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disco chip cookies

Yesterday I got a text from a church friend asking if was home because she had something to drop off. When she came by, she handed me two packages of Disco Chips, self-described as “semi-sweet morsels and edible glitter morsels.” The folks at Nestle have had too much time on their hands during the pandemic. The part of the story I love best is she said she saw them and bought a package and then, when she got home, she thought, “I should have gotten some for Milton,” and she went back to the store and did just that.

Bob Marley is right: everything’s gonna be alright.

Her gesture of love set two of my rules for living into motion. One is when someone gives you something to cook, you cook. The second is the recipes on packages and boxes are not filler; they are good recipes. I came back in the house, read the recipe on the back, set the butter out to warm up while I finished my workday and then made Disco Cookies by the instructions on the package. (Well, sort of. )

I also learned something. When I make regular chocolate chip cookies (Acoustic Chip Cookies?), I mix the chips in the dough. For these cookies, the instructions were to make and scoop the batter and then press the dough balls into the chips so they all sat on top of the cookie. I suppose that is so the glitter doesn’t get lost on the inside. It was a new technique to me and it worked well.

Here is my version of Disco Chip Cookies.

2 1/4 cups all purpose flour (315 grams)
2/3 cup unsweetened cocoa powder
1 tsp baking soda
1 tsp salt
1 cup unsalted butter (2 sticks room temperature)
1 1/2 cups brown sugar
2 large eggs
2 pkgs. Nestle Disco Chips (11 oz.)
sea salt for sprinkling

Preheat the oven to 350°. Line two baking sheets with parchment paper.

Combine flour, cocoa powder, baking soda, and salt in a bowl. Whisk together is it is well mixed.

In a stand mixer, beat the butter and brown sugar together until creamy. I let the mixer run for 8-10 minutes because I think it makes a difference in the quality of the cookie. Add the eggs and mix until well combined. Add flour mixture and mix until everything is incorporated.

Pour the chips into a large bowl. Scoop the batter into balls (about two dozen, using a 2 oz. scoop). Press the balls into the chips so the tops are well covered and the chips are stuck to the dough. Sprinkle with the sea salt. (You can leave this last step out if you want a sweet cookie, but we like the contrast.)

Bake for 9-11 minutes. Let cool and then enjoy.

Well you can tell by the way I use my scoop . . .

Peace,
Milton

lenten journal: play ball

play ball

I served a church outside of Boston
back when a curse was still a curse
and every year before Opening Day
Wally would stand and read aloud

Time, like an ever-rolling stream,
Bears all its sons away;
They fly forgotten, as a dream
Dies at the opening day.

he crossed my mind today as the Sox
came up short in the bottom of the 11th
note to self– write your opening
day poem before the game begins

maybe hope comes easier when
you don’t know the score or maybe not
truth is next year rarely comes through
this year is the one worth living

even when a dying quail sends their
runner home and ends our chances
we only have 161 more times to
send our dreams back out there

I love a game I never played
because it’s about making errors
and going home about believing
this could be our year so*

(*now go back and read the title)

Peace,
Milton

lenten journal: this is not your fault

it’s not your fault

a friend who grew up
in an abusive home
recalls a moment in
a mall store when
she was young

and her mother
was berating her
and a stranger
knelt down and
looked her in the eye

“this is not your fault”

she said and then
life went on
but the little girl
was not the same
she knew better

as holy week nears
and we make our
way to the cross
I have to fight
through the voices

telling me and you
that Jesus had to die
because of us
and I want to kneel
down and say

“this is not your fault”

the story is not
about our shame
guilt or payback
we belong to God
just as we are

Peace,
Milton

 

lenten journal: tattooed

I have three tattoos.

The first one is the simplest: a semi-colon. It rests on the front side of my right arm. When I learned about Project Semi-Colon and the idea that depression is not the end of the sentence, I punctuated my life with there mark. The third one is on the inside of the same arm. It is the word courage in black with a teal period at the end of the word. I got it the week that our foster daughter started chemo as a statement of solidarity. She and the tattoo are both doing well.

