Limitation of scope, however, could represent a profound advantage from an ecological point of view. The sun, the wind and the earth are experiential realities to which men have responded sensuously and reverently from time immemorial. Out of these primal elements man developed his sense of dependence on—and respect for—the natural environment, a dependence that kept his destructive activities in check. The Industrial Revolution and the urbanized world that followed obscured nature's role in human experience—hiding the sun with a pall of smoke, blocking the winds with massive buildings, desecrating the earth with sprawling cities. Man's dependence on the natural world became invisible; it became theoretical and intellectual in character, the subject matter of textbooks, monographs and lectures. True, this theoretical dependence supplied us with insights (partial ones at best) into the natural world, but its onesidedness robbed us of all sensuous dependence on and all visible contact and unity with nature. In losing these, we lost a part of ourselves as feeling beings. We became alienated from nature. Our technology and environment became totally inanimate, totally synthetic—a purely inorganic physical milieu that promoted the deanimization of man and his thought.
The womb of the world births us. My filth comes from the same earthwork that gives rise to all stories. My interior light connects me with all the other creatures that inhabit this world of rocks, air, grass, woods, and water. My genetic code links me inextricably with all of nature. I enter the medley in the river of life with the ability to respond as life unfolds before my childlike eyes. My homemade medicinal poultice might not be of any benefit to other people. Nonetheless, we should each write our stories because each of us aims to attain a greater degree of awareness of our own authenticity. We owe a moral obligation to our family, friends, and ourselves as well as to the community to make a determined effort to wring the most out of life. We must applaud all efforts to investigate the human condition. Even if my writing amounts to nothing more than a clumsy attempt to travel the same tracks other people burnished with much more insight, clarity, precision, and style, it is an act of self-definition to ascribe to any philosophy. Philosophy represents a living charter; it is a life of action.
When we observe oppression, let us develop strategies that free not only the oppressed but also the oppressor. Let us remember that those who use their power to deny freedom to others are also imprisoned and are also worthy of care. Do not let their unjust actions inspire us to cruelty, or else we will soon become what we set out against.Here is our challenge: let us take up the miseducation of justice-making, by stripping our minds of the idea that equity can be manifested through condemnation, through humiliation, through shame and blame, and through righteous vindication. No, justice-making begins by marrying a just thought to insightful words, inviting us to collective action, by daring to free both the oppressed and the oppressor, for we know what it is like to be both.Stand we must, stand strong and bold. But let us choose a new way to balance the scales. Rather than shoving our foot on oppressors’ necks, let us instead reach out a hand, offer a seat, and show them, and even ourselves, a new way of justice-making by collectively experimenting with the moral imagination.
As with millions of others, Adeline Perry and her two young daughters endured the horrors of the Second World War in NAZI Germany. Following her death and armed with her manuscript, Captain Hank Bracker and his wife Ursula, Adeline’s youngest daughter, followed in Adeline’s footsteps to better understand the ordeal she experienced. Realizing that this book was the only way that her story could be preserved, Captain Hank took on the task of recording it. Ursula’s brother-in-law and stepsister, Peter Klett and his wife Jutta drove them to many of the places described in this book including Bischoffsheim, Strasbourg and Rosheim, in what was known as Reichsland Elsaß-Lothringen during World War II and which is now recognized as the administrative territory of Alsace-Moselle, France. He found the still existing bunker in Feudenheim and talked to people in Mannheim, Überlingen and Bischoffsheim who still remembered some of the details of the incidents in this book. Ursula’s sister Brigitte wrote her own manuscripts which helped fill in some previously unknown facts. “Suppressed I Rise” is an insight into how individual people’s lives were adversely affected by the insane acts of one man and the country he decimated.
