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Posts Tagged ‘actions speak louder than words’

You know what I think of when I think of the word “impeccable”? I see Felix Unger from The Odd Couple. Remember Felix? He was impeccable in his behavior. Tidy and organized, precise. Precision, yes, that’s what I think of.

But the way this first agreement flows, Be impeccable with your word, well, the word “word” modifies the word “impeccable.” Impeccable is the adjective, and yet the object is what seems to modify in this case. We’re not talking about washing a dirty dish the moment Oscar lays it on the table after eating a hot dog. We’re talking words, powerful, meaningful words. Words that we yield.

They can be swords, daggers, a pat on the back. I remember a note from a colleague, not too long ago, that made me cry, a note she sent me by email in response to a note I had sent to someone else. My note was just a short thing, three or four lines giving praise to a new person we’d hired. I wanted the manager of that person to know how impressed I was with the new person’s attitude and performance. The colleague whose note made me cry had seen my feedback and said something like, “Roma, in case no one has told you today, thank you for caring so deeply about the people you work with.”

Just that one line. She was impeccable with her word. It was a reverberation, me being impeccable with mine, then me getting it back from someone else.

Don Miguel Ruiz says that with this first agreement alone, we can transform our lives. It’s that powerful. Don’t criticize unduly. Don’t abuse others with your words. Importantly, say what you mean and mean what you say. Live up to your verbal commitments. Be impeccable with your word even as you use it on yourself. Don’t let your inner critic bring you down. Those are words, too, the ones inside your head.

Dad was impeccable with his word. Words were important to him. They still are. He still wants to be heard. When I was a teenager and unwilling to listen, he wrote his words down in two or three letters he then slipped under the closed door of my bedroom or left on the kitchen table for me to open after he left for work. He was like Felix Unger in some ways, a tidy man with small and precise handwriting. His handwriting is shaky now, but then his writing looked like a professional cursive font.

The letters he wrote on yellow legal pads, and so he fit a lot of words on them. He told me the things he had tried to say to me but that I would shut down. What was important to him, the things he wanted to pass on, the wisdom he wanted to impart. He worried about me, the friends I had chosen, my boyfriend. He acknowledged that even though I had many bad habits, I was still keeping up my grades, and for that he was grateful.

He did pass something on to me, didn’t he? His honesty with words. That’s a powerful gift. And Mom passed on her love of words, too, the gift of gab, the love of gossiping. And even though don Miguel Ruiz says that gossip is a form of not being impeccable — and what exactly is the opposite of “impeccable”? Peccable? — I don’t believe that gossip is always bad. Not when it binds a family, becomes part of the way they communicate. A network. Stories passed down.

No, I think the opposite of being impeccable with your word is being careless and messy, or being mean-spirited with your precision, using your words like a scalpel. We can cut out a piece of someone’s heart with our words. Or making a commitment and then not meeting it.

And when we’re not impeccable, like I can tend to be at times, that’s human. But for the most part people are good. We just make mistakes, all of us, at different times. Sometimes we go through many years making the same mistakes, and other times, maybe when we’re older, we start to see our patterns and try harder to not repeat them.




-Related to post WRITING TOPIC — THE FOUR AGREEMENTS

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The Bodhisattva Kuan-Yin, June 2008, Minneapolis Institute of Arts, photo © 2008 by QuoinMonkey. All rights reserved.

The Bodhisattva Kuan-yin, June 2008, Minneapolis Institute of
Arts, photo © 2008 by QuoinMonkey. All rights reserved.



A few weeks ago, Liz and I and a studio mate visited the Minneapolis Institute of Arts to attend a panel discussion addressing the question — What Is the Current State of the Arts in Minnesota? There are differing opinions; it depends on who you are.

Though Minnesota has traditionally been one of the most well-funded and supportive states in the U.S. for the Arts (and Minneapolis one of the most literate cities), many writers and artists will tell you that over the last 10 years, funding at the state, community, and individual levels has begun to dry up.

Before the talk, we glanced around the room and wondered why the discussion was not better attended. Where was the community? Where were all the artists and writers? Where was everybody?

Opening remarks were from Minneapolis City Council President Barbara Johnson, and we listened to representatives of the Walker Art Center, the Minneapolis Institute of Arts, the Minnesota Orchestra, Loft Literary Center, Guthrie Theater, and McKnight Foundation frame the discussion through a rose-colored prism. It soon became apparent that the institutions and well-oiled machines that house and fund our arts and creative programs had a totally different take than many artists I know. With few exceptions, nearly every person on the panel thought the Arts in Minnesota were doing well.

One exception was program director for the arts at the McKnight Foundation, Vickie Benson who made a reference to how we can’t forget artists who live with poverty, have no health insurance, and face a lack of retirement money. And Fox 9 news anchor and moderator, Robyne Robinson, stepped in with a personal experience about how a Fox 9 news segment on the Arts she once hosted had been cut from the local news. It took courage for her to go out on that limb.

You can read more about dissenting opinions at mnartists.org’s Commentary: What is the State of the Arts in Minneapolis? by Michael Fallon. Everything is conflicted. I’m an artist and writer. I attend events at the Guthrie, the Loft, the MIA. I’m a member of the Walker. Yesterday I heard an MPR piece about how funding is drying up for a local history museum in a rural Minnesota town (many museums receive Arts funding). Staff has been cut. Volunteers can’t afford the gas to get there and are asking for reimbursement.



