Severing ties to these theatrics was easy. But for some time afterward, I retained an intense hunger for devotion itself. For about five years—the end of high school, the beginning of college—I turned my attention inward, tried to build a church on the inside, tried to understand faith as something that could draw me closer to something overwhelming and pure. I kept a devotional journal, producing a record of spiritual longing that was fierce and jagged and dissolving. I pleaded for things I still find very recognizable. Help me to not put on an act of any kind, I wrote. I told God that I wanted to live in accordance with my beliefs, that I wanted to diminish my own sense of self-importance, that I was sorry for not being better, and that I was grateful for being alive. It’s hard to draw the line between taking pleasure in God’s purpose and aligning God’s purpose with what I take pleasure in, I wrote, between entries where I tried to understand if it was inherently wrong to get drunk. (At my school, you could be expelled for character-based spiritual offenses such as partying, being gay, or getting pregnant.) I stood between both sides of my life, holding the lines that led to them, trying to engage with a tension that I stopped being able to feel. Eventually, almost without realizing it, I let one side go.
Severing ties to these theatrics was easy. But for some time afterward, I retained an intense hunger for devotion itself. For about five years—the end of high school, the beginning of college—I turned my attention inward, tried to build a church on the inside, tried to understand faith as something that could draw me closer to something overwhelming and pure. I kept a devotional journal, producing a record of spiritual longing that was fierce and jagged and dissolving. I pleaded for things I still find very recognizable. Help me to not put on an act of any kind, I wrote. I told God that I wanted to live in accordance with my beliefs, that I wanted to diminish my own sense of self-importance, that I was sorry for not being better, and that I was grateful for being alive. It’s hard to draw the line between taking pleasure in God’s purpose and aligning God’s purpose with what I take pleasure in, I wrote, between entries where I tried to understand if it was inherently wrong to get drunk. (At my school, you could be expelled for character-based spiritual offenses such as partying, being gay, or getting pregnant.) I stood between both sides of my life, holding the lines that led to them, trying to engage with a tension that I stopped being able to feel. Eventually, almost without realizing it, I let one side go.
Recently, I found myself doing this again—this time in the desert, that perennial seat of madness and punishment and epiphany, in a house at the top of a hill in a canyon where the sun and wind were incandescent, white-hot, merciless, streaking and scintillating across the bright blue sky. I left the house and walked down in the valley, and started to feel the drugs kick in when I was wandering in the scrub. The dry bushes became brilliant—greener—and a hummingbird torpedoed past me so quickly that I froze. I experienced, for the first time, Weil’s precise fantasy of disappearance. Each breath I took felt like it was echoing clangorously, an impure reverberation. I wanted to see the landscape as it was when I wasn’t there. I had tugged on some fabric and everything was rippling. I had come to that knife-edge of disappearance. For hours I watched the blinding swirl of light and cloud move west and I repented. At sunset, the sky billowed into mile-wide peonies, hardly an arm’s length above me, and it felt like a visitation, like God was replacing the breath in my lungs. I sobbed—battered by a love I knew would fall away from me, ashamed for all the ways I had tried to bring myself to this, humiliated by the grace of encountering it now. I dragged myself inside, finally, and looked at the mirror. My eyes were smeared with black makeup, my face was red, my lips were swollen; a thick whitish substance clung stubbornly around my mouth. I looked like a junkie. I found a piece of paper and wrote on it, after attentively noting that the ink seemed to be breathing: “The situations in my life when I have been sympathetic to desperation are the situations when I have felt sure I was encountering God.”
Recently, I found myself doing this again—this time in the desert, that perennial seat of madness and punishment and epiphany, in a house at the top of a hill in a canyon where the sun and wind were incandescent, white-hot, merciless, streaking and scintillating across the bright blue sky. I left the house and walked down in the valley, and started to feel the drugs kick in when I was wandering in the scrub. The dry bushes became brilliant—greener—and a hummingbird torpedoed past me so quickly that I froze. I experienced, for the first time, Weil’s precise fantasy of disappearance. Each breath I took felt like it was echoing clangorously, an impure reverberation. I wanted to see the landscape as it was when I wasn’t there. I had tugged on some fabric and everything was rippling. I had come to that knife-edge of disappearance. For hours I watched the blinding swirl of light and cloud move west and I repented. At sunset, the sky billowed into mile-wide peonies, hardly an arm’s length above me, and it felt like a visitation, like God was replacing the breath in my lungs. I sobbed—battered by a love I knew would fall away from me, ashamed for all the ways I had tried to bring myself to this, humiliated by the grace of encountering it now. I dragged myself inside, finally, and looked at the mirror. My eyes were smeared with black makeup, my face was red, my lips were swollen; a thick whitish substance clung stubbornly around my mouth. I looked like a junkie. I found a piece of paper and wrote on it, after attentively noting that the ink seemed to be breathing: “The situations in my life when I have been sympathetic to desperation are the situations when I have felt sure I was encountering God.”