There were thousands of Kantoreks, all of whom were convinced that they were acting for the best—in a way that cost them nothing. And that is why they let us down so badly. …in our hearts we trusted them. The idea of authority, which they represented, was associated in our minds with a greater insight and a more humane wisdom. But the first death we saw shattered this belief. We had to recognize that our generation was more to be trusted than theirs. They surpassed us only in phrases and in cleverness the first bombardment showed us our mistake, and under it the world as they had taught it to us broke in pieces. While they continued to write and talk, we saw the dying. While they taught that duty to one’s country is the greatest thing, we already knew that death-throes are stronger. But for all that we were no mutineers, no deserters, no cowards—they were very free with all these expressions. We loved our country as much as they; we went courageously into every action; but also we distinguished the false from true, we had suddenly learned to see. And we saw that there was nothing of their world left. We were all at once terribly alone; and alone we must see it through.
...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.
So why bother investing in one’s memory in an age of externalized memories? The best answer I can give is the one I received unwittingly from EP, whose memory had been so completely lost that he could not place himself in time or space, or relative to other people. That is: How we perceive the world and how we act in it are products of how and what we remember. We’re all just a bundle of habits shaped by our memories. And to the extent that we control our lives, we do so by gradually altering those habits, which is to say the networks of our memories. No lasting joke, invention, insight, or work of art was ever produced by an external memory. Not yet, at least. Our ability to find humor in the world, to make connections between previously unconnected notions, to create new ideas, to share in a common culture: All these essentially human acts depend on memory. Now more than ever, as the role of memory in our culture erodes at a faster pace than ever before, we need to cultivate our ability to remember. Our memories make us who we are. They are the seat of our values and source of our character.
As far as we are concerned we do not wish to stand in anyone’s way, nor do we wish to bring discredit on the ministry God has given us. Indeed we want to prove ourselves genuine ministers of God whatever we have to go through—patient endurance of troubles or even disasters, being flogged or imprisoned; being mobbed, having to work like slaves, having to go without food or sleep. All this we want to meet with sincerity, with insight and patience; by sheer kindness and the Holy Spirit; with genuine love, speaking the plain truth, and living by the power of God. Our sole defence, our only weapon, is a life of integrity, whether we meet honour or dishonour, praise or blame. Called “impostors” we must be true, called “nobodies” we must be in the public eye. Never far from death, yet here we are alive, always “going through it” yet never “going under”. We know sorrow, yet our joy is inextinguishable. We have “nothing to bless ourselves with” yet we bless many others with true riches. We are penniless, and yet in reality we have everything worth having.
Taken together, the narratives of how the animals ended up at Lowry Park revealed as much about Homo sapiens as they revealed about the animals themselves. The precise details—how and where each was born, how they were separated from their mothers and taken into custody, all they had witnessed and experienced on their way to becoming the property of this particular zoo—could have filled an encyclopedia with insights into human behavior and psychology, human geopolitics and history and commerce. Lowry Park’s very existence declared our presumption of supremacy, the ancient belief that we have been granted dominion over other creatures and have the right to do with them as we please. The zoo was a living catalogue of our fears and obsessions, the ways we see animals and see ourselves, all the things we prefer not to see at all. Every corner of the grounds revealed our appetite for amusement and diversion, no matter what the cost. Our longing for the wildness we have lost inside ourselves. Our instinct to both exalt nature and control it. Our deepest wish to love and protect other species even as we scorch their forests and poison their rivers and shove them toward oblivion.All of it was on display in the garden of captives.
The opportunity to tell our story unhindered, uninterrupted is rare. Most of the time people are so involved in their own concerns they do not listen with complete attention. It can be quite startling, therefore, to feel another person fully attending to you, present with you and for you, setting their own struggles aside in order to be available to God an dyou. Sometimes this is wonderfully freeing and at other times it is paralyzing. We find ourselves listening to ourselves, weighing our words, and considering if we speak authentically or frivolously. ... But telling our spiritual director is often a pure gift. As we spekk we begin to see connections that were hidden. Insights arise or our perspective about circumstances or ourselves may shift. There are Divine and human affirmations and confirmations. Sometimes the words we needed to hear come from our own lips. ...Interior developments arise out of silence that are beyond our clear view. We just know that something has moved or changed and that God is active...The opportunity to tell our story opens us to hear God's story more deeply - God's presence and participation in our lives and in the life of the world. In God all human stories connect and when we participate in spiritual direction, we seem to notice more of the connections.