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In this final post, completing a poetry collection responding to every theme from the year, 2013 Artist in Residence Emily Ruth Hazel brings us a beautiful poem in reflection of the theme of "Memory" and Jonah 2:5-7 as a 2013 Spark+Echo Artist in Residence.
Jonah 2:5-7
Undressing Prayer
By
Emily Ruth Hazel
Credits:
Photo Credit: Justin T. Shockley
Curated by:
Spark+Echo Arts, 2013 Artist in Residence
2013
Poetry/Spoken Word
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It's been a privilege to journey through 2013 with Spark and Echo Arts, responding to each of this year's six themes as a Resident Artist. For this last piece on Memory, I was inspired by the biblical story of Jonah: specifically, his prayer from inside the whale that swallowed him (and became the vehicle of a second chance to fulfill his calling). I drew from my own memories as well—my experiences as an editor and as a college student before that, as someone on a continual quest for quiet who likes sitting in empty churches, and as a New Yorker fascinated by the daily mix of clothing styles worn by people from all walks of life.
I'm interested in how what we wear reveals something about who we are, and in how frequently we connect with people (or don't) on that basis. Likewise, I wanted to explore how dressing God "in our own [human] image" can lead us to dangerously inaccurate perceptions of human/divine relationships, and on the flip side, how humanizing God can give us fresh perspectives that bring the spiritual within reach. (Of course, that kind of exploration requires acknowledging the gap—or chasm—between our limited understanding and who God actually is.)
One of the images that came to me is from the publishing world. Back when editors' offices had narrow windows over the doors (often left open for air), writers sometimes submitted unsolicited manuscripts by tossing them "over the transom"—hence the phrase still used today. I've heard of a similar practice among musicians and would-be DJs eager for airtime on college radio stations. Artistically and spiritually, I can identify with the hopefuls looking to break in.
As I was thinking about ways in and ways of reframing tradition, I was reminded of my occasional encounters with the Book of Common Prayer, which is used in Anglican church services. I also recalled a term I hadn't heard of until recently: Ordinary Time, which in the Christian liturgical calendar refers to all the months between Advent/Christmas and Lent/Easter. While certain seasons point us toward remembrance in more obvious ways, as a poet, I'm most interested in what we hold onto in the ordinary in-betweens.
To remember is to return internally to a place we've been, to an image or idea, to an impression of or relationship with someone. Jonah's prayer inside the belly of the whale—"When my life was ebbing away, I remembered you, Lord"—is an expression of returning. And at its essence, every prayer is a return: to ourselves and to God, to a belief, or simply to a sense of gratitude.
Spark Notes
The Artist's Reflection
Emily Ruth Hazel is a poet, writer, and cross-pollinator who is passionate about diversifying the audience for poetry and giving voice to people who have been marginalized. Selected as the Honorary Poet for the 25th Annual Langston Hughes Community Poetry Reading in Providence, Rhode Island, she presented a commissioned tribute to the Poet Laureate of Harlem in February of 2020. She is a two-time recipient of national Dorothy Sargent Rosenberg Poetry Prizes and was awarded a National Endowment for the Arts Fellowship for a residency at The Hambidge Center in 2014. Her chapbook, Body & Soul (Finishing Line Press, 2005), was a New Women’s Voices finalist. Emily’s work has appeared in numerous anthologies, magazines, literary journals, and digital projects, including Kinfolks: A Journal of Black Expression and Magnolia: A Journal of Women’s Socially Engaged Literature. Her poetry has also been featured on music albums, in a hair salon art installation, and in a science museum exhibition.
Emily has written more than twenty commissioned works for organizations, arts productions, social justice projects, and private clients. Currently, she is developing several poetry book manuscripts and writing lyrics for an original musical inspired by the life of the extraordinary singer and Civil Rights icon Marian Anderson. A graduate of Oberlin College’s Creative Writing Program and a former New Yorker, she is now based in the Los Angeles area.
Instagram: @EmilyRuthHazel
Emily Ruth Hazel
About the Artist
Explore the other works composed throughout the year in Emily's poetry collection, created as a 2013 Artist in Residence.
