Anyway, riding in a van for a week turned us from “Friends
and Brothers” to angry inmates who couldn’t wait to bust out.
Fifteen Years. That’s how long Shades Mountain Air has been together, at least the core of Greg and Nancy Womble, Gary Furr, and Don Wendorf. We have spent a couple hours a week most of that fifteen years weekly at Greg and Nancy’s house, practicing, horsing around, composing, arranging, learning and growing from one another. We’ve only had one personnel change in all that time–Don’s son, Paul, our outstanding fiddle player, left us to move on with wife, kids, career, to Texas, and so, we were four again for a while, then found Melanie Rodgers. Mel has added dynamic new joy to our sound, and is now a part of our 15th Anniversary Live Album that is now available. (Go to the website store for our new CD click here!)
The album sounds great! We hired Fred Miller of Knodding Off Music to record and engineer our live concert. Fred did a fantastic job and we are so happy with the result. He captured our live sound and energy. It sounds like us! There is NOTHING like live music, and though it’s fun to be in a studio and monkey around with something until you get it “perfect”, there is a corresponding loss of that spark that performers-audience and a venue provide. We did it at our favorite gig–Moonlight On the Mountain in Bluff Park in Hoover, Alabama, with Keith Harrelson, as always, handling lights and sound.
I say all this because Shades Mountain Air is more than a band. We have become family together. We love playing together, singing, creating, whether anyone is listening or not. Greg and Nancy’s kids grew up having to hear us every week in their house. We have been through life crises, griefs, and changes Read the rest of this entry
Last night, I went to hear JIM HURST, IBMA (International Bluegrass Music Association) Guitarist of the Year. That means he is a fast-pickin’ guy. “Bluegrass,” like few other labels, can lock you in. The people who love and adore it who are more on the “traditional” side (Has to be like Bill Monroe and Earl Scruggs played it or it ain’t bluegrass) will leave you for growing, experimenting and deviating. The rest of the music listening world (Country, whatever that is anymore, sheesh!), folk, indie, etc. is disinterested because they never get beyond stereotypes like “Deliverance” and the Beverly Hillbillies. Read the rest of this entry
I don’t go anywhere Jesus wouldn’t go,” and if I read the gospels right, that doesn’t exclude much at all.
Well, speaking of music, last week Nancy and I sang at the funeral I conducted for a dear, dear friend and fellow church member, Mr. Hack Sain. Hack loved our music and encouraged me in it. He got us front row seats at the Grand Ole Opry while we were in Nashville leading a prayer retreat for the church years ago. nThe retreat finished, people had free time, and a bunch of us went to the Opry, thanks to Hack’s good friend Joe Thrasher. Well, Joe got us front row seats, and there I was, staring up at Lorrie Morgan, who was hosting. She is a beautiful woman, and a great singer. It was a fine time. Of course, I forgot we were on TV, and after I drove home, preached, and was standing out in the foyer, members came up and said, “Hey Preacher, we thought you were leading a prayer retreat, but I cut on the Grand Ole Opry last night, and there was Lorrie Morgan in a miniskirt and there you were on the front row.” Blush. Hack loved it.
My rule about playing music is I don’t perform where the venue isn’t about the music. My rule is, “I don’t go anywhere Jesus wouldn’t go,” and if I read the gospels right, that doesn’t exclude much at all. Might keep me out of a few religious gatherings, but if sinners are there, I have the green light from the Boss…
HEY, all of our bama and Birmingham friends, we will be at WALD PARK tonight for the resxcheduled I LOVE AMERICA series for Vestavia Hills. Kids activities, free swimming and a family movie, along with our concert at 7-8 pm. Hope you can come out!!!!!
CLICK THIS LINK FOR MORE INFO
When you jam, you shoot for fun and participation, not showing off
Well, the other day Nancy called me and said, “Hey, we’re going to have a jam over at the house.” Jim Brown and his daughter are coming to play fiddle, and a couple of neighbors are coming, one plays the guitar.” So I went. We had a grand time.
Jam sessions used to terrify my when I was still learning the “discography,” as they say. The bluegrass, celtic, Irish, old-time and folk worlds are an oral tradition of literally thousands of songs. Just the familiar American fiddle tunes common in jams, like “Blackberry Blossom,” “Bill Cheatham,” “Whisky Before Breakfast,” “Salt Creek” and so on, number in the hundreds. And there are different ways they are played. Anyone wanting to learn guitar, and especially folk and bluegrass music, does well to practice these tunes until the most common 30-50 of them are familiar to you.
