(For Remembering Henri edited by Gerry Twomey and Claude Pomerleau; published by Orbis Books in August 2006)
By Jim Forest
In a difficult period in my life, Henri Nouwen was my spiritual father. He was an excellent confessor who made it possible for me to share parts of myself that were painful, awkward or embarrassing. He helped me survive hard times and cope with bouts of despair. So I say at the beginning that whatever light I can shine on him is not the result simply of studying his writing, identifying main themes, or analyzing him as if I were studying him through a telescope. He was a person who played — in fact still plays — a role in my life.
Our lives led us both to cross an ocean, though in opposite directions. I find myself living in Henri’s homeland, the Netherlands, while North America became home to Henri. It was unplanned, perhaps one of God’s jokes, but he and I traded places.
Henri was a restless man, constantly on the move. His restlessness brought him from one continent to another. He taught at Notre Dame, then Yale, then Harvard, but could bring himself to stay at none of these distinguished institutions. Searching for community, he was a kind of temporary brother at a Trappist monastery for several extended periods, but found monastic life, though it helped clear him mind, didn’t suit him. He had a sabbatical in Latin America and thought for a time he was called to make his life there as a missionary, but then decided also wasn’t his calling. He finally found a home for himself not in academia or monastic life but with the L’Arche community in Canada — not among the brilliant, but the physically and mentally handicapped plus their downwardly-mobile assistants. Appropriately, he died while traveling — two heart attacks in Holland — while en route to Russia where he intended to make a film about Rembrandt’s painting of “The Return of the Prodigal Son.”
He possessed a remarkable gift for communicating to others through the spoken and written word the fact that a life of faith is one of endless exploration, a pilgrimage second to none. He produced a flood of books, many of which remain in print. Few writers on religious life have been so widely read or been so often translated into other languages. Years after his death, he still has a huge influence on the lives of many people. (He died relatively young, at age 64, in 1996.)
In common with Thomas Merton, he believed that the healing of east-west divisions among Christians are assisted more by a process of east-west integration in the spiritual life than by academic theological conferences. As Merton put this is Conjectures of a Guilty Bystander:
If I can unite in myself the thought and devotion of Eastern and Western Christendom, the Greek and the Latin Fathers, the Russian and the Spanish mystics, I can prepare in myself the reunion of divided Christians. From that secret and unspoken unity in myself can eventually come a visible and manifest unity of all Christians. If we want to bring together what is divided, we cannot do so by imposing one division upon the other. If we do this, the union is not Christian. It is political and doomed to further conflict. We must contain all the divided worlds in ourselves and transcend them in Christ.
Henri returned to this passage often. Also like Merton, Henri played a major role in this quiet movement of rediscovering icons. It is this area of their search that I wish to focus on in this essay.
The main monument to his love of icons that Henri left to us was his book Behold the Beauty of the Lord. This thin volume remains among the best introductions to icons — very accessible, not at all technical, with a directness and sobriety that one can only describe as icon-like. With his usual immediacy, Henri explains how one icon and then others gained a place in his life and what he had so far learned from long periods of living with four of them: Rublev’s Holy Trinity icon; an icon of Mary holding Christ in her arms; an icon of the face of Christ (also by Rublev); and, finally an icon of the descent of the Holy Spirit on the Apostles at Pentecost.
Of course, Henri had seen icons in art history books, museums, churches and monasteries many times, but it wasn’t until his first visit to the L’Arche community in Trosly, France, in 1983 that he began to see icons with wide-open eyes. Barbara Swanekamp, assistant to L’Arche founder Jean Vanier, had put a reproduction of Rublev’s icon of the Holy Trinity on the table of the room where Henri would be staying. “After gazing for many weeks at the icon,” Henri noted in Behold the Beauty of the Lord, “I felt a deep urge to write down what I had gradually learned to see.”
Henri was profoundly sensitive to the visual arts. It was a family trait. In the introduction to his book on icons, he recalls a Chagall painting his parents had purchased early in their marriage when Chagall was hardly known — a watercolor of a vase filled with flowers placed on a sunlit window ledge, a simple yet radiant work that made one aware of God’s silent energy. I recall seeing it when Henri brought me to stay with him at his father’s house. There were many other beautiful works of art in the house — the house was a small museum of fine art — but the Chagall watercolor stood out from the rest and still remains a fresh memory. “The flowers of Chagall,” Henri writes, “come to mind as I wondered why those four icons have become so important to me.”