The second one is a line from my favorite Guy Clark song–my personal national anthem–“The Cape,” which tells the story of a little boy who keeps climbing up on the garage convinced that he can fly. The chorus says,

he’s one of those who knows that life is just a leap of faith
close your eyes hold your breath and always trust your cape.

I wish I had gotten it in larger letters because they kind of run together at times, but I know what they say.

Some songs are like tattoos, the ink of the lyric drilled into your heart by the melody or the beat or the way the song found you, leaving an indelible work of art that transcends and transports.

Diane Ziegler’s “You Will Get Your Due” is one of my tattoo songs. I bought the record when it came out in 1995. I had no idea who she was or that the song even existed. I was struggling with my yet unnamed depression, finishing my MA in English so I could get my teaching certificate (while I was teaching full time) and wishing I could be a writer. My fortieth birthday was in sight, but not much seemed within reach. And she sang,

there’s a man that I don’t know well
but I’ve seen the way he cast his spell
straight across a room until the people had to listen
he was singing from a quiet place
and you could only hear the faintest trace
that he wonders if he’ll ever taste the kiss of recognition

you will get your due
you will get your due
believe that there is so much more
even if it’s not right here at your door
you will get your due

I want to call him friend
because I love the way he works that pen
and spinning stories seems to be his true devotion
but he says he’s gonna pack it in
because he doesn’t see it rolling in
he thinks that ship is somewhere lost out on the ocean

you will get your due
you will get your due
believe that there is so much more
even if it’s not right here at your door
and you will get your due

I know you want to leave it behind
but it’s all there in your mind
and you can no more stop the songs
than stop your breathing
I can’t tell you how it’s gonna end
I know the lucky ones sometimes win
but not before they’ve paid a price
for all their dreaming

you will get your due
you will get your due
believe that there is so much more
even if it’s not right here at your door
and you will get your due

I wrote a couple of weeks ago about wisdom offered by a friend who said we either choose our losses or we lose our choices. On a day when I set some losses in motion in hopes of creating choices, I have spent some time both looking at and listening to my tattoos, reminding myself that the story is not over, that courage is quotidian, and I will get my due. And as I think about life in these months after my sixty-fifth birthday, I’m grateful that the kid in “The Cape” grows up:

he’s old and gray with a flour sack cape tied all around his head
still climbing up on the garage and he will be till he’s dead
all these years the people said he’s acting like a kid
he did not know he could not fly and so he did

I know I haven’t given many details. Those will follow soon. For now, if you see someone on the garage, it’s just me.

Peace,
Milton

lenten journal: vigil

vigil

what difference does it make
if we all stand still together
or fill up a room to hear others
tell stories of love and loss

one woman in town is baking
Ukrainian bread to raise
money to help refugees and
hospitals one loaf at a time

how can a hundred bucks
stop a tank across the ocean
as the room listened a little
girl stood next to me in a

flowered headdress looking
down at a her red boots
her brother turned his
electric candle off and on

as speakers spoke words
I could not understand
because my hearing aids
are loaners I could only sit

and imagine a room in
Poland perhaps filled with
refugees waiting to hear
words that might matter

or standing in line for food
I imagine a little girl in
that room as well without
flowers or red boots

and tonight I am thinking of
her because someone asked
me to sit still and listen as
if that makes a difference

Peace,
Milton

lenten journal: the scent of a funeral

The way the story unfolds in John’s gospel, I think the disciples got increasingly nervous every time Jesus went to Jerusalem because each trip seemed to up the ante, as far as those in power were concerned. As long as he stayed in Galilee, the crowds didn’t matter so much. But when he came to Jerusalem he was right in the face of those intent on control and oppression. They couldn’t ignore him. It also appears that most all of them were beginning to realize that things were escalating, as far as the official response to Jesus’ words and actions. I mean, he had always talked about dying, but it began to feel more real. In John 11, the chapter just before our passage for today, Jesus gets word that his friend Lazarus had died and decides to go to Bethany, which is walking distance from Jerusalem, and Thomas says to the other disciples, “Let us also go, that we may die with him.”

Death was in the air.

