Sarah James

IN “KITCHENETTE BUILDING,” Gwendolyn Brooks, the first Black Pulitzer Prize-winning poet, considers the challenge of dreaming in grim places. The setting of this 1945 poem, published as part of Brooks’ first collection, A Street in Bronzeville, is the titular kitchenette building, a housing unit of many cramped, run-down apartments, often rented by Black residents in that era in cities like Chicago. Tenants are “grayed in, and gray,” worn out by systemic injustice and the demands of daily life, such as paying rent and putting food on the table. Still, the speaker — who speaks on the behalf of a collective “we” — wonders if a dream could rise “through onion fumes” and “sing an aria” in the building.

The dream in “kitchenette building” is delicate and “fluttering,” something that requires time and contemplation — luxuries that systemic oppression makes nearly impossible. Brooks’ biographer, Angela Jackson, in A Surprised Queenhood in the New Black Sun: The Life & Legacy of Gwendolyn Brooks, describes this poignantly: “Life is grim in these kitchenette buildings ... entrapment as in a prison. People here are not people; they are things, dehumanized by the nature of a system they did not volunteer for.” Later, she asserts that kitchenette residents “cannot even consider” a dream greater than a cold bath “[before] a realistic necessity comes up ... They take what they can get.”

Brooks makes it clear, though: Imagination is a vital precursor to liberation. “Kitchenette building” plants seeds in questions: What would happen if dreams of freedom and freshness had space to grow? What would liberation look like for Black communities and the U.S. as a whole?

IN 2015, I visited two plantations in rural Louisiana to write a college paper on white supremacy. One, Whitney Plantation, centered the experiences of enslaved people by sharing “firsthand accounts” and including statues of and memorials to them. The other, Oak Alley Plantation, romanticized the Antebellum South. Filled with indignation, I could not fathom how tourists at Oak Alley drank mint juleps where brutality, violence, and terror once reigned. Clint Smith, author of How the Word Is Passed, studies sites of racialized violence in the U.S. to help form a more accurate American “public memory.” We need Smith’s poetic-sociological vision to help us tell the true, humanizing stories of our — often ugly — history.

During my visit, Oak Alley sold copies of Little Black Sambo by Scottish author-illustrator Helen Bannerman in its gift shop (the shop no longer sells this title). A racist children’s book about a family that is widely understood to be Tamil, the 1899 children’s book portrays dark-skinned Indian people through heavy “pickaninny” caricature. In the book Racial Innocence historian Robin Bernstein explains, “The pickaninny was an imagined, subhuman black juvenile who was typically depicted outdoors, merrily accepting (or even inviting) violence.” The dangerous trope desensitizes us to violence against Black and brown children, evidenced throughout history from slavery to police brutality. My family is part Tamil, and I nearly choked when I saw this “artifact” of dehumanization dressed up as nostalgia.

IN THE WOUNDED HEALER: Ministry in Contemporary Society, Catholic theologian and priest Henri J.M. Nouwen analyzes how the church fails to address the heart of our collective pain and longing. Nouwen presents a paradigm for renewed Christian leadership and care founded on the archetype of the “wounded healer.” More than 50 years after the publication of The Wounded Healer in 1972, we continue to struggle — both individually and societally — with the “wounds” Nouwen names: alienation, separation, isolation, and loneliness. Whether we’re ministers or not, we need the gentle wisdom of the wounded healer to build a more loving, just world.

While the concept goes back at least as far as Plato, the term “wounded healer” was coined by psychoanalyst and doctor Carl Jung. To demonstrate the link between personal suffering and the capacity to care for others, Jung draws on the Greek myth of Chiron. Chiron is a centaur who, due to severe physical pain, becomes an important healer and teacher. Nouwen extends this principle to ministry, calling for church leaders to cultivate “a deeper understanding of the ways in which [they] can make [their] own wounds available as a source of healing.” For both Jung and Nouwen, this work develops depth and compassion. Nouwen writes, “For a compassionate [person] nothing human is alien: no joy and no sorrow, no way of living and no way of dying.”

IN THE 15TH CENTURY, Margery Kempe received the divine gift of weeping. When considering the multitude of spiritual powers God has bestowed — prophecy, healing, and discernment, for instance — weeping is a peculiar one. After several transformative visions, Kempe, an English laywoman and mystic, wept regularly in hourslong sessions out of contrition for human fallenness and compassion for Christ’s suffering. St. Jerome visited her to convey that God had given her a permanent “well of tears” to help others. Consequently, she developed a form of sanctifying prayer, weeping “on others’ behalf” to help liberate them from sin, purgatory, anguish, or death. Kempe’s fervor continues to demonstrate the place of tears in daily life. Even for us non-ascetics, tears express truth, helping us attune to the wisdom within and beyond us.

Some of Kempe’s contemporaries thought her weeping (which evolved into a decade of “roaring”) to be disruptive, odd, or performative. And as Oxford professor of English Santha Bhattacharji explains in her article “Tears and Screaming: The Spirituality of Margery Kempe,” those critiques continue today. Some scholars have labeled Kempe as “extreme” or “hysterical,” characterizations that ring of misogyny. Nevertheless, her practices were church-approved and part of the well-worn tradition of Christian tears. The Desert Mothers and Fathers considered crying an “official form of worship.” The Rule of St. Benedict stipulates that tears are the mark of “pure prayer.” Tears — whether quiet or loud — are expressions of the heart that connect us to divine wisdom. As Eastern Orthodox theologian Kallistos Ware writes in his article “‘An Obscure Matter’: The Mystery of Tears in Orthodox Spirituality,” “We weep [to give] expression to the intimate feelings that are ‘too deep for words.’”

JULIAN OF NORWICH, the 14th-century anchoress and mystic in England, prayed for an embodied understanding of suffering. As she wrote in Revelations of Divine Love, she desired “three graces” from God: “to relive Christ’s Passion”; “bodily sickness”; and the wounds of “contrition,” “kind compassion,” and “purposeful longing for God.” At age 30, on what she presumed to be her deathbed, Julian received a series of divine visions — equally euphoric and terrifying — that taught her about the all-encompassing nature and nearness of God’s love. In one vision, Julian saw Christ’s head bleeding profusely from the crown of thorns.

But these images did not bring her a message of despair. Julian wrote, “This is our Lord’s will: that we yearn and believe, rejoice and delight, take comfort and console ourselves as much as we can, with his help and his grace, until the time when we can see it truly for ourselves.” Through pain and contemplation, she developed a deeply embodied faith. Reading her work healed years of spiritual pain for me. In the Catholic context of my upbringing, shame led to disembodiment and antagonism toward my body. Julian, by contrast, envisioned human wholeness — in mind, body, and soul.

LITTLE AMAL, an 11-foot-tall puppet of a 10-year-old Syrian refugee, is the star of “The Walk,” a live public production to honor millions of displaced children in the world. Named after the Arabic word for “hope,” Amal took her first steps at the Turkey-Syria border in July 2021. Since then, she’s traversed more than 5,500 miles in 13 different countries to share a poignant plea: “Don’t forget about us.”

Four puppeteers help Amal walk. One person sits inside her torso, visible through a cage, to operate her face, head, and feet; two move her hands with external rods; and one offers balance support from behind. Amal towers over the crowds who greet her, and the enormous space she occupies sends a powerful message: Forced displacement is an urgent and collective responsibility. The Walk embodies compassion, care, welcome, and belonging — core principles of Christianity. Amal, who has more than 170,000 followers on Instagram, has become a well-recognized humanitarian symbol, reminding us that displaced people are not “aliens” or “strangers.” They are our siblings, parents, children, neighbors, and friends.