The most powerful truth about “fiddle tunes” is that they were originally not for performing but playing together and dancing. In other words, they were communal. It was something people did before blood-spurting video games, cruising the next and texting, all solitary expressions that tell who we are. Modern Airports are museums of eccentric anonymity—looking at their screens and ears plugged with those ubiquitous white Apple ear deafeners. Lots of people carrying instruments somewhere, but not a dern one of us pulls it out of the case and gathers new friends to pick. Shame. It would sure help us forget how much we hate the airlines.
When you jam, you shoot for fun and participation, not showing off. Off course, plenty of the latter happens, but it’s better if you don’t go for it. Showing everybody else up is, well, obnoxious, same as in regular life. It’s like beating your two year old in basketball. And it proves what?
Anyway, the world of this music is a world of sharing, courtesy, respect and encouragement. Not mostly about showy breaks, but all things decently, in order, and as widely involving as possible. I’m reading Blue Ridge Music Trails of North Carolina, and in it, the author cites the “Ten Commandments of Jamming” by Laura Pharis.[i] Here they are, in case you decide to gather a quick jam at the airport next time so it can have a smidge of humanity amid the sterility of moving masses on the flying tubes.
1. Thou shalt not forsake the beat.
2. Thou shalt always play in tune.
3. Thou shalt arrange thyselves in a circle so thou mayest hear and see the other musicians and thou shalt play in accord with the group.
4. Thou shalt commence and cease playing in unison.
5. Thou shalt stick out thine own foot or lift up thine own voice and cry, “This is it!” if thou hast been the one to begin the song, this in order to endeth the tune, which otherwise wilt go on and on forever and forevermore.
6. Thou shalt concentrate and not confound the music by mixing up the A part and the B part. If thou should sinneth in this, or make any mistake that is unclean, thou mayest atone for thy transgression by reentering the tune in the proper place and playing thereafter in time.
7. Thou shalt be mindful of the key of the banjo, and play many tunes in that key, for the banjo is but a lowly instrument which must be retuned each time there is a key change.
8. Thou shalt not speed up nor slow down when playing a tune, for such is an abomination.
9. Thou shalt not noodle by thine ownself on a tune which the other musicians know not, unless thou art asked or unless thou art teaching that tune, for it is an abomination and the other musicians will not hold thee guiltless, and shall take thee off their computer lists, yea, even unto the third and fourth generations. Thou shalt not come to impress others with thine own amazing talents, but will adhere to the song, which shall be the center around which all musicians play.
10. Thou shalt play well and have fun.
Far as I’m concerned, ought to send it to the United Nations, Congress, and the G8. Some good jamming would resolve many of the biggest diplomatic crises of our time. Look at the dictators and tyrants of history. You wouldn’t find a banjo or mandolin within a mile of ‘em. That’s where the problems started. As the late Briscoe Darlin once said on Andy Griffith, “You got time to breathe, you got time for music.” Or, a man that ain’t got time to pick a tune, well, he’s trouble waitin’ to happen.” Stay back so the explosion doesn’t get you.
[i] Pp. 161-162, Hannah Allen is a contributing writer for the North Carolina Arts Council blog, NCArtsEveryday,
If we learn to look at life with the eyes of the artist, we
will see an entire universe that is “a gift of mercy.”
It’s odd that a musical preacher who writes songs, cut his teeth and got called to ministry during the Jesus Movement of the 1970s would have met Pat Terry so late in life, but that’s the way life winds sometimes. I had heard of the Pat Terry group back when he was starting out—Pat is just a bit older than me. I heard his songs, but my musical journey got put on hold for a long time as marriage and children and years in graduate education and pastoral ministry took me in different directions. I continued listening to music and playing and singing, sometimes in church and mostly by myself for my own pleasure.
Pat Terry, meanwhile, was on a journey of his own, too. After many years, first in the very spontaneous and joyful Jesus Movement musical world, and then for a while in the increasingly industry-captivated contemporary Christian musical world, he moved on. He had a good, long run as a commercial songwriter in Nashville, with a string of songs for many well-known artists like John Anderson, Travis Tritt, Kenny Chesney, Alan Jackson, Tanya Tucker and the Oak Ridge Boys. He learned the Nashville craft and all the while continuing his own inner journey of writing from the heart.
