and Elizabeth at her gravestone with her rippling black hair writing in her Moleskin journal and my shirt sticks to my back, finds all the shape in me that I wish away. It reminds me that I am not a slender gazelle. I feel my braces and in-between hair, all my fourteen years.I know the teacher will call us soon, will want us to go over to the meadow across the street, next to the graffiti concrete wall full of the heroes of the 1960s. He will call us to step into a field and sit in the dust next to each other, sharing our stories and experiences. He will tell us to breathe deep the Selma air, to imagine Martin Luther King walking across the bridge. He will ask me a question about A Rose for Emily, about the man whose gravestone I sit next to now. He will call me out of myself and into the past, which is not quite past, and into the future, which stretches too far ahead of me. He will whisper to us, our eyes rounded in surprise, that we are all in a meadow of time together, and our pasts which are not past will someday meet our futures which are present, and not. He will tell us time in a mystery. He will tell us that perhaps, in that meadow of time, we will recognize these selves we are now next to the selves we will be.Tonight, as I write, I am next to her - and all her braces and all her jealousy and all her writer's block. Tonight, I watch her struggle to put her pen on paper, struggle to live inside the curve of her hip bones, struggle against the longing to be a slender gazelle with white blonde hair. I watch her try desperately not to care about things. But there isn't a cynical bone in my body, and she never had one. I watch her stand, brush the dust off her shorts, and turn to read the gravestone.This is the beginning of loving ourselves: simply the recognition. That girl, she is me. And tonight, I walk through the graveyard in Selma to meet her. Our insecurities are not so different eight years apart. Our fears and longings, not so different.I think that high school self, she has something to teach me.

to the gypsy mama

Dear Lisa-Jo,I'm writing quick because there is always another email or another call or another worry, and I wanted to put something in my space, reach out across these clicking computer keys to tell you, like I told you the other week - your book is a beautiful thing. It's beautiful in all the unexpected ways you taught me to think about beauty. It is the beauty of brave, of encouragement, of moving outside yourself to give something real and living and true to the people that you love, to the people God calls you to. I'll never forget how I first met you - my heart racing and worried about what you would think, since you know my dad and I didn't want to disappoint. And you opened your arms to me. You hugged me onsite.You took this 20 year old lost sheep in DC inside your heart, told her to hold fast to Jesus, to hold fast to the heart she hoped to have, to love bigger and wider. And then you lived it out for me.You lived it in Himalaya (turned Tandoori Grill, but still with that lunch buffet).You lived it when you let me marvel at your pregnant Zoe belly in November at Family Night Dinners.You lived it when you brought me to Relevant (now Allume I think) and let me learn the dip and sway of afternoon naps, and I still hear you and Zoe when I hear "Winter Song" and "Poison and Wine".You lived it, this big, bold love of Jesus when I got to meet Ann and Holley and I about fell over with amazement, that such women could look at me instantly with love, me, "the baby whisperer," as you called me. It might be the best title I've ever had.You live it every day, gypsy mama, and now there is going to be a book about it, about this marvelous rich love, about this parenting journey, about how God breaks our hearts open with His good gifts. And every time I look at you, my eyes full of uncertainty about those boys, you know the ones, and the longing to be with them and the not-sure-how-it-will-ever-work-out - you give me back a gypsy mama love.You give me a love that believes God calls us to a bigger life than just a job. That God calls us to a bigger love than just quid-pro-quo. That God calls us to dance silly in our kitchens at 22, drink caramel mochas without thinking about calories, to listen to one song on repeat 1,009 times.I love you, Lisa-Jo. I love this book of yours, this beautiful idea. I love this bold new step. I wanted to tell you, so that you knew it from my words to yours, from my heart to yours.Someday I hope I am a gypsy mama too, all bold love and wild grace. Someday, I hope my love looks like yours.Love,hilary

to the poets

Dear poets,The house wasn't big enough to hold me. It was late, later than I should have been up, and it was quiet. It wasn't the leaving, I start to write. But I don't want to write about it, don't want words on paper about it. They feel small, cages for heart to fit into, one after another. The words tell me to feel better, become whole again, rebuild, make peace. The words and their empty, echoing spaces.I was the reader leaning late and reading there, Wallace Stevens. I was the stillness, and the noise. I had all these questions. Why don't we get what we want? Where do we end, and other person begins? And how can this be, that we are so strong and break so easily, the weight of just one question enough to undo us?I remembered a line from a Kate Light poem - "and it flickered, and was frail, and smelled wonderful." I found the book, smoothed out the crumpled blankets, set her pages up between the folds, and drank in her words.

