What is it about certain places? Most of us can name somewhere special. We certainly set aside some indoor spaces as sacred. We Episcopalians call them churches. We set aside certain outside spaces too. We call them parks, national forests or nature preserves. The green in Guilford is one such place, and I live right across the street, next door to one of those indoor spaces, Christ Church .
That outdoor space I know so well comprises just under eight acres. The green is a roughly an extended rectangle bounded by town streets, surrounded by stores, churches and a few residences like mine. Mostly lawn and trees, with one large sward of grass centered around a Civil War statue, it is crisscrossed by a network of straight paths.
I have the joy of seeing life unfold out there. I have taken my dog for walks in every season, at all times of the day or night and in every sort of weather. I have seen the green clothed with clover blossoms, and frozen by the north wind. I have seen it overrun by a thousand people and empty but for me. I have seen trees fall and new ones planted. Slowly, without being much aware of the process, the green has become more than just a place. It has become a presence.
In his book, Landscapes of the Sacred, Belden Lane notes that just as the Greeks had two words for time, chronos (the mere ticking away of the seconds) and kairos (moments filled with meaning, from which our word crisis derives), so they had two words for space. The mundane equivalent was topos, meaning just a point in space like any other. The kairos/crisis match was choros. This is the word from which choreography comes. Choros describes space where something is going on, more than the sum of its parts.
To put it another way, you see topos space, and your vision stops with that. Choros space is different, you don’t just see it, you encounter it; it becomes a lens through which to see something beyond.
At first I saw the Guilford green merely as a place to walk my dog. Anywhere from once to six times a day I clipped the old knotted blue leash on to Sophie, our family’s twelve year old retriever-setter mix, and we walked across the street. Over time the power of the green’s presence overcame my habitual preoccupations. I began to notice the color of the grass at different hours of the day, the calls of birds, the rushing of squirrels, the points of the wind, the slope of the ground, the shapes of the clouds and the angle of the sun. Precisely because I followed the same paths over and over and over again I became acutely aware of how they were different every time. Topos had become choros.
Words of description and reaction began to form in my mind. I started to write them down. At first I would grab scrap paper and sit for ten minutes scribbling, but the pile of papers grew into notebooks, then text files.
The green had become that choros lens through which to see what I had not seen before. It opened my eyes to the history of the town, to the 400 year old religious impulses that led to its founding, to the Native American culture that had once lived around it. But the lens has led me deeper still. How did this space come to be at all? What is its story?
I had learned much of the human story behind the green, but I was drawn to finding out how this flat piece of earth came to be here in the first place? What was the birthing process behind such a place of delight?
Theologians have begun to talk about the “common creation story” we share with the planet. We are made of the same stuff as the trees, the grass and the soil. To learn the green’s creation story is to come closer to understanding our own.
In Stones can Speak, scientists xxxxxx strive to help us grasp the geological epochs that came and went to create our Connecticut . Describing aggregations of years difficult to conceive, but still possible to measure, they tell us of continents torn apart and moving, seams in the earth blasting open, great seas flowing in, and massive rock layers sinking. Over hundreds of millions of years, the pieces that make up Earth’s surface moved again and again. The rock beneath the green once crept from the Equator north. The refining fires, breaking pressures and dissolving waters created by the rise and fall of three Himalayan ranges gave it its penultimate shape. Then, nearly in human memory, the glaciers came and went, scooping out the rock beneath and laying down sandy piles among the remains. The green’s soil sits in a shallow bowl like a serving of smooth porridge.
Larry Rasmussen suggests that we humans have become autistic in relationship with Earth. We live within its atmosphere, are made of its chemicals, cannot exist without what grows upon it, and yet somehow we believe we are separate from it. Encountering Earth in a small way, allowing topos to become choros by seeing, then noticing and then searching through the lens of one little place, leads us closer to a righteous relationship with the roots of our physical being, God’s Creation, the work proclaimed as very good.
I receive a daily gift when I walk on the Guilford green. I know that my story and its story are one. We all can make that move from the flat experience of topos to the dancing recognition that choros space will bring. In fact, every reader of these words probably has some sense already of what I am trying to convey: that opening to another world that true observation of our surroundings can suddenly bring. The odd thing is, of course, that the “other world” we begin to see is the one in which we truly live.