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Thomas Merton - Dialogues with Silence: Prayers and Drawings

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Thomas Merton loved life with the passion of a romantic poet. At the age of twenty-six he chose to become a Trappist monk and began to pursue his ultimate, lifelong passion. From his austere quarters at Our Lady of Gethsemani Abbey in Trappist, Kentucky, Merton worked to change the world and to come closer to his God. The drawings and prayers in this volume are the intimate, beautifully rendered record of that pursuit -- Mertons dialogue with God. The prayers have been gathered from all of Mertons writings -- his books, journals, letters -- and are collected here, along with his largely unknown drawings, for the first time.In his drawings we see the evolution of Mertons art from purely representational to the more abstract, reflecting his interest in Zen andEastern cultures. It is easy to see that art was in his genes; both of his parents were artists. With each prayer and in every brushstroke, we sensethe depth of Mertons passion as we pause and incline our ear to his voice offering these heartfelt songs to God and to the world. Dialogues with Silenceinvites the reader to enter into that sacred realm of contemplation where we listen in silence and await the divine presence in our lives, where emptiness becomes the juncture for the interchange between the outer and inner worlds, where darkness is transformed into light -- the place where the voice of God is revealed.

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Dialogues with Silence

Prayers & Drawings

THOMAS MERTON
Edited by J ONATHAN M ONTALDO

Dialogues with Silence is dedicated to Ruth Calvert Jenkins Merton 18871921 - photo 1

Dialogues with Silence
is dedicated to
Ruth Calvert Jenkins Merton
(18871921)
Thomas Mertons mother
whom he lost to death when he was six


You formed my inmost being.
You knitted me together in my mothers womb.
You know me through and through,


My being was no mystery to you
When I was formed in secret,
Woven in the depths of the earth.
Psalm 139

Contents

My Lord God I have no idea where I am going I do not see the road ahead of - photo 2

My Lord God I have no idea where I am going I do not see the road ahead of - photo 3

My Lord God, I have no idea where I am going. I do not see the road ahead of me. I cannot know for certain where it will end. Nor do I really know myself, and the fact that I think I am following Your will does not mean that I am actually doing so. But I believe that the desire to please You does in fact please You. And I hope I have that desire in all that I am doing. I hope that I will never do anything apart from that desire. And I know that, if I do this, You will lead me by the right road, though I may know nothing about it. Therefore I will trust You always though I may seem to be lost and in the shadow of death. I will not fear, for You are ever with me, and You will never leave me to face my perils alone.

Thoughts in Solitude


Thomas Mertons Dialogues with Silence The only unhappiness Thomas Merton - photo 4

Thomas Mertons Dialogues with Silence

The only unhappiness, Thomas Merton wrote, is not to love God. If this standard for his joy is accurate, if what he wrote in his private journal is true, then the book you hold in your hands bears the signature in prayers and drawings of a deeply happy human being.

In defining monks, Saint Benedict, the father of Western monasticism, wrote simply that they truly seek God. By this criterion, Thomas Merton was probably formed a monk in his mothers womb.

He was born of artistsa New Zealander and an American who found each other in a painters studio in Paris. Retreating from the First World War and finding sanctuary in Prades, France, Owen sired, Ruth Jenkins bore, and both nourished a son who would become in time a world-celebrated monk and writer.

He came into the world, like everyone else, captive to a tainted ancestry of human selfishness, greed, and violence that would inexorably graft itself unto his own heart. By a committed life of prayer and work he would learn the right means to root out the thicket of Western cultures materialism lodged within him. He would rediscover for himself and for others reading over his shoulder a traditional road toward selflessness, generosity, and nonviolence. By his vocation to become a monk and writer, Merton would become another witness for his generation of the way out of self-defeating individualism by tracking anew the boundaries of that ancient other country whose citizens recognize a hidden ground of unity and love among all living beings.

Merton possessed a critical mind and a poets passion. He wantonly loved books, women, ideas, art, jazz, hard drink, cigarettes, argument, and having his opinions heard. He nevertheless chose at the age of twenty-three to be baptized a Roman Catholic; then, going further at the age of twenty-six, he chose to becometo the consternation of his friendsa Trappist monk.

He had exhibited compulsions that should have made him a literary precursor to the beat generation. Merton should have evolved into a wild man always high on a drug of choice, perpetually on the road, and writing in rebellion against the society of squares and gray suits. He enclosed himself instead in a forest monastery in the middle of America. Once a happy denizen of Manhattan, he placed himself in a subsistence farming community marked by frugal stability and routine, by a life of prayer, silence, and anonymity from the worlds one thousand and one interesting things. By becoming a monk, Merton ensured that his rebellion against the world and the madness it had induced in him would go deeper than any literary pose.

On December 10, 1941, under a canopy of cold stars, Merton arrived in rural Kentucky at the Abbey of Gethsemani and immediately loved its walls. When the gatehouse door shut behind him, he abandoned his disordered youth and wedged himself into narrow borders so as to find out who he might more authentically become before he died.

Once taking up his inner journey at Gethsemani, he would never waiver for long from its hard path. He participated by writing in the political, ideological, and social storms attending three decades from the 1940s to the 1960s. He traveled through these and his own personal storms clinging until the very end to the solid mast of an ancient monastic path.

Mertons stability at Gethsemani for twenty-seven years was hard therapy for the wanderlust he had inherited from his father. Yet his monastic stability would become the great blessing for his writing, his teaching and his art. Staying in one place, he was able to delve ever more deeply by reflection and prayer into the meaning of his unfolding life in the unfolding history of his times. Mertons stability honed his art of confession and witness in poetry, journals, letters, and books on a wide range of interests. By intimately exploring a monks spare geography, Merton discovered the riches awaiting the tireless cartographer of its limitations.

He passed over to the true geography of his heart not by crossing seas and seeking out new cities but by sinking roots in one Kentucky place with a community of fellow travelers. Rooting his mind at Gethsemani, he paradoxically experienced the wider horizons of his times. Mertons stability at Gethsemani, through the thick and the thin of his passionate struggle for a better way to be a human being, is a major key to his appeal to a generation that risked, as he himself had risked, traveling down a road of rootless dissipation.

Thomas Merton remained a monk for twenty-seven years because he could never stop loving becoming a monk. In spite of decades of monastic routine (or indeed precisely because of it), he could muster a poets concentrated joy for the smallest turns of difference in time or temperature that marked a day as singular and new. Mertons joyoften muffled below the voicing of his public cares and concernssituated him among those rare human beings who love the life they are leading and who have found their own true place. He reflects his typical joy as a monk in this journal entry dated May 21, 1963:

Marvelous vision of the hills at 7:45. The same hills as always, as in the afternoon, but now catching the light in a totally new way, at once very earthly and very ethereal, with delicate cups of shadow and dark ripples and crinkles where I had never seen them before, the whole slightly veiled in mist so that it seemed to be a tropical shore, a newly discovered continent. A voice in me seemed to be crying, Look! Look! For these are the discoveries, and it is for this that I am high on the mast of my ship (have always been) and I know that we are on the right course, for all around is the sea of paradise.

Monastic life inculcated in Merton this heightened awareness, an alertness to the possibilities of the hour, what he called the grip of the present. Alert expectancy was a habit he cultivated for a fruitful, examined life. His monastic stability and its enclosed horizons ironically made all the keener his innate tendency to be more ready to depart than to settle down in fixed ideas or perspectives. Merton was never afraid to walk away from himself when, through experience, prayer, and study, he found himself still too narrow and noninclusive to be a thoroughly catholic human being.

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