by Christie Purifoy | Jun 17, 2014 | children, Family, Grateful, motherhood, Summer, Uncategorized, Work
It is June, and I count my blessings.
Vines dripping in snap peas. Bowl after bowl of strawberries. Lettuces grown so large, I cradle one leafy head like a toddler in my arms. And carrots. I’ve never had much luck with carrots, but, this year, carrot tops are waving in the breeze like a dense fern forest.
And these are not my only blessings. Four wild, whooping noisemakers munch on raw peas and hunt for strawberries. Two boys can usually be found up a tree. One small girl runs after the kitties, grabs small green cherries from the low-hanging branches of the sour cherry tree, and never looks back at the big sister who follows, calling, “Elsa, come back. Elsa, are you ready to go inside?”
Yet even blessings can weigh you down and wear you out. Four small faces sticky with berry juice seem to ask more of me than I have to give.
***
***
We like to speak of callings. We acknowledge the dignity of difficult work when we say I am called to this.
And parents do the same. I am called to mother. I am called to father. But I have always imagined a calling to be like the revelation of something already there. God has called me to be a writer. God has called you to be a teacher. Or an encourager. Or a farmer. This is calling as the meeting place of God’s work and your talent.
Which is why I have never said I am called to be a mother. I am blessed, richly blessed, with four young children, but I have no particular talent for the work involved. On tired afternoons, I might even say my need for quiet, alone time makes me especially unsuited for the job.
***
Perhaps I have misunderstood the word. Perhaps a calling has nothing to do with talent or giftedness or any kind of suitability at all. Was a poet shepherd suited to battle giants? Was a young boy asleep in the temple especially gifted at hearing the voice of God?
It seems he wasn’t. Three times Samuel got up from his bed having confused the voice of heaven’s King with the voice of his master Eli.
And so I acknowledge all the ways I can never measure up to the blessings I’ve been given. But I will follow in Samuel’s incompetent but faithful footsteps. I will say, “Speak, for your servant is listening.”
And I will tell of what I hear.
Because our God calls.
by Christie Purifoy | Jun 19, 2013 | Faith, Food, Gardening, God, God's promises, Poetry, Summer, Uncategorized
I see the world through a lens of metaphor and story. The magnolia tree near our chicken coop is a love letter. The window in our stairwell is a promise.
Like a pair of good eyeglasses, metaphor helps me see the world and my life more clearly. It is the tool I use to scratch beneath the surface of things.
These days, I am learning its limits.
Or, maybe, I am learning my own limits.
I plunge my arms up to the elbows in a deep farmhouse sink. Snap peas, carrots, a rainbow of swiss chard, and heads of broccoli so richly green they’re also purple. In every moment I can spare, I am harvesting, washing, blanching, freezing, eating, feeding. The kitchen garden we rushed to build and plant this spring has become a fountain. Between the rain and the explosion of good things to eat, that is no metaphor.
Apparently, metaphor has been more than a pair of eyeglasses to me. It has also been my preferred tool for setting up distance between the spiritual world and my own. I have used it to say here are my life and my world and way over there? Can you see it off in the distance? Those are the promises of God. The things that truly matter. We will get there someday.
Except, someday is today.
The things of God are here.
The things of God are now.
In my Bible, I can point out an inky smear of a date. Also, a little scribble of a star. They remind me that two years ago, I heard God say this, “they will make gardens and eat their fruit.”
Those words felt like a promise, and I held on to them through two very unfruitful years. In other words, I believed them. Yet, I know now that I believed them in a hazy, over-spiritualized kind of way.
What if God means exactly what he says?
What if his metaphors indicate, not distance, but nearness?
He promised, and, today, I am eating those words. I have sautéed them in oil and garlic, roasted them at high heat. I have shredded them and peeled them into ribbons. I have tossed them in salads and shared them with neighbors.
They taste good.
So good.
by Christie Purifoy | May 25, 2013 | Books, children, Seasons, Summer, Uncategorized
Here is one last peak at my bookshelves before summer.
I think one of these might be just the thing for that afternoon in the hammock, the long car trip, those sweaty hours between events at the swim meet.