So it was that a few years ago, Greg Womble, my friend and bandmate who plays the banjo publicly, and I, who play it out of earshot but love it, went to Atlanta to Read the rest of this entry
I have dipped my first toe into soundtrack creation for a movie. My bandmate, Greg Womble, has written and produced a beautiful short Christmas film and is in the final edit stage of his short Christmas film, “Visitor to Virgin Pines.”
Our band was invited to do music for it, and I have to say, it is one of the most interesting undertakings I have ever done. Mostly late at night, I sat with a banjo, guitar, mandolin, even percussion, and tried to create “moods” for scenes. I have enormous appreciation for what people who do this face. And yet, it is joy to do it. I came up with some really nice instrumental stuff, not all of it chosen for the musical, but which may land in a Christmas CD. Here’s a piece I did on the banjo called “Sugarplum Ferries” (yes, I know. I spelled it the way I wanted to–I had the image of little boats going back and forth loaded with goodies). “Sugarplum Ferries” Read the rest of this entry
I have just finished a new CD entitled, “What It Is.” I have been writing and working on these songs for about two years now, and finally got to a point where they were ready. I performed many of them in my last couple of concerts and got great audience response.
I have written about 80 songs now in my lifetime. One songwriter said after you have written 100, you are ready to write really GOOD songs! 20 to go!
I am very proud of these songs. They are personal, emotionally candid, and like children to me. The musical styles are eclectic. What I am most thrilled about is the opening of my “store” online that now has all three albums on it. You do not have to mail me checks anymore and wait for me to wrap and mail a CD. You can purchase them online by credit card either as download, tradiltional CD, individual song download or even a ringtone!
I hope you’ll take a listen and would be honored if you like one to buy. It is produced, shrink wrapped and shipped directly from the factory to you on demand. Click this link to visit the store
You can also get there by going to http://www.reverbnation.com/garyfurrmusic
Last Friday night, I was in concert with Adler & Hearne at the Moonlight Music Cafe. We had a great time, as always, and my incredible bandmates from SHADES MOUNTAIN AIR joined me to back up several songs. It was a great night. This album is about love in its endless variety and mystery. It is love, known first from God, and embodied in my incredible wife, Vickie, my family, my friends and neighbors, that make life so worth living. Read the rest of this entry
This blog is drawn in part from some chapters I’m writing for a forthcoming book on prayer from Insight Press. I’ll announce it when it is available for purchase on this site.
Moments of sensitivity to God’s presence happen in the oddest places—foxholes, pinned in a car wreck, hospital waiting rooms, lying in bed when you can’t sleep. People report God’s presence when life is unraveling, but also sitting on the porch on a quiet afternoon. Holding a baby. Counting blessings. Waking up and drinking coffee. Chance encounters. Prison cells, torture rooms, earthquakes and financial ruin. A meal with friends, a good book, listening to a hymn in church and singing to yourself. God can show up anywhere, unannounced.
I had one of those moments in a basement laundry room in a retreat center just before worship. I had spent a great deal of time alone that day, thinking, praying, and resting. That evening, we were scheduled to have communion in the chapel before dinner.By the SS
During free time that afternoon I took some laundry to the basement and sat there, alone, except for my old twelve
string guitar, which I had owned since the age of sixteen. I took along a hymnal to play and sing some songs to pass the time, and did a wide variety of songs. After a while, I stumbled upon an old favorite, “In the Garden.” Theologically sophisticated people do not generally like this hymn—it has no sense of the social or community, no ethics, no grand sweep of history or lofty notion of God. It is all personal and private.
The words “I, me and my” occur twenty times by the time you sing it all the way through, most notably as, “And he walks with me and he talks with me and he tells me I am his own.” It can be seen as a rather undeveloped view of faith, infantile and self-absorbed.
But as I sang it, something remarkable happened. I began to think about my grandfather, a self-taught worship leader in Baptist churches in NC who taught shaped-note singing schools. We moved from there when I has only seven. Until then, my grandfather was nearby and always present in my life.
I am from the old school. Because I am of Welsh ancestry, I am musical, emotional and mood-swingy passionate. But because I am an American man, I am half Marlboro cowboy. I only cried at the acceptable times—maybe once per grief, or, like my father in law, who said the only time he ever cried was getting kicked in the groin in football.