Explore her works created throughout the year:
LIGHT AND DARKNESS (JANUARY 21, 2013)
“Circling the Waist of Wisdom”
FOOLS (APRIL 26, 2013)
DANCING (JUNE 27, 2013)
LIES (AUGUST 8, 2013)
HARVEST (NOVEMBER 14, 2013)
MEMORY (JANUARY 6, 2013)
Artists in Residence
Spark+Echo Artists in Residence spend a year developing and creating a major work in response to Scripture. Click on their names to view their projects.
Current Artists in Residence
Spark+Echo Arts seeks to develop and support communities of artists who engage with and create in response to the Bible. Due to the impacts of COVID-19 and some internal changes, we decided to pause the Artist in Residency for a year so that we could regroup our resources. Our hope is to continue offering this opportunity in 2021.
Previous Artists in Residence
2020
Sapient Soul, Marlanda Dekine (Poetry + Spoken Word)
2019
Lancelot Schaubert (Short Story)
2018
Elias Popa (Installation Art)
2017
Aaron Beaumont (Music), Lily Maase (Music)
2016
Ebitenyefa Baralaye (Visual Art), Chris Knight (Film), Lauren Ferebee (Theatre), Stephanie Miracle (Dance)
2015
Benje Daneman (Music), Jason DaSilva (Film), Melissa Beck (Visual Art), Don Nguyen (Theatre), Christine Suarez (Dance), The Spark & Echo Band (Music)
2013
Nicora Gangi (Visual Art), Emily Ruth Hazel (Poetry)
Related Information
As the one who turns the wheels inside our minds, behind the sky—the shifter and shaker of galaxies—is upstairs getting dressed in our own image
Undressing Prayer
by Emily Ruth Hazel
As the one who turns the wheels
inside our minds, behind the sky—the shifter
and shaker of galaxies—is upstairs getting dressed
in our own image,
God becomes a brand name
proudly worn by a loud,
forgetful people, though it clashes
with their actions. A label others can’t afford to own,
or dismiss as someone else’s style.
And what is the founder
changing into? Just another suit
stiff from the hanger, second skin of a CEO
who flies home to a mansion on a mountain of clouds,
barely glancing through gleaming glass floors
between prime time shows?
What if God came down
in everyday jeans and a t-shirt, at work invisible
to us, like a radio DJ, a speaker of the air whom everyone
and no one knows? Would God wear corduroy,
a blazer with elbow patches,
large feet propped up
on a desk containing continents
mapped with coffee stains, pushing papers
off the back edge—another accidental
avalanche? What if God is digging through
the geologic strata of waiting
pages, an editor who sees
the sun-spark in our layers of schist,
opens our hearts with a red pen
of dynamite, then helps us in laying new foundations
and moves us into the stories we are
meant to inhabit?
Thirsty for purpose, the brave ask
for interviews, pitch their manuscripts
and mixtapes over the transom, hoping
someone will read their thoughts, listen
to their midnight music.
As for me, I worry that I’ll burn
through some unspoken quota, wear out
my welcome with the magnanimous
powers that be. Rarely do I send an SOS, unless the bluff
on which I’ve built my life is eaten away by the waves’
relentless hunger—stalling
till I am poised
to plunge into the ocean. One college semester,
I drifted miles from shore, breath spent treading water,
before I finally raised my arms, ready
to be thrown a rescue ring
from any passing boat. Washed up
on the doorstep of an Econ professor, seaweed tangled
in my throat, I stood outside mustering my nerve, scripting
an appeal for an extension I knew I didn’t deserve.
Minutes later, I walked back to my dorm
bowled over by his
Yes. And so it is
during God’s infinite office hours in the four-chambered
chapel of the heart. While thumbing through the days
of Common Prayer, the book of Ordinary Time,
a conversation picks up
where it left off. The undressed approach:
simply confessing a need, a lack of answers, a yearning
to kneel on a cushion of grace instead of the bare
stone floor. As I prepare to enter in, to strip down
to the struggle, to unclasp all
my anxieties, sometimes still I
hesitate, knuckles to the wood.
But even before I knock, from somewhere
deep within, I hear a voice as solid as black walnut
benches, luminous like turning pages, calling,
as if not for the first time,
Come in—the door’s unlocked.
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As the one who turns the wheels inside our minds, behind the sky—the shifter and shaker of galaxies—is upstairs getting dressed in our own image