I remembered Rilke's Sonnets to Orpheus:To sing is to be. Easy for a god.But when do we simply be? When do we

become one with earth and stars?It is not achieved, young friend, by being in love,however vibrant that makes your voice.

I heard a line from Stephen Dobyns and another from Lisel Mueller and another from Pablo Neruda about the saddest song and the forgetting, and another, and another, until I could not breathe for all the words. I could not breathe for all the echoes.

The poets teach us how to live.You plant words in us. You sing out a blazing, single flame of song, something about the ordinary mundane moment of watching a woman run for the train, something about winter, something about disappointment or the death of a butterfly on your windowsill. You write about Italy or fear or walking alone into the underworld (as Persephone who is Eurydice who is Psyche, who are all different and the same).Perhaps you are always a bit lonely, your words departing you as children do, not ever really yours, always sent to you for the moment when you write them. Perhaps you sit at your computer and dare yourself to cut sentences apart, to watch each word like  glittering fish in a stream.Perhaps this, too, is good. For if you do not write the poems that swirl through my head on the late night when I cannot write, if I could not hear you echo back to me that this world is capable, that we are capable, of making beautiful things despite ourselves, I might lose hope.The poets give me hope.It isn't a sly hope, the kind we have when we already know all the possible outcomes. It isn't a cynical hope, where we have given up. It isn't a safe hope, either, a blind trust that things are good and will get better.Poetry is reckless hope. It strips you bare and looks at you, at the story of you, at the empty room late at night and dares you to make something of it. To make something more of what happens to you. To make something, period.You make me reckless, wild, afraid and impatient. You send out that single flame of song and in my room leaning late into the night, I catch fire.Love,hilary

a new anointing (on being confirmed)

On Sunday I learned why I need Sacraments.Not why we have them, exactly. I know that story, the richness of worship, the liturgical work of the people of God, the long history of Orthodox and Roman Catholic and Anglican and these visible signs of invisible grace. I could trace a history through books I still need to read, walk around in the Oxford History of Christian Worship or write a long academic sounding paper about it.But on Sunday, I learned why I need them.I need the Sacrament because I get lost.I got lost all through college in the rambling halls of beautiful ideas and bigger questions, lost in the big ache of the world, lost in the small ache of my own heart.I got lost in high school in the race to be thinner, prettier, something more than what I was.I get lost in the work of growing up, dazzled by ambition, tempted by every conceivable thing I could want and don't have.And so Jesus offers me the liturgical life: a life of daily reminders of Him, a life of prayer at morning and evening, a life of meditation and silence, of gestures to seal the Gospel in my mind and in my heart and on my lips, to cover myself in the Cross of Him who died so that I might not die.I need to be confirmed because kneeling before the Bishop, a shepherd who follows the Good Shepherd, who prays powerful in the Spirit and lifts high the Cross, this work brings me home again. He cried as he prayed over me, and his words, simple, still, echo forever in my heart: "This is a new anointing, a refreshment, my daughter. We release this your daughter into your care, Lord Jesus."I need the Sacraments to help me stop all my running around, butting my head against the fence. I need the Sacraments to be a signpost and an emptying of myself and a moment to feel the rush of the Spirit move.This is a new anointing.This is a deepening, a widening, a pouring out.I need the Sacraments to insist that the Lord builds this house, and He is the sure foundation. And this Sunday, not tripping, but crying, the Sunday of St. Michael and All Angels, I received a new anointing.And my heart is forever changed.Love,hilary

on dustin o'halloran (and growing wings)