The only time American men can cry acceptably like little children is when their chosen sports team loses. Then they perform tantrums. They also cry watching certain movies and shows, but it always seems to be about something else.
Now, I sat in a windowless basement in California, singing “In the Garden,” when suddenly a vision of my dead grandfather came to my imagination, but now he was alive, singing with the hosts of heaven, and I felt the tears welling up. It was twenty-five years after I got the news.
Not that I had failed to grieve at all. The very first song I wrote, “The Last Freight Train,”(CLICK to listen) is where I put my loss. I wrote it around age fifteen, and the lyrics sound like a fifteen year old, but I made it the first cut on my first CD, “permanent world of pretend,” because it was my “starting place” in songwriting.
Grief can make you crazy, or, if you handle it halfway right, it can make you well. Up to you. Ignore it, and you can destroy everything around you without a clue why. Move through it and you can live for the first time like you were supposed to live. Running away is pretty common, of course, except this is more like running away to escape a terrible tattoo.
Music is a wonderful tool to put in your “grief box.” Since my grandfather, and my families on both sides, were singers and players, music helps me. But if you can’t play anything except a radio, music can help.
At our church, we are blessed to have an incredible musician, Dr. Terre Johnson, who leads our music. He is an amazing musician and minister, worked at Carnegie Hall for several years with a choral company there. He is a terrific arranger and composer of
choral music. He has written some astounding pieces for grief and out of grief. One, after a tornado hit a school in Alabama years ago, has been performed at the White House, an arrangement of “Come, Ye Disconsolate.” (LISTEN-click) He knows that the right music at the right moment can do more than soothe—it can elevate the moment above hopelessness and sorrow.
I say all of this because as a songwriter, I am always dealing with feelings of one kind or another—happiness, sadness, hope, fear, you name it. You want to feel something in a good song, not just talk about it. I write out of those wells of feeling. Disconnect from them and the song never happens.
You can drown in them, of course, but that’s another blog. The point isn’t to get stuck in sorrow, but to “man up” and stay in the room until the door opens into peace and acceptance.
I’ve met more than my share of crazy people in my line of work, and I’ve got to say many of them have some kind of terrible grief that they flounder around. And instead of moving into it, they run the other way and make themselves and the rest of us miserable with their determination to will it out of the picture. Too bad. A good cry on a regular basis or a healthy helpin’ of blues, hymns, an adagio or two, and they might climb out of the tarpit.
Next time I’ll share a list of my own favorite “grieving songs” over the years. Usually their significance has more to do with the synchronicity of occasion and song and not merely with the song itself.
Until then, don’t wait for a kick in the groin. Grief is a powerful secret that you can’t keep down in the basement forever. You don’t have to carry it around on your sleeve or talk to everyone. But find your way to sit with it, feel it, and draw on your faith to outwait it.
The Darling Boys are no more
This has been one of the unkindest of years in acoustic music. First, Earl Scruggs, the Founding Father of bluegrass banjo, passed away (read my post on Earl’s death here CLICK) back in March. Then a few weeks ago, Doug Dillard, a rollicking banjo player who blazed a trail with the banjo across genres in the 1970s when he left the Dillards to join Gene Clark of the Byrds to form Dillard and Clark.
Of course, you’d know old Doug for another reason, if you ever watched the Andy Griffith Show. He was the poker-faced Darlin’ Brother in the family band that descended like an affectionate blight on Andy and Mayberry every
now and then, always intermixing their superstition and hijinx drama with some red-hot bluegrass while Paw (Denver Pyle) came along on the jug.
In fact, the Darlin’ Family were a rising bluegrass band discovered by Andy Griffith’s producer in a nightclub in Los Angeles. At the core were two brothers, Rodney and Doug Dillard, on guitar and banjo, and joined by Mitch Jayne and Dean Webb on bass and mandolin. They hailed from Missouri and had been performing on the folk revival scene when Andy found them. They moved to LA to have greater freedom to experiment with their music and its traditions.