I plan to read as much as possible these next few months. I’m imagining quiet afternoons with a sleeping baby and three kids with noses-in-books, but the reality is more likely to be me on my green sofa, one eye on the so-close-to-crawling baby and one on my book, while I try desperately to tune out the shrieks of three children running circles around the room. Yes, I’m trying to be realistic.
Either way, my plan is to bring These Farmhouse Bookshelves back in September with fresh recommendations.
One of my favorite writers (she is a master of the revelatory interior monologue) has a new book. Kate Atkinson’s Life After Life: A Novel
is the best thing I’ve read in a long time.
I was skeptical at first. Perhaps you remember my distaste for literary gimmicks? Atkinson’s latest is structured around a stunning gimmick, but this excellent novel doesn’t deserve that pejorative term.
The book’s heroine is Ursula Todd, an Englishwoman who lives (and dies) through the Great War, the Spanish Flu epidemic, World War II and the London Blitz, and all of the upheaval of early twentieth-century European history. She lives, and she dies, and then she is born again, always and, it seems, forever on the same snowy night in 1910.
That is the novel’s literary device, and though it seems to break so many rules (most importantly, the reader’s assumption that the very worst thing cannot befall a novel’s primary character), Atkinson uses it to brilliant effect.
Ursula’s many lives and deaths, and the fascinating ways in which her story changes or does not, add up to a compulsively readable novel (after moving slowly through the first third, I couldn’t put it down) and one that gives us so much to think about: from questions of history and personal fate to the God-like role of novelists themselves.
Life After Life is the coming-of-age novel writ large. Ursula is given chance after chance to live well. We are given only one. We can learn a great deal from a character who knows the depths of the adage that “practice makes perfect.” The important question is, in that tumultuous time and now, what constitutes a well-lived life? What does “perfect” really look like?
Sylvie’s knowledge … was random yet far-ranging, ‘The sign that one has acquired one’s learning from reading novels rather than an education …’
A Time to Keep: The Tasha Tudor Book of Holidays
may be the best children’s book I never read as a child. I love it so much, I feel as if I have lived in its pages the way only a young child can.
Featuring Tudor’s beloved illustrations, this picture book shows us twelve months of celebration in a rural, New England family about a hundred years ago. Based on Tudor’s childhood memories, we have beautiful pictures and brief descriptions of a bonfire on New Year’s Eve, a syrup-making party in March, a dance around the Maypole, and a very special August birthday, to name just a few.
This is a book about the special rhythms of the seasons and of family life. It is sweetly nostalgic and inspiring. Enthralled by the book’s August birthday party, my daughter and I have decided that someday, somehow, we will float a candlelit birthday cake down a stream at twilight.
August brought your mother’s birthday which we celebrated at night by the river. The table was set with birch bark plates and gourd drinking cups.
I pulled this last book off my shelf last night and promised myself I’d reread it over the summer. Even the summer months deserve something of high literary value, but I find that short stories are easier to squeeze in between visits to the pool, park, and farmer’s market.
The Springs of Affection: Stories of Dublin
is a collection of realist short stories by one of The New Yorker’s most gifted writers, Maeve Brennan. Out of print for decades, these stories were republished four years after Brennan’s death in 1993.
Born in Ireland, Brennan lived in New York from the age of 17, but the stories are each set in Dublin. These are stories about family and affection as well as the uglier emotions which can mar those relationships: emotions like grief, envy and even hatred.
These are stories in which each detail of a character’s dress and environment matters. They suggest that a writer’s primary task is observation. Writers, especially, appreciate Brennan’s work, but I think she has something to teach all of us. Whether we write or not, our lives are enriched when we pay close attention. To the arrangement of dishes on our kitchen shelf. To the face of a friend or child.
… you would think, looking at such an arrangement, that the boxes contained something of interest or of value. And what did they contain? Old bills marked paid thirty years before. Recipes for dinner she had never cooked, dinners so elaborate that she must have been dreaming of a vist from the king and queen of England when she cut the menus out of the magazines in which she had found them.
What do you plan to read this summer?