As I mentioned, Jesus had been in Bethany–at this same house that belonged to his friends Mary, Martha, and Lazarus–because Lazarus had died. Actually, the sisters sent word that their brother was sick, but by the time Jesus go there he had already been buried. When Jesus asked them to open the tomb, they were quick to say, “He’s been in there four days; he is going to stink!” (This is one of the places I still love the King James Version: “He stinketh!”) But Jesus was undaunted. He called Lazarus by name and Lazarus walked out of the tomb, still wrapped in the cloth they used to cover bodies.

The incident created publicity, which set the authorities on edge, so Jesus and the disciples left town for a while (we don’t know how long), but the next thing it says in the gospel is that it was time for Passover, so they returned to Bethany so they were close to all that was going on in Jerusalem. This time Mary, Martha, and Lazarus hosted a dinner for him and the disciples. Based on this and other stories, their house must have been known as a place of hospitality because they seemed to always have a crowd gathered there.

We might even assume the last time a crowd was there was when Jesus called Lazarus back to life. Several commentators I read this week noted that if Lazarus had been in the tomb for four days he would have already started to decompose and there is nothing in the story that alludes to Jesus healing those scars, so he would have looked like he had been, well, to hell and back.

As I said, death was in the air.

In the middle of it all, Mary came in with a big clay jar of perfume, broke it open, and washed Jesus’ feet in it. The Roman measure used means she poured about twelve ounces of perfume on his feet. To say the smell went everywhere would be an understatement. It brings to mind the lesson I had to learn as a teenager about how much cologne it took to make me smell good. And then she let her hair down and used it like a towel to wipe his feet, which means that she probably carried that aroma for several days after this happened.

My guess is the room got quiet as people caught wind of the perfume and began to realize what was happening. Then Judas critiqued the whole scene by saying she would have done better to spend the money feeding poor people than pouring a Costco-sized bottle of perfume on Jesus’ feet, and Jesus responds by saying, “You always have the poor with you, but you do not always have me.”

In the next verse, John moves on to people gathering palms to wave at Jesus as he entered Jerusalem. He doesn’t wrap up the story or tell us what anyone else said, he just moves on.

On the surface, Jesus’ words sound almost callous, as though he is saying, “You can help poor people any day you want,” but there’s more going on here. Those gathered would have been familiar with Deuteronomy 15, which talks about the year of jubilee when all debts were forgiven–every seven years. God said, “Since there will never cease to be some in need on the earth, I therefore command you, ‘Open your hand to the poor and needy neighbor in your land.’”

Jesus was saying the two expressions of compassion were not mutually exclusive. Generosity is not an either-or proposition, but a pervasive way of life. Extravagance is God’s calling card. What Mary did resonated with the three hundred bottles of wine Jesus made from water for the wedding, or the parable the four hundred cups of flour that were transformed by the yeast that Jesus told to illustrate the extravagance of God’s presence, or the prodigal love of the father we saw in last week’s parable of the two lost sons.

Mary got it. The proper way might have been to wash Jesus’ feet and then put a light rub of perfume on them afterwards, but she poured it all over him and her. Evidence of her compassion ran across the floor and got on everyone’s sandals. The aroma filled everyone’s nostrils. She had prepared herself to respond to the moment when she saw the chance.

To celebrate her eighty-fifth birthday this year, Rachel, my mother-in-law, decided to put together bags to hand out to those experiencing homelessness. As she and Ginger planned what to do, they thought about more than handing out a bottle of water or a snack. They really thought about things people need. They got some large Ziplock bags and filled them with granola bars and other healthy snacks, but also a wash cloth, a pair of socks, toothbrush and toothpaste, and a bottle of Gatorade.

Thursday, I was coming out of the Big Y parking lot and a man was standing at the traffic light holding a cardboard sign. Because of Rachel’s preparation and compassion, I had something to offer him. I was ready for the moment.

What Judas was talking about was hypothetical: “Well you know what you could have done . . .” To follow his logic means that neither Jesus nor the poor people around them would have been taken care of.

One other things strikes me in this story. Our passage this morning was the first twelve verses of John 12. The first twelve verses of chapter 13 are John’s account of Jesus’ last night with his disciples before his execution. Instead of the last supper, John says that Jesus got up from the table, much like Mary had done a few nights before, wrapped a towel around his waist, and washed the feet of his disciples–even Judas; and then he asked, “Do you know what I have done to you?”