          Kuan-Yin, June 2008, Minneapolis Institute of Arts, photo © 2008 by QuoinMonkey. All rights reserved.      Kuan-Yin, June 2008, Minneapolis Institute of Arts, photo © 2008 by QuoinMonkey. All rights reserved.      Kuan-Yin, June 2008, Minneapolis Institute of Arts, photo © 2008 by QuoinMonkey. All rights reserved.



What is the state of the Arts in your hometown, state, province, or country? Are you experiencing differing opinions between Arts institutions and the writers and artists who create the work? One will not survive without the other. It is a reciprocal relationship. There is room for debate; there is always room for healthy discourse.

For the time being, I’m choosing to focus on the compassion of the Bodhisattva Kuan-yin. After the panel discussion, we attended an art opening downstairs, Smoke and Mirrors by photographer Vance Gellert, and strolled through a few floors of the MIA permanent collection. Kuan-yin had a window seat next to a series of ten to fifteen Buddhas and Bodhisattvas spanning thousands of years.

Bodhisattvas are Buddhist deities who have forgone entrance into Nirvana until all beings have attained enlightenment. In China, Kuan-yin became the most popular bodhisattva and was widely worshipped as the deity of mercy and compassion. She is often depicted as female or androgynous, even though she sometimes has a mustache.

According to the MIA, the Kuan-yin in these photographs is seated cross-legged in the lotus position (vajrasana), and is from the Sung dynasty (960 to 1279) noted for its art, literature and philosophy. The bodhisattva is carved from movable sections of wood; the eyes are inlaid crystal, and the robes of gold leaf. Both hands are turned up with thumbs touching the middle fingers in the gesture of discourse or argumentation (varada mudra). The hair was originally encased by a gilt metal crown that is now missing.




Kuan-Yin, June 2008, Minneapolis Institute of Arts, photo © 2008 by QuoinMonkey. All rights reserved.     Kuan-Yin, June 2008, Minneapolis Institute of Arts, photo © 2008 by QuoinMonkey. All rights reserved.

haiku for Kuan-yin, June 2008, Minneapolis Institute of Arts, photo
© 2008 by QuoinMonkey. All rights reserved.





love disguised as art
mercy steeped in compassion
cracks open the door





-posted on red Ravine, Wednesday, July 2nd, 2008

-related to posts: haiku (one-a-day) , Walking Your Talk (Do The Arts Matter?), Does Money Soil Art?

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Burning, Minneapolis, Minnesota, photo © 2008 by QuoinMonkey. All rights reserved.

Burning, Minneapolis, Minnesota, photo © 2008 by QuoinMonkey. All rights reserved.



How do you walk your talk? I’ve been thinking about what that means. I can write, paint, draw until I’m blue in the face. How does it change anything? How is it making a difference in the way I live my life?

A wise person once told me, it doesn’t matter what a person says — pay attention to what they do. The true measure of a person is in their actions. If someone shows you who they are – believe them.

Choosing to become a writer and artist has changed the way I look at the world. I dive for details; I poke at the underbelly; I take risks; I notice things that are tossed aside, hidden, secret. Other writers and artists are doing the same.

I have the greatest respect for those who form community, who give back what they’ve learned. I’m sitting here writing my butt off everyday, but who cares? How am I giving to the local community, my neighborhood, to family and friends.

It doesn’t matter what I learn, how educated I am, how many degrees I’ve earned, how much money I make. What matters is how I apply what I’ve learned to my daily life – how I walk the talk.

Does my word mean anything? Does the art mean anything? Do I show up to honor my commitments? If I make a mistake, do I admit it, offer apology? If I slip away for a while, disappear, do I come back? Or do I abandon.



Walking The Talk, Minneapolis, Minnesota, photo © 2008 by QuoinMonkey. All rights reserved. Walking The Talk, Minneapolis, Minnesota, photo © 2008 by QuoinMonkey. All rights reserved. Walking The Talk, Minneapolis, Minnesota, photo © 2008 by QuoinMonkey. All rights reserved.



What about my commitments to myself? I can put a structure together on paper – time to do my art, to work on my book, to read other writers. If I don’t follow through, live the structure, it’s not worth the weight of the paper it’s written on.

I can get out and teach other people about writing. And about the value of the Arts to a community. But if I’m not living what I am teaching, who’s going to listen? Who’s going to believe me?

How do you show up for others. Has writing changed the way you interact with your family, friends, students. Do you share knowledge and credit, model what you’ve learned? Or hoard information for yourself.

There are those who go to the opposite extreme — giving themselves away, until there is nothing left. Do you overgive or caretake? Do you know when you are depleted, exhausted, need time alone, downtime to replenish the well.

How do you walk the talk? Is it by going to writing retreats, taking risks with your art or writing, writing in a group, submitting your work? Do you support libraries, rally public funding for the Arts, frequent museums, encourage your kids to do art. Or is it as simple as showing up to the page, at the canvas, or with your camera, burning to create.

So many questions. I’m not looking for answers, only the sharing of ideas. Why do the Arts matter in this world. What does it mean to walk your talk?



…be patient toward all that is unsolved in your heart and try to love the questions themselves like locked rooms and like books that are written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now.

Rainer Maria Rilke, Letters to a Young Poet, 1934

-posted on red Ravine, Sunday, March 2nd, 2008

-related to post, W. H. Murray – Providence Moves Too

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