

All in Truth
In essence, this was why we met that day in my living room: because beauty matters to God and because, as the body of Christ, we testify to one another that God sees us, that our work matters.
There was some venting, yes; there was philosophy; but above all, there was connection. In the sprawling Dallas metroplex lined with suburban brick homes, school zones, and shopping centers, visual artists, musicians, and writers assembled. We peeked into the crevices of our landscaped society and found wildflowers.
Each of these authors tell the truth about the human condition, so their books are “good” in the deepest and truest sense. Not ever moralizing, so that we feel the authors are cheating, insisting on a “Christian” voice that does not belong in the story, or even worse perhaps, a revising of honest faith that does not allow for the breadth and depth of human existence, glories and shames that we are.
To get there you must first drive an hour and a half northwest toward the ocean, then meander through a national wildlife sanctuary (with a band of donkeys wandering the hillsides) until you can’t go any farther. All along the way, you’re slowly enveloped by a web of forest and fog, mist and mystery. You must trust that the circuitous gravel road does indeed lead somewhere . . .
When someone’s name is that pervasive you’ve got to ask, “Why?” What makes some personal fame timeless? What kind of spirit embeds itself in words and names to give them oomph? I’ve come to believe famous people come in two varieties: famous for all the right reasons like Jesus and Johnny Cash, and famous for all the wrong reasons like Joe the Plumber and John Sutter.
Play is an essential, but often forgotten aspect of life. We leave it behind when we enter the serious business of adulthood and too often forget to pick it up again. We go for long stretches of time, working hard and persevering with one thing and another — projects and people. In particularly weary and anxious seasons, I often recognize in myself a longing to experience something completely other. It begins to well up inside until I feel I could burst from the need for a change.
I’ve been possessed by the archiving bug for most of my life. I’m terrible at throwing away anything that represents a piece of personal or family history. Mementos from my children and grandchildren, old negatives from the days before digital photos, desk calendars with a year of life scheduled in the pages, cards and letters — basically anything that has significance for me or my family story must be kept. That inclination, along with the urge to write, led me to the pages of diaries and journals.
Learning to hear has been a lifelong process for me, and the better I think I get, the more I know I miss. Part of it is like sorting one’s way through a blanket of static, desperately trying to pick out words of life in a cacophony of noise that seems designed to inflame rather than inform, to distract instead of clarify. But most of my problem is hubris, a deep-seated confidence that in something so ordinary and easy as hearing I have little to learn.
I have a friend who wryly describes herself as a bad Buddhist. This makes me smile. I think of Dustin Hoffman’s character in the film Little Big Man and the many vocations he pursued over a lifetime: Caucasian Cherokee, drunk, gunslinger, muleskinner, liar, and more. With each one he describes his performance as horribly lacking. Can you hear the actor’s voice? I was a horrible drunk. I was a horrible liar. Well, I was a horrible Zen Buddhist.
The dreams and debates of modernity, cascading as they are into postmodernity, are always at the heart of the human condition. It cannot be otherwise, as we are never more and never less than sons of Adam and daughters of Eve. So we take our place as folks who long to love and to be loved. Percy understood that with an unusual eye: historically, philosophically, psychologically, politically, and, yes, theologically, seeing the complexity for Everyman and Everywoman. We want love, yet we also know how hard it is to love and to be loved.
My parents raised me for fourteen years. No more, no less. That may seem like an odd thing to say but it’s true. Some kids don’t get that much time. All you have to do is go to the grocery store or a fast food place to find out what I mean. Shifty eyes, mumbled grunts, manners in retreat, unclean hands, inability to count change. I’m grateful for the fourteen good years of proper parenting I had. Then Jack Kerouac took over. He was a lousy parent. As suburban shamans go, you couldn’t do better. Jack Kerouac, writer and former football star, was a game-changer.
A few weeks back I was privileged to sit with trustworthy friends and wrestle, yet again, to find the smallest, most potent words to describe what Art House means. This kind of exercise has played out many times in the last twenty years. We’ve been trying to put our vision into words since we first imagined the place and purpose that became The Art House home in Nashville, and our non-profit, Art House America. As we like to say, the name Art House designates place, while Art House America is an organizational title.