Mary’s actions did more than just make Jesus cared for, more than foreshadow his death. We have no idea how much Jesus had that last evening planned out, but I wonder if what she did affected how he thought about the ways he would show his love for his followers that last night as, once again, the smell of death was in the air.

We seem to end up here each week, reminding each other that life is temporary and death is sure. At the start of Lent we talked about “practicing resurrection” as our theme for the season, and the reality is resurrection requires death. We can’t have one without the other.

One of the benedictions I have heard often in UCC services is attributed to a French philosopher named Henri-Frédéric Amiel who said, “Life is short. We don’t have much time to gladden the hearts of those who walk this way with us. So, be swift to love and make haste to be kind.” I will admit that I have heard it so many times that it has started to sound more like something on a greeting card rather than a benediction, but Mary’s extravagant generosity gave me fresh ears for those words.

Death is in the air. We don’t have much time. But to be able to respond to the moments where we have a chance to show our love, we must prepare to be generous, to be extravagant, whether we are caring for friends or helping strangers. We will not always have each other. Let’s not miss our chances to love one another. Amen.

lenten journal: not alone

We have had a grey and misty day around here, with a few moments of sunlight, but not many. The dampness in the air makes it feel colder than it is. When I sat down to write, it felt like a good night to share some songs that have found me over the past weeks, which is probably as close to a theme as I’m going to get tonight except that I would say all of the songs are about what it means to be here together in one way or another.

After my post about being exhausted, a friend reminded me of Nick Drake’s “‘Cello Song,” which then sent me on a Nick Drake afternoon and I landed on this song, “The Time of No Reply,” that seems like a good subtitle for Lent.

time goes by from year to year
and no one asks why I am standing here
but I have my answer as I look to the sky
this is the time of no reply

Another friend sent me a CD that is a collaboration between Art Garfunkel, Buddy Mondlock, and Maia Sharp. The title track is “Everything Waits to Be Noticed,” which is a title begging for a sermon.

twenty-eight geese in sudden flight
the last star on the edge of the night
a single button come undone
the middle child, the prodigal son
everything waits to be noticed
a trickle underneath a dam
the missing line from the telegram
everything waits to be noticed

Vance Gilbert’s latest record is called Good, Good Man and he is. Ginger and I first saw Vance at Club Passim when we first moved to Boston in the early nineties. His voice, his guitar playing, and his songwriting have only gotten better. His take on our mortality is “Pie and Whiskey.”

you can live on pie and whiskey
but you surely won’t live too long
one is as sweet as your very first kiss
the other gonna go down strong
neither one will sustain you
when the other make your belly lame
and go all wrong
you can live on pie and whiskey
but you surely won’t live too long

Kathleen Edwards’ debut record, Failed, made me a fan long, long ago. She’s another one that has kept up the good work. “Options Open” is the tale of a well-worn love, a beautiful reminder of the power of keeping our promises.

you do, you say, you speak, you wear, it just works for me
but I blame it on the weekly flyer
that took me down to Crappy Tire
‘cause you were smiling when I looked up
I guess we’ll always have a parking lot
tor thirty-nine years I’ve been keeping my options open
I’ve been keeping my options open

I just realized I came upon some great singer-songwriters in the eighties and nineties who have remained musical companions because Billy Bragg is next on my list. I think I saw him at Poor David’s Pub in Dallas in the mid-eighties when he was promoting his record Talking to the Taxman about Poetry. He, too, is still at it. “I Will Be Your Shield” is a powerful anthem of love and friendship.

In the notes on the YouTube page he says, “To me, ‘I Will Be Your Shield’ is the heart and soul of the album. I’ve come to the conclusion that empathy is the currency of music – that our job as songwriters is to help people come to terms with their feelings by offering them examples of how others may have dealt with a situation similar to that in which the listener finds themselves. After what we’ve all been through, the idea of being a shield – physically, emotionally, psychologically – resonates beyond the pandemic.”

when things start to unravel
and days fill you with dread
when commenced in your confidence
confiding me instead
when every little setback
just makes you want to cry
when the whole world seems against you
and you don’t know why

in the battle against your demons
I, I will be your shield
when the world has lost all meaning
together, we’ll stand for our love
is the one thing that’s real

The Infamous Stringdusters are a new band to me, but they are not new and they are really good. They will sing us out with something we all need to keep saying, or singing, out loud: “I’m Not Alone.”

am I just the sum of all my wondering?
will I see the beauty of the years?
can I peel away the layers of longing?
can I learn to live with all my fears?
I have painted all these walls
trim to ceiling
I have waited for so long
still the feeling that I’m
not alone
I’m not alone
I’m not alone
I’m not alone

Whatever the weather is at your house, we are not alone.

