Now Lie on Your Back Underneath It!

This traffic maze, located in Birmingham, England, is called Spaghetti Junction, and it is sometimes known as "Britain's most famous traffic black spot." The 30-acre site, which covers five different levels of roads, consists of 18 roads, rail yards, two rivers, and three canals. An estimated 140,000 vehicles stream over it every day.

Now artist Graeme Miller has created "Track," an experiential project in which visitors lie on a board beneath the junction. Assistants pull the boards, each of which is commodious enough to accommodate two people, along over a track, while they peer up at the mesh of concrete and steel above.

Miller, who has described himself as "a composer of many things that may include music," has transformed a blight into a curiosity, turned speeding straight ahead into an experience akin to gazing up at the stars, and introduced wonder into a massive feat of traffic and engineering.

Fracking Quilts

Virginia ("Gina"—pronounced Ginna) Kellogg, a life coach and founding partner of Leadership That Works of Troy, Pennsylvania, began quilting in 2006, as a way of expressing her deep grief after her brother died. Since then she has created dozens of what she calls "journal quilts," works in fabric that are creative responses to emotional states. Now she is sharing what she has learned with others.

Gina formed her "Fracking Quilts" workshops in response to the massive gas drilling that has invaded northeastern Pennsylvania in the past three years. Fracking is short for hydrofracking, a technique that entails blasting a mixture of sand, water, and toxic chemicals deep into the Earth, both vertically and horizontally, to release natural gas. The industry has invaded this quiet, rural area with noise, light pollution, contaminated water wells, exploding gas wells, and leaks in pipelines. It has also caused severe physical, psychological, and social damage to individuals, families, and communities.

So Gina decided to offer women in the area an outlet for their feelings through the process of making a quilt. Last weekend I attended one of her Fracking Quilt workshops. Caroline and I had never made a quilt, Lynne had experience quilting, and Leslie, who had already made a fracking quilt, assisted Gina and offered us guidance.

We began on Friday night by choosing a square of fabric from one of the antique quilts that Gina collects and had already cut up. We then "fracked" that one square and used it as the seed for the rest of the quilt. In the quilt pictured above, the seed pieces are the jagged green shapes that represent the fracking penetrating the land.

Gina has an enormous collection of fabrics that we could choose from. As we worked, she was there to answer questions and provide guidance, but as she frequently stressed, the point was not to make a "good" quilt, but to express our deep feelings . When we got stuck, she urged us to pick a fabric we "hated or would never consider using." It worked! An essential part of the process was to "frack" our quilts themselves—cut them up—after we had gotten the design just where we wanted it. Although most of us felt some reluctance to do so, cutting through the design helped us to realize that we did not have to hold on to what we were attached to.

For the backing of the quilt, which no one would see, we chose a fabric that represented what "has your back," what supports you. Most of us also took Gina’s suggestion to write words or prayers on fabric and insert them between the front of the quilt and the soft batting. Gina herself quilted our designs as we sat on the other side of her sewing machine, directing her about what kind of stitches to use and what color threads.

The quilt I made is above. It is called, "They are Piercing the Earth and All, All, All Is Falling into the Cracks." The yellow and orange bands represent the beautiful hilly landscape in this part of the state and the towns and farms nestled among it. The fracking process is cutting deep into the Earth, and the villages are collapsing. The large striped "crack" that runs from top to bottom symbolizes the extent of the fracking, which fractures not only the Earth but families and communities as well. The circular part on the lower right is still a bit of a mystery. It seems to token life and growth and wholeness, even at the depths, when everything around you seems to be irreparably broken.

All of us felt transformed by this remarkable event. We were able to express feelings about the gas drilling that we had been unable to articulate in any other way. Sharing our stories about both our experiences with the gas drilling and, as we moved through the process, the design of our quilts, made each of us feel less alone. And by transforming fear, grief, and anger into a creative act, we became empowered and ceased to be victims of an overpowering force.

For more information about Virginia Kellogg's Fracking Quilts, contact her.

Six Ways to Look Beneath a Wave

This wonderful image is from the Indonesian artist Ferdi Rizkiyanto. What it shows has a lot in common with Radical Joy for Hard Times:

• It's important to look deep into the "hidden" places where ecological devastation often goes ignored or undetected.
• When you do look there, it doesn't have to be with the eyes of an expert. You can bring a child's sense of wonder to the process.
• Beneath the beauty, the Earth is wounded.
• Beneath the wounds, the Earth is beautiful.
• You never know what you're going to encounter when you look beyond the obvious.
•  There are all kinds of ways that you can make beauty out of the non-beautiful.

How to Greet the "Enemy"

June 23, 2012 is the third annual Global Earth Exchange of Radical Joy for Hard Times. On this day, people all over the world go to wounded places to make a simple act of beauty: creating the RadJoy bird out of found materials. In this way, they give back to a place they love that has given so much to them and offer up a vision of wholeness, healing, and beauty.

Here's a story from Meredith Little, co-founder of the School of Lost Borders, the preeminent wilderness rites of passage organization, about her 2010 Global Earth Exchange near her home in the Owens Valley, eastern California. 

What Happened: 1913 the Los Angeles Department of Water and Power (DWP) began draining this large alkali lake, formally a sea bed, diverting the water into their aqueduct for the growing city of Los Angeles. When the wind blows, which is often, it lifts one of the worst dust pollutants (PM-10) in the country through the long, narrow Owens Valley. Incidents of asthma and lung disease are high in the towns up and down the valley. For decades the Valley has taken DWP to court to do something about the situation. For decades DWP has delayed action by spending millions on “studying the problem.” In 2001 the courts ruled that water be sprinkled onto small areas of the lake. Alkali plants have been planted here and there. But when the wind blows, clouds of dust still blanket the valley.

