Monk?

The real monk, the one who’s deepest desire (God) is in line with the way he lives, is a smasher of idols. And the biggest idol he smashes is the notion that being called a monk means he is somehow special or different from others. He doesn’t pretend he is a monk, because he knows he’s just trying, and always will be trying to be what a monk is supposed to be. He’s on the way to being a monk, a lover of God (meaning lover also of all His creation) and never will arrive fully at his destination until he moves on to the Holy City. He can laugh at the notion that appearing different because he lives in a special sort of place, living a lifestyle different from most others, means he is actually different from anyone.

There is a wonderful meditation on this idol smashing in the book Tools Matter for Practicing the Spiritual Life by Mary Margaret Funk, OSB, where she reflects on her own life as a Benedictine nun:

If I’m serious about searching for God, I must undress before myself, knowing that really I’m not a nun, yet. I’m just pretending until the nun-form takes shape. I know deep down that all images of myself must be smashed and destroyed. I dread the process of unmasking my hollowness and all my illusions. They protect me from myself. But now thoughts that protect my illusions have to go. (Continuum 2001, p. 71)

And that’s it! All illusions about ourselves, all the tags we use define ourselves with, must go, be utterly destroyed, if we are to become our real selves, children of God, lovers of life, of all, of God. And that’s what faithful monks do, hidden away in their monasteries; they smash the idol of differentness, of uniqueness, of specialness, they smash the idol of monk.

The film Into Great Silence has finally debuted in the U.S.  In Boston it’s showing at the Kendall Square Cinema.  I haven’t seen it yet, but will sometime this weekend.  Here is a link to the New York Times review of the film.

Here is a link to a terrific interview with Mr Groening, the director of, Into Great Silence, a film of monastic life taken at The Grande Chartreuse, charterhouse of the Carthusian monastic order. In response to what his film is meant to convey Growning says,

“The film should become a monastery…A monastery is about getting rid of speech. Speech is constantly implying this logical way of structuring time and thought. Silence throws you into the present, in the sense of not thinking about how you get your key out of your pocket.

The immediate object, the presence of immediate things, becomes much more luminous. It’s really like a consolation. The material world, the creation, helps you to be in the world, it’s as if God had created the world in order for us to feel at home. But that sort of future planning capacity really drops.

This is what the monastery is about; this is what I tried in the film.

Here is the link to this fascinating interview with the man who has created a work of art that is bound to touch thousands.