I can't sleep.I have picked almost all the "fearless" nail polish off the edges of my fingertips, stared out into the familiar shadows of my room, heard the rain and its ceasing. I have gotten up for water, decided against it, taken a sip straight from the faucet. I've heard my floorboards creak as I pace, catch my toe against the edge of my bed, felt the sharp sting, yelped.I can't sleep because there is a ghost in my room.She sits down at the edge of my bed, takes in my twisted sleep positions, nudges me awake. I look at her, this ghost of all the things I should have been. She is the anxious ghost, who at 3am has kept me awake wondering if, in fact, I sent that grant in the right way. Wondering if, in fact, five or six months ago I should have played a different game, read a different set of signals, cared less and calculated more. Wondering if, in fact...all of it might have been meant to be otherwise. She is a Hilary I keep banishing. For how can any of us know what might have been? Wasn't that the first lesson Aslan taught those children in Narnia? "To know what would have happened, child? No. Nobody is ever told that." We are never told the stories that are not spun, the ghost ships that never sailed, the result of the left turn when we took the right.She is the ghost of control: the ghost who imagines she knows better. The ghost of if only I had thought before... The ghost of 3am and rain.So I sit up in bed, scattering a warm grey cat and a few pillows in my haste. I fumble with the passcode, fingers touching the screen in search of Dustin, click play, close my eyes.He tells me "We Move Lightly."He plays the repetition back to the ghost on the edge of my bed. The humble kind of piano: gentle and sure, questioning and yet steady. My best friend can always predict the parts of music I love best - the ones that sneak up to the very highest notes, played gently. The moment when strings enter, playing that long note, trembling and vulnerable. He plays, and I listen.Because our stories are thousands of threads woven and frayed, beginning and ending outside of us, and the ghosts that worry at 3am fall silent in the face of what is truly beautiful.Because we are never told what might have been, would have been. In this music, we grow the wings to carry us into what will happen. We become free: lost in something bigger than ourselves, found in the thousand threads.He plays the seventh time, and I fall asleep, winged.Love,hilary

i make you a promise (on being confirmed)

Tomorrow is the making of promises. The candidates stand before the Bishop, and he says: You stand in the presence of God and his Church; with your own mouth and from your own heart you must declare your allegiance to Christ and your rejection of all that is evil. Therefore I ask these questions:I'm getting confirmed tomorrow.That means promises. That's what confirmation is, this promise-making moment, myself in front of the Bishop and the Church and in the presence of Christ, and the words will flow and my knees will knock together and I'm one hundred percent sure I'll almost trip somewhere in the service.But I'm getting confirmed tomorrow.Therefore I ask these questions:Do you turn to Christ? I turn to Christ.Do you repent of all your sins? I repent of all my sins.Do you renounce Satan, his works and all the evil powers of this world? I renounce them all. Do you renounce the desires of your sinful nature and all forms of idolatry? I renounce them all.It isn't the same as when I first felt God move. It isn't the moment when I fell head over heels in love with Him in Italy looking at Fra Angelico's fresco and realizing that God loves art and music and beauty enough to let us make it. It's not that sweetness of prayer with a friend in a parking lot. It is me, out on a limb of  a promise to God. A promise that I see Him, His Cross, His story. A promise that I will stand up from the middle of the pigsty and come home to Him. A promise to name evil as evil, and not hide behind anything that's "cultural" or "philosophical" or "complicated."I now call upon you to declare before God and his Church that you accept the Christian faith into which you were baptized, and in which you live, grow and serve.Do you believe and trust in God the Father, who made this world? I believe and trust in him.Do you believe and trust in his Son Jesus Christ who redeemed humankind? I believe and trust in him.Do you believe and trust in his Holy Spirit who gives life to the people of God? I believe and trust in him.Tomorrow I will make a promise to trust. Tomorrow I will make a promise to believe, a promise that I do believe, to live and grow and serve out this one life as a long obedience and a wild journey and a joyful acceptance of grace.I make you a promise tomorrow, Jesus, that all I am and have and hope for, all of it, belongs to You. I make you a promise tomorrow, Jesus, in the better silence after my words, that I am bound up in You, and all is grace, and all is love.Tomorrow I make a promise to love the Truth. To belong to Him. Love,hilary