The connection does not surprise me. Chagall’s work was deeply influenced by iconography. In some of his paintings the link is made explicit, but it is always there in more subtle ways. Chagall’s work in was never enslaved to the rules of perspective or to the physics of gravity. People and animals fly. Fiddlers play on rooftops. Husbands and wives float in the kitchen. Like an iconographer, Chagall made his canvas a window opening on the invisible world and the life of the soul. It may be that the Chagall painting Henri grew up with helped awaken in him a capacity to appreciate icons and understand their special language.
I remember Henri coming to visit us in Holland following his stay at Trosly. He was very excited about the gift he had brought with him, a reproduction of the Holy Trinity icon he had bought that morning in a shop in Paris. Though he had not yet seen the actual icon — it was in the Tretyakov Gallery in Moscow — he was confidant that the print came as close to the real thing as print technology would allow.
Though I had seen icons from time to time, until that day I had taken only a meager interest in them. Merton’s enthusiasm for them had been was a mystery to me. It wasn’t until Henri’s visit that finally I began to see them with a similar excitement.
I vividly recall sitting at Henri’s side as he explored, with childlike fascination, every tiny detail of the Holy Trinity icon. I think he remarked first on the utterly submissive faces of the three angelic figures, each inclined toward the other, in a silent dialogue of love. He considered their profound stillness and yet warmth and vitality. Then, we looked at the colors Andrei Rublev had chosen, though even the best reproduction can only hint at what Rublev had actually achieved, as I was to see for myself not long afterward when I first visited the Tretyakov Gallery. Henri traced the perfect circle that invisibly contained the three angels. Then he traced a cross within the circle and then the triangle it also contained. All this significant geometry reveals the icon’s theology yet none of it is heavy-handed. Then there was the table around with the three figures were placed — the Eucharistic altar with golden chalice. Above the three figures were three objects: a house with an open door, a tree, and a mountain. The doorless building is the Church. The tree is the Tree of Life and also the Life-giving Cross. The mountain is the Mount of the Beatitudes.
Henri also spoke about what the history of the icon, how Rublev had painted it as the principal icon for the Cathedral of the Holy Trinity where the body of St. Sergius of Radonezh had been placed. St. Sergius, one of Russia’s most beloved saints, was a monk and woodworker who lived in the 14th Century. He left no writings. The only word that comes down to us from St. Sergius are these: “The contemplation of the Holy Trinity destroys all enmity.” Through this icon standing a few meters from the burial place of St. Sergius, Rublev sought to provide the opportunity for the contemplation of the Holy Trinity.
It may have been from Henri that I first heard the comment of one of the martyrs of the Soviet era, the physicist, mathematician, theologian and priest, Pavel Florensky, who wrote: “Because of the absolute beauty of Rublev’s Holy Trinity icon, we know that God exists.” Henri understood this way of thinking — beauty is a witness to the existence of God. Again and again, he found in works of art doors to heaven: Rembrandt’s Prodigal Son, and many of the paintings of Van Gogh.
For Henri the Holy Trinity icon was an icon of “the house of love” — the Church as God intends it to be, the doors of which are never closed and which needs no locks. Henri linked icons with the question: “What do we really choose to see?” It is a matter of enormous importance what we look it and how we look at it. “It makes a great difference,” Henri noted, “whether we see a flower or a snake, a gentle smile or menacing teeth, a dancing couple or a hostile crowd. We do have a choice. Just as we are responsible for what we eat, so we are responsible for what we see. It is easy to become a victim of the vast array of visual stimuli surrounding us. The ‘powers and principalities’ control many of our daily images. Posters, billboards, television, videos, movies and store windows continuously assault our eyes and inscribe their images upon our memories. We do not have to be passive victims of a world that wants to entertain and distract us. We can make decisions and choices. A spiritual life in the midst of our energy-draining society requires us to take conscious steps to safeguard that inner space where we can keep our eyes fixed on the beauty of the Lord.”