The first bluegrass song I played was probably “Orange Blossom Special” with my Dad and Uncle Paul Furr on the fiddle on Uncle Paul’s porch. Uncle Paul exposed me to my first outhouse, although it was a little upscale, known as a “two-holer.” The second song I met growing up was “Bowed My Head and Cried Holy,” brought to me by my friend Paul in high school, while we were playing together. I loved it right away and got the vinyl album. In our current band, we learned Dillard’s version of this very old tune early on and still do it. “Bowed My Head” was an old time tune that Bill Monroe and others did in an old time style, but Dillard and Clark did it with drums, pedal steel and Byron Berline on the fiddle. It had an energy that would influence many others. The New York Times says,
Known simply as Dillard and Clark, their group, with Mr. Dillard playing guitar and fiddle as well as banjo, recorded two albums for A&M before disbanding. The albums did not sell well but have come to be regarded as among the earliest stirrings of the West Coast country-rock movement and an important influence on the Eagles and other bands. (Bernie Leadon, a charter member of the Eagles, had also worked with Dillard and Clark.)
Doug Dillard’s playing has shown up in all our lives somewhere. According to Billboard magazine’s tribute article, “the brothers still worked together in front of the camera from time to time, being part of Harry Dean Stanton’s band in the Bette Midler film The Rose.” The Dillards toured with many performers over the years– Bob Dylan, Joan Baez, Carl Perkins, even Elton John. They left a huge influence on what would become “newgrass” and crossover music in groups like the Eagles and many others.
Doug could make a banjo sing. I read that when he first got his banjo he got his Dad to drive him to Nashville to Earl Scruggs’ house
Bluegrass banjo pioneer Earl Scruggs answered a knock at the door of his Nashville home in 1953 to find an eager-
looking banjo enthusiast on the porch asking Scruggs to put a set of his special tuner keys on the young man’s instrument. “He was so gracious,” Rodney Dillard said of the reception his older brother, banjo player Doug Dillard, received that day from the father of the bluegrass banjo. “He sold him the tuners, then sat down at his kitchen table and installed them on the spot.” (LA Times—read the story)
The fine compilation of their hits is on a single CD called THERE IS A TIME: 1963-1970. It contains all the great Darling Family songs from the show, but also a lot of the songs the Dillards did, from folk to country, old time and blended styles. You can hear Doug Dillard’s melodic licks leap from the strings.
Anyway, I especially remember another song the Dillards did that is one of our mainstays, “There is a Time.” (Listen) It is a sad, mournful, truth-telling tune about how love is weathered down and dies in time. Charlene sang it on the Griffith show and it was one of the most haunting tunes I ever heard. Andy says at the end, “Well, that’s about the purtiest thing I’ve ever heard.”
One thing is different about Doug from his Andy Griffith character, who was always poker-faccd. If you ever watch a video of Doug Dillard, he’s always smiling onstage.
Some years ago, Rodney was invited to do the song with the Dillards on the next generation of the Nitty Gritty Dirt Band’s “Will the Circle Be Unbroken Volume III.” Rodney wrote a fourth verse to add to the original three that seems somehow fitting. Originally written with Mitch Jayne, who has since passed away, he sang it in a video that I leave with you as he mentions the loss of Jayne and, perhaps, fitting to hear as we think about his brother’s passing. The new lyric says, hopefully
Time is like a river flowing
with no regrets as it moves on
Around each bend a shining morning
and all the friends we thought were gone
Rest in peace, I say once more, to another banjo legend. Thank you, Doug Dillard. The Darling Boys are no more.
Tomorrow, I’ll remember Doc Watson. Two legends deserve their own mentions.
…there are aspects of humanity that are not reducible to particles, chemicals and rational analysis.
In my last post, I reflected on the interesting work of Oliver Sacks on memory. A few further thoughts about the whole notion of science, faith, and humanity.
Sacks has been criticized roundly for his “anecdotes” that don’t meet all the rigor of some scientific requirement, especially by the radical reductionists. Some believe that “there is no self or soul. We are merely the product of our acculturated experiences and brain physiology and when it’s gone, so are we.”
But there is something instinctive that we know—that there are aspects of humanity that are not reducible to particles, chemicals and rational analysis. Beauty, humanity, value abide somewhere beyond all our curiosity about mechanisms. Even when the mechanisms are explained, there is yet Something.
I once asked a group of scientists with whom I meet from time to time to talk about religion and science (none of whom are six-day creationists, all but one of whom are yet theists and Christians), “My question for you is not why you believe in evolution or why even intelligent design is not logically necessary from the perspective of scientific method. It is this: you are committed scientists, are convinced of its methodology, humble about what we can know. And yet you still worship, believe in God, go to church. I am much more interested in that than boring college-dorm debates where someone has to knuckle under at the end and say, “You’re right. I give up.” Why do you do this?” What is it that you DO believe?