dear hilary: anonymous love

Dear Hilary,I'm ambitious. I have plans in my head for my life, plans for travel and degrees and books published. I kind of want to be famous. But I wonder if it's really that worth it? What do you think?Love,CelebrityDear Celebrity,I think the best answer to your question is to ask myself what I think I'm here for. I was pondering your question drinking a caffeine free Diet Coke watching the newest episode of Castle. I was thinking about it as I smeared avocado clay mask on my face in a vain attempt to do something productive to my pores. It even crossed my mind as I reread old letters from dear friends. Do I want to be famous? Is it worth it? What do I think about that? I thought it over and over. And this is what I came up with.I am not here to be famous.Famous is a cheap kind of knowing. Every one of us can do better than a name on a billboard when it comes to being known. Every last one of us is already loved more intimately than that. I'd rather run up the stairs to my best friend's room soaking wet from the rain and stand in front of her, dripping wet with disappointment and regret and anger and naked, raw, rain-soaked life than ever publish a Pulitzer.I am not here to be famous.Imagine this, Celebrity: you could do an act of radical, unbelievable, earth-shattering love and never get credit for it. Or you could do a smaller act, of love and warmth, sure, but smaller, and become really famous. I urge you to always pick the earth-shattering love option. It's there. When you calculate graduate schools and Sunday school volunteering and living at home and becoming a top notch politician. The option for earth-shattering love is always present. Sometimes that will shove you sideways into fame. Sometimes it will put you up on a stage to accept a prize or a prestigious job or a movie contract. Sometimes it will mean you become "famous" whether you wanted it or not. But we are here to do the brave thing whether it brings fame or a $1.99 hallmark card. We aren't here to climb ladders but to leap off cliffs into trust and grace without any promise of ever getting any kind of credit for it.We are not here to be famous.A wise man once told me, "Imagine, Hilary, what amazing things we could do if we didn't care who got the credit." This man, he lives it out. He works harder than almost anyone I've met, dreams and imagines constantly, builds programs and mentors students. This man doesn't care if anyone ever knows that it was his idea. He doesn't care if he gets paid less than everyone else. He doesn't care if he looks ridiculous or could have been promoted at a different institution or might have had this illustrious career in...When I get all knotted up in ambition I think about him. I think about standing rain-soaked in my best friend's bedroom. I think about buying a cup of coffee for a homeless man in DC who doesn't know me. I think about all the words I write that get me no closer to being a celebrity, but one person reads them and feels loved, and that breaks my heart right open.I'm here, you're here, we're all here to give more than we take. To live towards the light. To hold out our hands to empty ones. To stand rain-soaked in bedrooms and believe in the beautiful and the good.We are called to bigger things than ambition can offer us. We are called to anonymous, wild, love.Love,hilary