 

Act of Beauty: After smudging and crossing our threshold, members of the group separated out onto the floor of the dry lake, strewn now with ditches, puddles of water around sprinkler heads, patches of salt brush, and vast areas of alkali soil crunching under my feet. I notice my inclination to quickly look for the beauty here … the signs of life.

Beauty. Look for beauty. Of course somehow everywhere. And then I begin to feel sick and nauseous. I sit down in the dust. What’s this? It is anger … not so much at “the wound”, but at the feeble, chaotic efforts to “heal it.” Pipes sticking through raised banks in vain attempts to spread the little bits of controlled water. Hedges of dense salt grass. Lines of sprinklers scattered across the distance.

I’m angry for the pretending and false promises that this takes the wound away. I hear myself inside saying … nothing can “pretty up” the wound. First we must acknowledge that this wound is real. No more lies, no more false promises of “fixing” it … and I am constantly connecting this with what we do with each other and our own personal wounding stories.

I’m sitting now on a cement block where the water is regulated, looking down on one of the small pools being spilled a bit of high sierra water from the mountains. A chant of sound begins to spill from my mouth, a rhythm that is new to me. I sit softly following its voice, and finally feel like I’m here, just sitting and witnessing, giving company, being in the truth of this wound. For the first time I feel like I’m really seeing what’s here, with curiosity. I walk to the puddle of water and want to put my hands in and see what’s in the dark clay soil just under the surface. Thousands of lava, wiggling, rising up. I see dead or shed exoskeletons that pile above the waterline. I see the little miracles of beauty clinging to what remnants there are of possibilities. I build a very small stone pile of pebbles, and bend a very old piece of wire into the Radical Joy bird to leave by its side.

I look up, and down the road a DWP truck is coming slowly, stopping to make adjustments at the water regulators. I stand, and the sprinklers stop. I walk slowly back to the road. I recognize my tension around the DWP driver. Is he the “enemy”? I feel my resistance to him as he drives closer, then passes me with a blank face. I let in this feeling of “us and them.” The truck turns to return up the road, and I wonder what I’ll do. I suddenly break into a smile, and wave. His face transforms into a very big smile, and a very big wave. We share this wound and this wounded area.

I think how very loud a wounded area speaks. I wonder why I have avoided walking here before.

RadJoy has a new website!

Radical Joy for Hard Times has a new website! Thank you to our genius webmaster and designer, Munro Sickafoose, of Diamondheart Studio, for his imaginative vision and meticulous attention to detail.

We're especially excited about our new Earth Exchange Network, an interactive space on the site where you can post your personal info and news about the places you love and worry about... upload photos, videos, and stories... and sign up for the 2012 Global Earth Exchange on June 23.

Have a look and let us know what you think!

Wooed by the Not-Beautiful

The following is from Mike Beck, Navarre, Florida. He took the photo above during a week spent with three others at Carmanah Valley, part of the vast clear-cut area of Vancouver Island, British Columbia.

The wounded places of the earth are great teachers, releasing us from the predicament of choices. They also have the ability to ruthlessly strip away your perfectly unfounded bias for ephemeral beauty and rip the words “ugly,” “unsightly” and “unattractive” right out of your mouth.

My first experience with attending to a wounded place was one of sadness at the grotesqueness of a clear-cut old-growth forest, followed almost immediately by free-floating anger, without adequate tools to catch it and ground it in reality. A perfectly reasonable response for a person without access at the time to what Mary Oliver calls the “heart’s little mind.” Four short days later, with the stump-studded hills and debris-strewn fields disappearing in the review mirror, I was surprised at the tug to go back: “Don’t leave, not yet, just a little longer.” 

Where had the grotesque gone and why were the barren hillsides passing from view unfathomably, wonderfully and perfectly—“not beautiful?” The only explanation I still find satisfactory is that someone had come while I was sitting quietly in the clear-cut one of those days and staring at an eagle-head shaped stump and that “someone” had rearranged all the environmental furniture in my head, graciously taking away my sense of quilt at not being able to do something big to save the natural world. 

An unfortunate side effect of that hooligan’s shenanigans is that now, I’m forever being wooed by the “not beautiful.” 

Nipun Mehta's Gift Economy

One day Nipun Mehta and his friends were sitting around talking about pranks. What is a prank composed of? “It’s challenging, it’s creative, it’s collaborative,” Nipun reflected in an interview with Richard Whittaker in Parabola Magazine. “We went through a whole list of motivations for what, at the end of the day, is essentially destructive. So we said, how about we reframe this? We leave all these motivations in, but we make pranks constructive. What if you just blew somebody away with kindness?”

That was the beginning of a remarkable organization called Charity Focus, “an experiment in the joy of giving.” Charity Focus, which recently changed its name to Service Space, depends entirely on the work of volunteers. It does no fund-raising, but relies upon the generosity of people who are moved to help. Services include website design, collaborations with other organizations, daily emails containing positive and inspiring messages, and weekly stories about people who have taken an unusual approach to some problem or seen a delightful possibility where most would see business as usual.

One surprising result of what Mehta calls the “gift economy” is an upsurge of honesty in the way bills are paid in Indonesian cafés. In the past, widespread corruption meant that customers, especially young people, would walk out of the café without paying for their meal. Now “honesty cafés” invite customers to determine what the meal and the service were worth and to pay that. Some of the cafés don’t even have cashiers, just boxes in which people can deposit their payments.

The gift economy starts with single, selfless acts, says Nipun Mehta. “I’m going to support you just because you’re a fellow human being and someone else comes and supports me in the same way.” In the long run an attitude like that results in “generosity entrepreneurs.”