OK. I’ll admit that I’m somewhat of a romantic. I’ve never been the practical type. I’ve had to learn to deal with a practical world where real things have to get done. I’ve been accused of being a dreamer. Another person once accused me of “magical thinking.” Yet I persist because any other way would not be true to myself or the universe around me.
It takes all kinds to make a world. The practical people build things. They repair things that break. They invent new things for people to build and things that will break at some future time, thus requiring people to repair them. The practical world is the world of things. I really have very little of myself invested in that world.
If you could see the car I drive, you’d know that this is true. Our old, but nice van caught on fire a while back and the repairs would be more than the value of the vehicle. Thus, I’m driving a 1991 Pontiac station wagon that has pieces of trim falling off it. A lady at work the other day told me, “It takes a confident man to drive a car that looks that bad!” I’m not necessarily confident–I’m just not attached to material things in the way most people are. It would be nice to have a nice-looking car with a working air conditioner and windows that roll down, but as long as it runs, I’m content. It’s paid for. That’s its most desirable property.
I woke up early this morning, as usual, even though I have the day off. I have the day off in anticipation of a crummy tomorrow in the world of things. My boss has to go out-of-town for the next week. That leaves me to handle the things he usually does, which are things I generally don’t know much about. Hopefully it will be a quiet week in the world of things.
I have had to become a practical person to some extent just to survive to the age of fifty. It’s not by any desire on my part, but out of necessity. When I was just fourteen years old, I began to learn the guitar. I was inspired to do so by a very impractical example. A friend’s cousin (he was 18, in the Navy, and free of parental supervision — something we celebrated and envied) bought an expensive Gibson acoustic guitar to learn to play with. He didn’t do the practical thing and buy a beginner’s guitar. He bought a fine instrument, knowing that he would learn to play it. How impractical!
Although I marveled at his audacity at the time, I was even more amazed when, in six weeks’ time, my friend’s cousin was actually strumming tunes we could recognize by the Beatles and Neil Young. I dug an old no-name guitar that was hidden in my attic and followed our mentor’s example. In a few weeks, I could also strum a few recognizable tunes. It wasn’t practical in the least. With no instruction, having only a chord book, I taught myself how to play the guitar.
From the moment I first strummed a full E major chord, I was hooked. It was my calling in life. It transformed everything about me. From that time forward, I wanted to make my living as a musician. Unfortunately, most of my life has been spent being practical.
My parents were convinced that the guitar was a big waste of time. I begged them for music lessons for about 18 months as I did my best to learn what I could from library books and picking out songs by ear. In those days, cassette decks were not widespread. I had an eight-track tape player. For those of you unfamiliar with such antiquated equipment, suffice it to say that eight-track tape players had no rewind capability. If you were learning a song, and you missed the part you were trying to pick up by ear, it would be another 20 minutes or so before the tape looped back around to the same point. As a result, I learned to have a quick ear.
I figured out the rudiments of music intuitively and discerned the rules of music theory without being able to put a name on the principles I understood. When my parents finally agreed to give me music lessons, my first guitar teacher called my mother and said, “I can’t teach this boy. He knows more than I do!” She was dumbfounded.
My practical father sought to teach me practical things. He had me help him with all sorts of household chores. I learned how to change out a light switch, clean a drain, fix a toilet, and do some minor work on automobile engines. I hated all those things, but they were necessary, as all practical things are. He never saw much sense in pursuing music as a job. A job is something people pay you to do, either because they don’t know how to do it, or its unpleasant and they don’t want to do it. This defined my conception of work. If something was fun to do, they’d charge you admission to do it. If it’s work, they pay you to do it.
As I mentioned, I awoke early this morning and I didn’t have to. Upon realizing this, I slipped quietly out of bed to get my MP3 player and I slipped quietly back under the covers. Among the music that appeared randomly on my playlist were songs by John Fahey, Strawbs, Renaissance, and King Crimson. This led my thoughts to the impractical nature of music. John Fahey lived in humble circumstances almost all his life, even though he co-owned a record company. His first recordings were made under the pseudonym “Blind Joe Death” because, in 1959, nobody would buy an album of fingerstyle guitar roots music by some middle-class white guy with a master’s degree in philosophy. Strawbs and Renaissance were both British prog bands. They wrote fanciful lyrics and swelling melodic themes that are the hallmark of the dreamer’s life-soundtrack. When King Crimson popped up, I turned off the random play mode and listened to the entire “Lizard” album.