when you tell your abs you love them

"You're good to me, abs." I pant around the corner of the lane, 4 miles from home. The sun doesn't seem to move across the sky at all, and I run in and out of the shadows of the trees lining the sidewalk. They're gnarled and old, full of stories, branches climbed by eager children. They've shed thousands of leaves in the few seasons I have been alive, and there is a steadiness to them I wish I had. Perhaps they have their own small jealousies, seedlings wishing they could become trees faster, a maple that wants nothing more than to be a cherry tree or a redwood. Perhaps oak trees are jealous of the cool white birches, and some days all trees want to burst into the fiery flames of tiger lilies. But in the midst of the quiet afternoon, I somehow doubt that these steady limbs and leaves long to be something else.But I do. In miles one and two I told my body it should be smaller, easier to carry around, more like a gazelle than a zebra. When I hit mile three, I got quiet for a little bit, but the voice in my head said that all of it would be easier if I just ate less and ran more, that I could solve all the disappointment on this earth if I wasn't a disappointment (that they wouldn't leave if I was something else). And the good girl in me, the one who believes in grace for the rest but not for her, felt the sun on her sweaty neck and said, "if you were more beautiful, Hilary, you'd know more, love more, be more graceful, less impatient... if only you were all those things. You'd even run faster."In these moments I usually resign myself, agree with the voice. After all, she talks so matter-of-factly, so practically. She tells me that I could just stretch my arms a bit father and I would be there, I would make it, I could become all those many things I wish I was. She gives me what I hear as good advice.But on this Sabbath day, I hear my voice creep out of my mouth, right out into the street where those long limbs cast their shadows, where I can hear pool filters running and the squeals of children chasing the late afternoon. "I love you, feet." A strange silence as I hear my words caught by the wind and then gone again. I exhale, push my way up the hill. "I love you, knees and hamstring muscles. I love you, abs. I love you, arms. I love you, I love you, I love you."My voice grows louder, my footsteps clanging on the pavement. This is not the day where I tell my body one more time that it should be better than it is. This is not the day where I ask it to run faster or farther, to go without, to have brighter skin and bluer eyes and curlier hair. This is not the day when I accept that cool, matter-of-fact voice in my head that whispers to push just a little bit more and things would heal."I love you, abs." Now I'm laughing at how ridiculous I must look, all sweat and hair falling out from its bobby-pinned obedience, limbs waving in the breeze and lungs gulping air. "I love you, body."On this day I won't ask it to be anything else. I won't demand the stride of the gazelle. I won't say, "be smaller, be taller, be more beautiful.""I love you."I will feed it those rare, sweet words of satisfaction, and hold it out before the world: one among the many miracles that sing His praise.Love, hilary

to the photographers

While Preston and I are on sabbatical for the summer in our letter writing, I thought I would keep up with letters. These, though, are letters with a bit more of my imagined, someday life, and a little bit less of the every day. And sometimes, like today, I just want to say thank you.Dear photographers,I don't think I understood that old line, "a picture is worth a thousand words" until I saw you and your camera. You were laughing and gesturing to us to squeeze closer together under the big Colorado sky. You were coaxing  a worried three year old to pose with her brother in a vintage car. You were wandering the streets of DC with me catching me mid-laugh, staring out a window or pondering life with my chin cupped in my hands. You were reminding the bride that she was exceptionally gorgeous as we drove to the courthouse for the wedding. You were pulling yet another black lens from a hidden pocket in your bag as you laughed, almost tripping over the low lying wall behind you, anxious to capture the surprise and the nearly bursting with excitement of the unexpected engagement. You were in a studio loft in New York City with the afternoon sun with a senior in high school, asking her to tell the world her story.But a picture of yours is worth so many thousands of words. In one still frame, you teach us the look of love, how it laughs, how it gazes, how it feels under the bright sun. You teach us to see the little girl walking down the beach holding her mother's hand as the very expression of hopefulness.How do you do it? It isn't the fancy camera you have, the lenses, the sleek black bag. It isn't the extra flash or the HD-enabled something I can't pronounce.No, you see - it's the beautiful way you see the world. It's the stories you discover behind the camera. You know the ones I mean - the way he holds her hand is a story about their wild promise of love. The way she hugs the yellow monkey to her chest is a story about how to feel safe. The way I look at my sister while I begin to cry during my toast to her and her husband is a story of sisterhood and love and how we must give the ones we love away sometimes.Thank you. Thank you for the way you coax us out of our shells, the way you hold up a mirror to all that is miraculous about human faces and trees silhouetted against the sunrise and a seashell cupped in your hand in late summer. Thank you for telling me I am lovely without using words. Thank you for giving my friends the image of their joy on their wedding day. Thank you for running down a path in front of the Rocky Mountains. Thank you for teaching me to see light and shadow.Thank you for teaching me to be speechless.You make art with our faces and our lives. You give back to us a promise that this mess we make of things is also the beginning of what is truly beautiful. Promise me that today, you'll pause and hold your camera in your hands, and smile at everything the two of you can create.Your work is worth ten thousand words: I only offer mine to begin to say thank you.Love,hilary