Peace,
Milton

lenten journal: outside the frame

It’s an odd connection, I suppose.

I was reading Rebecca Solnit’s Orwell’s Roses and she was describing a painting of one of his English ancestors–a painting of “gentility”: an English country house and the men clothed in their privilege–and then went on to talk about what was “outside the frame of the painting,” which was that the money that got them their houses and finery was made through the slave trade. To leave all that outside the frame meant they could see themselves as gentle men rather than brutal ones.

Her point notwithstanding, I kept seeing frames in my head and the edges of photographs that define the picture. And I thought of this picture, one I keep coming back to when it comes to thinking about who I am. It was taken in the front yard of our house in Bulawayo, Southern Rhodesia (now Zimbabwe). I have no idea how old I was, except that I lived there between the ages of one and five. I’m guessing this is somewhere in the middle of all of that.

I wrote about this picture in my book This Must Be the Place: Reflections on Home. Here is part of what I said after I wrote, “The history we construct doesn’t use facts for bricks.”

Before my beginning, my parents had stories of their own and their parents before them. My family across generations, however, have not been good record keepers. One of my mother’s uncles joined the Mormon Church and did a good deal of genealogical work as an expression of his faith, but beyond that none of us has explored much of our family tree. From the time I was small, I can recall my father telling the story of how his mother died in childbirth. He recounted how his father said the doctor offered his parents a choice: Either the mother or the child could live. She chose her son. I was in my thirties and my father in his sixties when the woman I knew as “Grandma C”—his stepmother—gave him a binder full of newspaper clippings and other things about his birth mother that she had saved over the years. From what I could tell, Dad knew nothing of the notebook until that moment. There in the brittle black and white of the aging newsprint was her obituary—she had died almost a month after he was born. After six decades, his creation story changed. How he came to be happened differently than the story he had trusted with his life. I’ll never forget the look on his face.

My parents and my birth certificate say I was born in Corpus Christi, Texas, but I had my first birthday on a trek from Texas to New York City, on our way to Africa; my first memory of myself is the picture of me standing in the front yard of our house at 15 Dale Carnegie Road in Bulawayo, Southern Rhodesia. I was about two. I don’t remember the photograph being taken, or standing in the yard, or even much of living in Bulawayo. I hold the memory because I have seen this snapshot so many times—the shorts, the striped T-shirt, the white hat, the little sneakers, the one lifted foot—to the point that I feel like every picture I remember of that house on Dale Carnegie Road had me standing in the front yard as though I were some sort of yard art. I’ve imagined people driving by and thinking, “There’s that little boy again. Don’t they ever let him go inside?” The moment is so specific it has become timeless: I am always in the yard on Dale Carnegie Road. Milton starts here.

I remain fascinated that the photograph catches my left foot in the air. I wonder where I was going.

Outside of the frame were my mother, my father, my baby brother, Nina, my nanny, and a big Collie whose name I can’t remember. Far outside the frame and across the ocean were grandparents and an aunt and uncle I knew nothing about, along with a nation that called me a citizen but wasn’t home.

These days, we talk about reframing issues or situations as a way of getting a fresh look at them. It creates an image of taking off the fancy gold frame and replacing it with a more modern acrylic one, or vice versa. Perhaps a fresh look is changing the frame, or looking beyond it; moving the borders to include a larger view that makes visible connections that had been cut off.

Like I said, it’s an odd connection between a painting of an English country house and a picture of little Milton in the front yard, always on his way to somewhere outside the frame.

Peace,
Milton

lenten journal: exhausted

exhausted (adj.) mid-17c., “consumed, used up; of persons, “tired out.”

