Mary Caroline Richards - Centering in pottery, poetry, and the person
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A flowing collection of poetry that is also a guide for life.
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WESLEYAN UNIVERSITY PRESS Published by University Press of New England, Hanover, NH 03755 All rights reserved.
Copyright 1962, 1964, 1989 by Mary Caroline Richards Introduction to the Second Edition Copyright 1989 by Mary Caroline Richards Foreword to the Second Edition Copyright 1989 by Matthew Fox
"The Red Wheelbarrow" by William Carlos Williams, reprinted herein, is from The Collected Earlier Poems of William Carlos Williams. Copyright 1938, 1951 by W. C. Williams. Reprinted by permission of New Directions, publishers
Frontispiece photograph George Ancona 1989
Printed in the United States of America 5 First Edition, 1964 Second Edition, 1989 Wesleyan Paperback, 1989
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Richards, Mary Caroline. Centering in pottery, poetry, and the person / by Mary Caroline Richards. 2nd ed. p. cm. ISBN 0-8195-5190-2 ISBN 0-8295-6200-9 (pbk.) 1. Self-actualization (Psychology) 2. Self-realization. 1. Title. BF637.S4R52 1989 158'.1dc19 88-38316
Page v
"For the good man to realize that it is better to be whole than to be good is to enter on a strait and narrow path compared to which his previous rectitude was flowery licence." John Middleton Murry
"Dann man gerade nur denkt, wenn, das worber man denkt, man gar nicht ausdenken kann." (Then only are we really thinking when the subject on which we are thinking cannot be thought out.) Goethe
Page vii
Foreword to the Second Edition
"Ideas do not belong to people. Ideas live in the world as we do. We discover certain ideas at certain times." So writes M. C. Richards in Centering: In Pottery, Poetry, and the Person (p. 28), a book that has touched and influenced tens of thousands of people in the twenty-five years of its "living in the world as we do." I consider this book one of the great works of American philosophy: it is so cosmological, so feminist (without once using that term), so original, so full of wisdom, so post-Cartesian, so non-dualistic, so moral, and so fully a part of the mystical tradition of the West that one wonders from what source it arrived in our world. Was it a virgin birth? Whatever its source, I am certain this book will endure. For it is truthful from an ancient, pre-patriarchal, source of truth. It is truthful from the source of our bodies, our bodying forth, our clay-being and our movement being. As long as we are clay and as long as we can move and make move we shall learn from this book.
Who is this author who challenges us to imagine "inventing yellow" or "a cherry curve" (p. 70)? She tells us that she is one who "listen[s] to what is not audible'' and tries "to say what is not speakable" (p. 146). Should we allow her to play with us this way? Is she mocking us all, or just our condition? Or is she living the ancient mystical truth of paradox and humor and letting go? Is she urging us to develop what Meister Eckhart calls "unselfconsciousness"? Clearly the author is a mystic who is in love with the ineffableas all mystics are. She appears to have more courage than many mystics do, however, judging from the vast scope of this book.
We all have our motives for continuing to read this book even though it frustrates and challenges and disturbs and destroys. Like the prophets of old, the author "roots up and destroys" as well as "builds and plants" (Jeremiah 1 : 10). This is a prophetic and
Page viii
mystical book. Such books are dangerous. They are the kind dictators burn, churches tend to ignore, and consumer cultures leave on the shelf. For they have the power to awaken, to stir, to disturb, and to transform. I have heard many stories these past twelve years (since I personally came upon this work) from people whose lives were as deeply affected as my own by this work. I shall merely tell my story.
The first time I read this book I was in the process of designing a master's program in spirituality. I had traveled the country examining all the spirituality programs then in existence and had written a report in which I summarized my findings: all were lacking in their treatment of the role of art, justice, feminism, and body, and all were lacking practical tools for drawing the mystic out of persons. I concluded that a new model was necessary to truly educate (i.e., to evoke growth) in spirituality. The heart of this model must be what I called, based on Claudio Naranjo's work, "extrovert meditation" or "art as meditation." I eventually began such a program and have been heavily involved in it for the past twelve years. In the initial planning stages I had doubts: Who am I to throw out two hundred years of Descartes's educational philosophy? What makes you so sure art is the missing ingredient in education? If art is so central to mysticism then why haven't more persons who were mystics told us so? If you say everyone is an artist aren't you destroying the vocation of the especially gifted one? Then I read M. C. Richards's
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