My primary medium is portrait photography, and during my sessions I draw people out by asking questions about their very literal story. What is delightful for you in this season? What is hard? What I’ve found happen in these conversations is that decades of untended pain or suppressed pleasures begin to break forth, find air, and heal as needed or grow.
There is room and need for men’s stories in the narrative of ending violence against women.
In blending our separate and shared experiences we find common ground. Together they lead us to what Dr. King described as "the fierce urgency of now." Every action we take today will save others the pain and suffering that is in our collective past. We need to add male voices and stories to those of women who have been speaking out about violence for decades.
Today I work as a co-coordinator in Oregon for the We Will Speak Out campaign. Our goal is to bring faith communities into the movement to end domestic and gender-based violence. This not a women’s movement. It is a movement of all people of faith to speak up and speak out to end the use of power over women and children. It is a movement that walks with survivors in their healing journey. It is a movement that strives to live into Jesus’ commandment to “Love one another as I have loved you.”
The "Broken Silence" report commissioned by Sojourners and IMA World Health indicates that the main issue in keeping pastors from speaking out about sexual and gender-based violence is a lack of knowledge on the issue. By speaking our truth and sharing our history we provide both the common ground and urgency to take action—together and now.
At a church workshop last week, I set aside my carefully planned teaching and just let people talk.
It became clear that everyone had an old story they needed to tell. Until it was heard, no one in the room could or would move on to thinking about the future. And even when it was heard, half of them would keep cycling back to the old story.
I sensed that, for some, the old story contained an identity, in the sense of “this story is who I am.” I need to keep telling this story so that you know me. Until I am sure you’ve heard it, know me, and accept me, I can’t stop.
For some, the old story was the burden on their back, the cloud over their heads. This story explains why I fall short, seem hesitant or even paralyzed. If you know my story, maybe you can accept me and forgive me.
For some, the old story was the safe place, the known that kept the scary unknown at bay. As long as I keep telling this story and presenting the me that existed yesterday, I don’t have to contemplate the ways I am changing and the tomorrow that worries me.
It was like a case study in the long-ago classic, “I’m OK — You’re OK.” People wanted to know they were OK — acceptable and maybe someday even loved.
I think back to a recent lunch with the rector of the local Episcopal church, where I kept peeling the onion, telling her one thing about myself and then, if she accepted that, telling her something more. She was doing the same. If we know each other and still accept each other, then we can be in relationship.
“When we were children, we used to think that when we were grown-up we would no longer be vulnerable. But to grow up is to accept vulnerability … To be alive is to be vulnerable.”
These are the words of Madeleine L’Engle, and this week I’ve been reminded of the wisdom they contain.
This weekend, Christianity Today posted an excerpt from my new book, Jesus is Better Than You Imagined, in which I share a story about childhood sexual abuse and my adult struggle to understand my sexuality. Many have asked why I would do such a thing.
This wasn’t a career move or a brazen attempt to sell more books. Being open about these experiences as an evangelical writer leaves me, like so many scarecrows, exposed. I do not plan to become a spokesman for any of the issues addressed in this article. The events shared are a part of my story, but they are not the whole of my calling. Today, I return to my job as a columnist committed to exploring the interface between faith and culture and helping foster difficult conversations that others may be unwilling to have.
“The less engaged people are, the more they tend to criticize. The more engaged people are, they have far less time [and] energy with which to criticize.”
She might as well have completed the above statement with the dismissive wave I heard in her voice. But she didn’t.
She’s a pastor’s wife. Her bread and butter (and heart and soul) are wrapped up in the local church. I have been there. Perhaps the mile I walked in those shoes helps me understand the sentiment. And I think there is a place for tempering unjust criticism from sources that seem negatively biased. That protects people, sure.
But I can’t let it go at that.
"We all have a story to tell."
These are the words that will greet my new elementary students as they enter my classroom this year.
I will tell them my story: who I am, what I do, when I was born, where I have lived, why I am a teacher, how I came to our school.
I will tell them this story: When I was their age, I carried a tattered journal, a Papermate pen, and a pocket dictionary everywhere I went. I wrote about the people, places, and things I saw with my eyes, heard with my ears, smelled with my nose, tasted with my tongue, and felt with my hands. I put down on paper the ideas and feelings that were floating around in my head and my heart. I was nerdy (and still am) ... but I was me!
"Will you tell me your story?" I will ask them.
In her 1968 poem, “The Speed of Darkness,” the late American poet Muriel Rukeyser penned the line, “The universe is made of stories, not of atoms.”
While the medium is different, a new feature-length documentary, Girl Rising, also bares witness to the same truth in poetic images and stories of girls from around the world.
Through the vivid accounts of nine girls from the developing world — Cambodia, Nepal, Peru, Afghanistan, Egypt, Sierra Leone, Ethiopia, Haiti, and India — and their valiant struggles for the right to be educated, Girl Rising articulates a universal truth: Educating girls ensures a safer, healthier and more prosperous world for all of us.
The film, a project of the 10×10 Campaign to educate and empower girls, paired a girl in each locale with an accomplished writer — novelists, journalists, and screenwriters — from their own developing country to help craft and tell the stories in the girls’ own words.
Jens Lekman is a storyteller.
Wait, Jens who? How do you pronounce that?
Jens (pronounced “Yens”) Lekman is a witty, hopelessly romantic Swedish musician from a suburb of Gothenburg.
Lekman was at the 9:30 club in D.C. last Friday — armed with a small acoustic guitar that fuels his unique indie pop style. Occasionally he reached over and pressed the pads of his sampler, cuing thumping bass accompaniment and flurries of strings to compliment his smooth voice, violinist, bassist, drummer, and pianist.
While he may not be on top of the iTunes album charts, Jens (I feel like we’re on a first name basis simply because he was so relaxed and open at the show) is definitely worth a listen, whether it’s at home, in the car, on the go, or — especially — in concert.