So says the etymological dictionary. The verb exhaust (“to use up completely”) goes back to the 1530s, but I think it is probably more than coincidence that the use of the adjective lines up with the beginning of the Industrial Revolution, along with the Enlightenment, European colonization, and the general growth of the acceptable level of greed we have come to know as capitalism.

That’s not exactly how I thought this post was going to go, but once I looked up the root of the word I couldn’t help but notice the connections.

Three hundred years later, perhaps its not such a far-fetched connection. My company goes back into our offices next week, which means I start going back to New York, except now the expectation is that I go in three days a week instead of one. Door to door, my commute is three hours each way. When I asked about the reason for the change, I was told they were seeking uniformity.

Again, not the direction I thought I was going with this post.

My sister-in-law’s mother has spent her whole life in Kansas and Oklahoma. She is a wonderful woman who looks like Ms. Claus and has her own way with words. She and her husband stayed with Ginger and me once when they were vacationing. After a long day trip, she came in one evening and said, “I’m so tired I feel like I’ve been hit in the back with a dead rabbit.” Somehow, I knew just how tired she was.

I’ve thought a lot about her lately, not just because I am weary but because exhaustion feels so pervasive. We are all worn out, hit with dead rabbits, HR manuals, pandemics, grief, supply chain issues, family struggles, wars, bills, questions . . . the list goes on and on.

If you’re tired, you go to sleep. If your exhausted–depleted, used up, consumed–how do you get re-hausted? Even more, how do we live these days without being eaten up by them?

Man, I wish this next paragraph had words that offered some sort of meaningful response to that question. In the same way I didn’t know where the post was going to go, now I am not really sure how to wrap things up, so I tell a story, or at least, I’ll borrow one.

I have been reading The Hours of the Unviverse: Reflections on God, Science, and the Human Journey by Ilia Delio (whose name is awesome to say out loud). In it she tells of being in a DC Metro station, running to catch a train, when she fell on some concrete steps and busted her chin open. She was by herself. A young man stopped to see if she was alright and then, when he realized she was bleeding, he called for help and then sat with her until the paramedics arrived. She says,

He looked at my bruised face and asked, “Are you hurt?” It was not so much what he said but how he said it, as if in that moment I was the sole concern of his entire life. I was deeply touched by his compassion and care. . . . He helped me up and brought me into the Metro police quarters ; he waited with me until the ambulance arrived, assuring me I would be properly cared for. The hands of time because the hands of love; he ditched his plans and waited with me for about forty-five minutes before I was whisked off to the emergency room.

The hands of time became the hands of love.

Whether we are exhausted by bunnies or bosses or bad news or something else that starts with a b, we have a chance to let the incidental contact of our lives translate time into love, to create room for one another to rest, to replenish, to re-haust (who knows, maybe that word will catch on.

The talk about time brings me to a musical close for this post–a Tom Waits song called “Time.” That is fitting because, based on his amazing lyrics, I think he would completely understand what it means to be hit in the back with a dead rabbit. He wrote, in part,

and the band is going home it’s raining hammers it’s raining nails
and it’s true there’s nothing left for him down here
and it’s time time time
and it’s time time time
and it’s time time time that you love
and it’s time time time

Yes. Yes, it is.

Peace,
Milton

PS–Here’s a beautiful cover of the song from the Tom Waits tribute record, “Come On Up to the House: Women Sing Waits”.

lenten journal: performative

performative

it seems like a cute reflex
when a kid realizes they
are on the stadium screen
and they start to dance

without the camera they
would have stayed caught
up in their cracker jacks
or dreams of a foul ball

but tell me there’s a chance
my tweet could go viral
and the dance turns to
damage, derision, and fame

what makes us think every
thing requires a response
just because the camera
is always on watching

this is not a luddite’s lament
but a reminder to myself
that the camera hopes we
will try to be more interesting

than we are in real life and
that rarely works out well
the old song says dance like
there’s nobody watching

look, it’s not about being
remembered or retweeted
quoted or even cancelled
but you already knew that

enjoy your cracker jacks wait
for the person who never
knows they’re on camera
no wait–be that person

Peace,
Milton