advent journal: what I remember

A new acquaintance opened a door to some old memories for me this evening.

Thanks to the connections at CCBlogs, I found Peculiar Preacher, who turns out to be someone with whom I probably share any number of mutual friends since we both attended Baylor and spent a good deal of time in Texas. He wrote about going to see a new production of

in Fort Worth and his dissent with the area theater critics about the quality and impact of the production.

My family was traveling between Africa and America (my parents were missionaries) in 1967 or 68 and we stopped in London for a couple of days to rest. My parents took my brother and me to see

and we saw a rather legendary performance (I know now). It was the first time I had ever been to a stage production of that magnitude and quality. I was mesmerized by the experience and moved by the story. The Cervantes/Quixote character burrowed deep into my young heart and has never forsaken his residence there. I remember hearing “The Impossible Dream” before it became a lounge lizard anthem:

It’s hard to get a clean hearing of the song now.

My favorite character in the show was not Quixote, but Sancho Panza, his sidekick. In one of the final scenes, Quixote is dying and has allowed himself to believe his life has been a failure. Sancho refuses for that to be the last word. He begins to sing to the song to his dear friend and master, saying, “Don’t you remember? You must remember.” Quixote then revives to sing with his companion once more and then dies without taking the sense of failure with him. Such is the power of friendship.

I find myself in both men. I understand Quixote’s feelings of worthlessness when he is told his life has counted for nothing but tilting at windmills. Yes, I know the last sentence is a bit overly dramatic and I don’t know another way to say it. Part of what it has meant to be Milton over the years is feeling less than enough and always at least an arm’s length from whatever the dream might be. Those feelings didn’t consume all of my days, but they have been part of the package. I think those feelings have led me to live a lot like Sancho: I’m a good sidekick. I like being able to help those around me reach for their stars, feel like enough in their story, or simply live through to the other side of failure. Somewhere in the interchange, I get to feel like I’m enough as well.

Since I worked brunch today, Ginger and I both got to be home together tonight, each at our respective MacBooks writing away. I plugged the speakers into mine and turned on Gavin Bryars’ recording,

, which is a classical piece built around the singing of a London street person. Here is Bryars’ description:

For all of our preparation during Advent, it’s difficult for us to access or replicate the desperation of the Incarnation on both sides of the equation. The second Broadway show I ever saw was Fiddler on the Roof. When the Russian soldiers come to tell the Jewish people they have to leave, one of them says, “Rabbi, wouldn’t this be a good time for the Messiah to come?” We tell the story and light the candles and sing the songs in ways that are meaningful and moving and full of good things, but rarely do we come to moments when we grab one another and say, “Don’t you remember? You must remember.” The divine desperation of the not-so-impossible dream that stands behind God putting skin on asks the same question: don’t you remember?

We must remember.



Peace,
Milton