Starting my new job a week or so after I finished my PhD is not a wise move, but it does have the benefit of extending my intense, concentrated stance of concentration into the new role. In any creative work – and theology is most certainly a creative art – concentration is the game. Jurassic 5 said it best:
But that kind of focus, that has me reading documents and reports and books and compressing them into A4 pages and then editing those pieces of paper to strip them down so that people who are very rushed and not very interested can follow them is not the kind of concentration involved in prayer.
But where Jurassic 5 are silent, the greatest writer working in Ireland, Aidan Mathews, has spoken. He has prepared six truly luminous Lenten reflections and the second one, which I read this morning, demands distribution.
I simply cannot concentrate. But perhaps complex inattention is more fruitful (although I should not be thinking in productive terms) than a rudimentary focus. It is hard to consider infinity when we experience the good Creation only in the act of detail. In any event, private prayer is impossible at church services, mostly Masses, because I am so interested in the biodiversity of the congregation around me, and my weekday attempts at expectant vacancy, the honours course in prayer when you’ve exhausted rote petitionary phrases, philander very promptly. God dammit, it is my nature.
An example: I am contemplating a Crucifixion. At any rate, I am looking at a picture of it; and the picture I have in mind is by Salvador Dali, who also, as it happens, had portrayed the Blessed Virgin Mary spanking Jesus in another, earlier and more picaresque canvas. (That kind of mischief, like the Catalan cagon in the crib, is very Spanish, and escapes Northerners, even Catholic ones.) His John of the Cross crucifixion, on the other hand, is superbly sombre and longitudinal, seen from above and overhead, effaced entirely, from the hovering perspective of a very absent Holy Spirit; and I want to pray about it, not in a predatory but in a porous manner, in the hope of what I felt for twenty seconds thirty-five years ago when I followed a tour guide’s umbrella to Mantegna’s Lamentation, which exhibits the same cadaver feet-first, angled obliquely, on a damp mortuary slab, wholly defunct.
But I cannot help remembering that Dali’s model for the dead Christ was a famous Hollywood stuntman called Russell Saunders (but not the Russell-Saunders of the coupling scheme in quantum electrons, he was different); and that the stuntman Saunders, he of Shane and Singing in the Rain, was married at some stage, perhaps permanently, to no less a person than Paula Boelsoms, a studio trainer who had actually taught two African elephants to water-ski for the purposes of a big-budget period rom-com, although, admittedly, the skis were outsize. And then I think of Cicero, writing in a letter to Atticus, was it, a generation before Jesus, about the slaughter of the elephants at the Roman games, and how their death-cries were so human and high-frequency that the amphitheatre’s terraces shushed and the crowd stopped cheering for a while.
I simply cannot concentrate. I haven’t a prayer.
Take and read, for the things he writes will be better for you than any quinoa salad.
Your Correspondent, Perpetually late, even for coffee