I first bought the “Lizard” album back in 1976. It was not new at the time, but I was amazed at the ambitious attempt to fuse rock, classical, and free-jazz music. Critics mostly panned it. Even the composer, Robert Fripp, never seemed to be very fond of it. His genius was a victim of the practical world. While recording the album, the band broke up and he had a deadline to deliver an album to the record company. Deadlines belong to the practical world. With some very creative hirelings, he managed to put together a record that, in my opinion, outshines anything he ever did later in his career–and that’s saying a lot. Because of the emotional baggage from the unpleasantness of the process, Fripp seems to have suppressed what is arguably his greatest artistic statement.
As I lay there listening to the angular guitar jabs and the gentle strains of an oboe against the soaring Mellotron, I considered it amazing that King Crimson never made a dime on their first several albums. They were young romantics who were taken in by the shrewd managers and executives of the practical recording industry. They toured, made albums, and lived the life of rock stars for a brief period, but they were broke. If anything, they ended up owing money to the record company.
That’s the practical world. It’s the world of predators and prey. The hunter and the hunted. It’s a world of competition where someone smarter, faster, and more cunning will take your stuff if you are not careful. It leads most people to live their lives clutching to material things, working in unfulfilling jobs, paying their bills, and living up to the expectations of their neighbors. In this quiet desperation, they long for some brief respite, which they find in drink, drugs, and tawdry entertainment–all of which is produced by practical companies that make money from its production.
Deep down inside us, there is something that tells us that this practical world is an illusion. We are more than the time we spend gathering substance to ensure the next day’s survival. There is something in us that rises towards the light. However, only the most determined seem to find it. Most of us succumb to the demands of the practical world. The dreamers among us are few. Yet somehow they manage to find each other as they wander seeking the light.
I count many of these closet dreamers as my friends. One of them is the director of a large city’s information technology department. He is a very practical man, successful in the practical world, yet he is profoundly spiritual. The marriage of his practical skills and his spiritual tendencies made him an obvious choice to be called as a bishop in the Church. Another one of these friends is a mayor of a town who shares his poetry with friends on Facebook.
The practical world of information technology seems to attract many of them. I blame that on the fact that computers offer amazing creative opportunities, yet they break frequently. Closet artists, poets, writers, and musicians don’t have the funds to pay for frequent computer repairs. In the same way I taught myself the guitar, many of us taught ourselves how to fix computers that break so our creative urges can continue. We ended up having a practical skill that we can sell to others, even though it was not our intent at the start.
Some of my impractical friends found careers as artists, teachers, lawyers, doctors, carpenters, plumbers, and mechanics. Their romantic, impractical side is like a secret identity. They are creative superheroes masquerading in an assumed personality.
Most assuredly, there are practical things to be done. We must eat. We must have shelter and clothing. We have to work. Yet Jesus reminded us of the lilies of the field and that God clothed them. He reminded us that God fed the sparrows. When faced with problems, his solutions were not always the most practical.
Peter once came to him with the dilemma as to whether his master should pay taxes to support a temple that had been built to honor himself. Jesus proposed an impractical solution. He sent Peter to catch a fish. He told him that the first fish he would catch would have a coin in its mouth. It would be enough to pay the tax. It kept them out of trouble with the law and taught Peter that Jesus was above the constraints of earthly law. No one needed to know where the coin came from. It was a witness to Peter, and later, to the rest of us.
I long ago came to the conclusion that this creative, romantic side is one of the most valuable aspects of our lives. God is the ultimate Creator. He knows everything practical there is to know, yet he has subordinated all of that practical knowledge for the purpose of creation. He’s the greatest Romantic of them all.
When this mortal life falls away and we return back to the spiritual world from which we came, what use is there for the vestiges of the practical world? In a place where there is no war, what will become of those who have become skilled in soldiering? When people don’t get sick, what need have we of healers and doctors? When love reigns in the hearts of people, what will become of the lawyers and their lawsuits? When our souls are free to roam the cosmos, what use is the ability to repair a car’s engine? Who needs an electrician when the light of truth is what illuminates our universe?
However, there will be creation. Art, music, poetry and all other forms of creative endeavor have a place in the eternal world. Practical knowledge will be secondary to the power to envision, to realize, and to feel. In a place where the elements themselves delight to respond to faith’s command, the dreamer finds himself at last at home.
In essence, the test of life is to see if we will transcend the practical world of things and exercise faith in the unseen. It is ironic that most of humanity struggles along daily in their efforts to increasingly cement their fates to the success of the practical world when all along, it is the dreamer, the singer, the painter, and the poet who are the closest to reaching the mark, aiming for a spot just over the horizon, just barely out of sight.
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