Henri proposed a theology of seeing, or gazing, the verb he preferred. To really see something beautiful, such as a well-painted icon, so that its beauty becomes a sacramental reality, one has to do much more than glance. For Henri, the icon is the primary visual art of the Church — if not the door of the Church, than the window. Nor could they see it as something meaningful apart from the totality of the Church. The icon becomes a dead plant when it becomes simply a “work of art,” a “collector’s item,” an aesthetic object. For both Thomas Merton and Henri Nouwen, icons were intimately connected with Eucharistic life and daily prayer.
Like the Bible, the icon is made by the Church and guarded by the Church. The icon is a witness to the truths the Church lives by. Each icon has dogmatic content, so much so that is said to be “written,” not “painted.” For example, any icon of Christ in the arms of his mother remind us that he took flesh in the flesh of her body. Christ’s bare feet seen in the Virgin of Vladimir icon are a reminder that he was fully man, walking on the same earth as we do. Though an infant, he is shown dressed as an emperor, because in reality he continually rules the cosmos.
While I have concentrated on icons, Henri’s debt to Eastern Orthodox Christianity goes much further. He was one of the relatively few non-Orthodox readers of the Philokalia, an anthology of writings, mainly from patristic sources, whose main topic is the “Prayer of the Heart.” He would occasionally borrow a sentence from one of the authors included in the Philokalia, St. Theophane the Recluse: “Prayer is descending with the mind into your heart, and there standing before the face of the Lord, ever present, all seeing, within you.”
Henri would expound upon this theme in writing:
The great challenge is living your wounds through instead of thinking then through. It is better to cry than to worry, better to feel your wounds deeply than to understand them, better to let them enter into your silence than talk about them. The choice you face constantly is whether you are taking your wounds to your head or to your heart. In your head you can analyze them, find their causes and consequences, and coin words to speak and write about them. But no final healing is likely to come from that source. You need to let your wounds go down to your heart. Then you can live through them and discover that they will not destroy you. Your heart is greater than your wounds. [The Inner Voice of Love, p. 91]
The Prayer of the Heart is another name for the Jesus Prayer, a short prayer which centers on the name of Jesus and which is very widely used, especially in the Orthodox Church, though gradually it is becoming well known in the West as well. In its most common form, one prays: “Lord Jesus Christ, Son of God, have mercy on me, a sinner.”
The connection between spiritual life and response to others was basic to Henri and the vocationally choices he made. Henri was torn between competing vocational attractions — university professor, monk, missionary, or becoming part of a community of hospitality. He fully explored each of these possibilities before finally becoming a member of the L’Arche community at Daybreak near Toronto. He, too, became a spiritual father and guide to many people.
Henri realized that the icon, far from being merely an artistic image that directs our attention away from the world we live in with all its agonies, is a school of seeing. It helps reshape the way we see and relate to other people. The icon — the Greek word for image — is a reminder that each person, no matter how damaged his life, is a bearer of God’s image and, like those whom we regard as saints, has the capacity to reclaim the lost likeness. But it is one thing to believe intellectually that, each person is made in the image of God, no less than Adam and Eve, and yet another to actively seek that image and to relate to the other in ways that bear witness to that awareness.
In Henri’s life, perhaps the most important event in the last phase of his life was his taking responsibility at Daybreak community for Adam Arnett, a young man of twenty-five who could not speak, suffered frequent epileptic seizures and was utterly dependent on help from others. Adam was a person whom many would regard as a first-class case for abortion or, having managed to be born, an excellent candidate for what is euphemistically called “mercy killing.” It was no easy thing for Henri, far from the world’s most practical or physically well coordinated person, a man who had difficulty frying an egg or operating a washing machine, to center his life on attending to Adam’s numerous practical needs. Yet Adam became both physically and spiritually a person at the center of Henri’s life, one of Henri’s most important teachers.
“His heart, so transparent, reflected for me not only his person but also the heart of the universe and, indeed, the heart of God. After my many years of studying, reflecting and teaching theology, Adam came into my life, and by his life and his heart he announced to me and summarized all I had ever learned.” [Adam, p 38]
Much of the healing that occurred in the final years of Henri’s life was Adam’s gift. Adam became in Henri’s life a living icon.
Henri Nouwen: in essence, an explorer of God’s presence in our world, a discover of icons on wood and in flesh, always trying to open his eyes just a little bit wider, always trying to become just a little less blind.
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1811 GJ Alkmaar
Jim & Nancy Forest web site: http://www.jimandnancyforest.com
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text as of June 23, 2004
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