Then I heard something fresh. “Even when you understand these things, it causes wonder.” There is Something underneath that can be alternatively explained but it seems vulgar to do so. Wonder. Amazement. Delight. Joy. They can be explained as neurons, nerves, responses, brain centers, blah blah blah. But why do they exist at all?
On December 27, 1992, I did a funeral of a real character in the town where I lived in South Georgia. Mr. Earl “Tige” Pickle (short for “Tiger,” a peculiar name for such an outgoing man!) was a newspaper columnist, leader in the community and local radio personality. Everybody who was anybody in Early County eventually was asked to be on Mr. Tige’s radio show. Since our paper came once a week, people depended on Tige to get the day-to-day necessities. He kept us up on things like the funeral notices and what the coach had to say about the big game and how the peanut crop might do this year with the lack of rain and that terrible fungus the county agent had just identified.
Since I was the new preacher in town and he had more or less run out of interesting guests, Tige invited me to be interviewed. He was particularly interested in the fact that I was from Texas and, as people usually do, assumed that I knew all about things Texana. I didn’t know these things, of course, but like any good Texan, what I lacked in fact I simply invented, added and padded.
He was a wordsmith who appreciated a good story and a well-written sentence. He often came up to tell me how much he appreciated some joke I had told in a sermon or some point well-made. Of course, as in all lives, the day came when life began to take his gifts away, and it took them in a most cruel fashion. This dear man with a sly grin and quick wit began to lose his words. They said it was Alzheimer’s.
One day, long after the ravages of senility had begun to take their toll, I went out to the nursing home to lead a worship service. As always, Tige was present, sitting in a rocker at the back. By now he had become silent and unresponsive. This particular day I invited the residents to join me in singing “Amazing Grace.” As we began to sing, something came over Tige. He got up as though moved by an invisible and ancient force of habit and moved toward me. Now he was no longer in the day room at the nursing home. I believe he was sitting again in his mind in the pews of First Baptist Church and worshipping in his regular place.
He sang out loud and continued to make his way forward until he stood shoulder to shoulder with me. There he continued to sing as though he were leading the congregation itself until we finished the song. When we’ve been there ten thousand years, bright shining as the sun; we’ve no less days to sing God’s praise than when we’ve first begun.
Then he went back to his seat. When nearly everything else had left his memory, the power of a lifetime of faithful worship and faith had marked his life. Though he rarely spoke those days, something raised him out of that chair and moved him to sing every word of that great old hymn. Religion has just about lost its soul in America trying to control the culture, run politics and come up with glib answers to everything. We’d do better to settle back into mystery, in my opinion. Humility is not such a bad place to be, not if you really believe in something. Especially if you think there is Something that comes from beyond us, beyond death, beyond decay and Alzheimers and suffering and loss.
Oliver Sacks’ work may also remind us that the practice of faith is deeper than what we “feel” or “decide” or experience. There is something entirely worthwhile about the practice of faith that resides at the level of gestures, behaviors and trusting actions. Liturgy, devotions, singing, and prayer become habits of a life. Theologian Greg Jones once wrote:
Two of the most powerful intellectual and social forces in our culture are the hard sciences and capitalist economics. Together they have conspired to produce images of personhood that undermine Christian understandings. According to these images, persons are defined by their rational capacities and their productive contributions.
The loss of reverence and respect for human life and human bodies, whether they retain capacity for memory or not, is the result of our obsession with reason and the GNP. But institutional religion can commit the same sin. People can be valued only for being young, for the contributions they make to the community or for their sameness to us. This is as far from the religion of Jesus of Nazareth as can be. The One who welcomed lepers, outcasts, children and the sick reminds us that pragmatism is a useful tool but not a way of life adequate to all things.
I find it frankly puzzling to meet conservative Christians who effusively praise Ayn Rand. In the words of Liz Lemon, “What the WHAT?” We can love, value, care for people poorer than us, less fortunate, weaker or damaged. This is not misguided but actually a humble bowing before mystery. There are yet things in a silent woman sitting in the activities room of the nursing home unknown to us. And so we care for her, not only for her past, but for the simple fact of respect and care for her deep fellow humanity. That is enough. To learn this is the beginning of wisdom.