On Homemade Art and Stories

Beside my desk, on the wall to the right, hangs a work of art. It is four pieces of construction paper taped together with orange tape; each piece of paper is a different color. The art makes a sort of lopsided and sideways T, and it tells a story and invites the viewer into a world. Across the top is a railroad track, a restaurant below, a windmill and horse and — to the right, where the length of the sideways T extends, mountains and cars and a rocket. My daughter gave it to me on my birthday this year, in the way children have of giving you something they made, and I made a frame for this lopsided T of a picture, stained the wood, hung it beside my desk. It hangs as a reminder, as I write, to make worlds and tell stories. It reminds me, too, of something I would have made as a child. As children we are storytellers and story makers, and I wanted something to remind myself of that, and this was the perfect thing.

I know that “story” is a buzzword now, used in marketing and data analysis, politics and current events and, thankfully, even literary circles. I can’t help but wonder where story has grown so popular because of our loss of it as a culture: that is, the loss of a metanarrative and unifying story with unifying ethics, morals, a unifying telos or end of humanity and each person individually. That is, I am convinced the more society talks about anything — be it story, identity, or truth — it’s a good sign that we lack whatever we’re obsessed about, like a group of starving men and how they will, inevitably, fantasize about food. Our society does not have this unifying story, so we talk about stories without knowing what to do about them, but without a common story we don’t even have a common language to speak to one another.

But we cannot escape that we are storytellers, or we once were, as the picture on my wall asserts. And we know we want stories, we watch them many evenings or binge them on weekends. We also want them, I believe, for our own lives. Or rather, we have them for our lives whether we realize this or not, and we want control over them, and to squeeze the meaning out of them, to realize what this world with its commutes and coffee, email and exercise, sleep and lack thereof, is all for. Yet, we cannot pull our stories out of the ground, fresh and new and ready to take home. Instead, we find ourselves with an amalgam of stories already, bringing the stories of consumerism and success to stories of faith and religion, mixing them and wondering where the narrative lies.

Of course, the consumerist story is one of accumulation. I think of buying a pair of running shoes: I could spend a week’s worth of work on this activity, researching reviews and materials, as if this buying decision somehow validates me. Or, if you’re not a researcher but more of a spender, I think of the evidence of accumulation in our garages and closets, and that self-storage is a $38 billion industry in the U.S. That’s about twice that of the entire music industry in our country. 

And if you are not accumulating products, we are desperate to accumulate experiences, or that seems to be the case form the modest amounts of time I spend on Facebook or Instagram, where our status is measured by the meals we eat and the trips we take. I rarely see posts sitting in meetings or answering emails, which are two activities that take up enormous amounts of my day. This is another story, and a distinctly American one, as if our highest end is to enjoy — or the pursuit of happiness.

This colors my faith, and if I have enough savvy to avoid thinking of God as Santa Claus, which I sometimes do, it’s easy to think of him as therapist or life coach, someone who exists so that I can be fully empowered, fully myself. But whatever truth there is to this, my vision of being fully myself generally falls into one of the consumerist and accumulation camps, with a vocation thrown in for good measure: I no longer have to worry about finances, or meetings and emails, and I have time to write, to sit outside on long mornings enjoying coffee, to philosophize. I find it strange that God isn’t more focused on my own empowerment and, the idea that we often confuse with empowerment, comfort.

A story begins, as I remember a professor telling me in grad school, with what a character wants. Specifically, she said, “To find a story, find someone who wants something and can’t have it.” This is partially why the consumerist-accumulation story is so dissatisfying, apart from deeper issues of what makes a human satisfied: it’s too easy. Any story that can be solved by cutting back at Starbucks and saving up isn’t one that will win our hearts. So, it shouldn’t guide our lives, either.

Think of your favorite stories. I reread For Whom the Bell Tolls this year and was reminded how Robert wanted to fight for freedom and win the war, but he really wanted love. I was recently brought to tears by The Color Purple when Celie’s sister Nettie, who we thought was lost, comes home. The scene was a resurrection, a yearning for life. 

A character wants something. This is where I see the story can diverge from wanting new running shoes and into the realm of faith. After all, this is the question Jesus asks again and again of almost everyone he meets: “What do you want me to do for you?” James K.A. Smith writes that this is the fundamental question of discipleship: what do you want? He goes on to write that our wants and longings are at the core of our identities, but I would amend his statement to say that are what launch our stories. To paraphrase Donald Miller, if we want the kingdom, we live a very different story than if we want a Lexus. Good literature does this. I quoted just two books I read recently, both old books, because good literature re-orients our desires to what is real and true or, if a tragedy, warns us away from those desires that will destroy us. Good stories are not about saving up for new cars, or if they are, the author knows the car means much, much more than a conveyance.

And this idea finally makes sense of the C.S. Lewis quote that we love to bandy about without knowing exactly what it means: “It would seem that Our Lord finds our desires not too strong, but too weak. We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us…We are far too easily pleased.” We are too easily pleased because if we do not want enough, we do not live a true and beautiful story. 

There is nothing more serious than a story. We need such stories to re-orient ourselves toward what is real in this world, toward our deepest desires, so that we can live true, good stories. There is much to thinking about the stories we are living but it starts with this: What do you want? So it becomes a circle. We drink stories to orient our desires, and our desires shape our stories, our real stories in the here and now. 

The picture hangs to my left so I remember this, and I remember it, and I remember it. I grew up drawing such pictures and telling such stories — stories of love and hope, of sacrifice and, yes, violence. Today, I want to tell such stories because they are true, because they tell us what is most real in this world, but mostly because I see my desires drift from beauty and love to a new pair of running shoes far too easily. I want to desire more, because my desires shape the story I’m living. I want to live a story of beauty and truth and goodness, of hope and sacrifice and even pain in the cause of the kingdom. But I cannot get there, I cannot get my desires high enough, without a story to reorient me — even if it’s the thick and lopsided story that a seven year old drew hanging beside my desk. 

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