The Crossing Point
Selected Talks and Writings
Publication Year: 1973
Published by: Wesleyan University Press
Introduction: Who We Are
THIS book is published in response to an expressed wish that certain talks I have given in recent years should be available under one cover. These are real talks for real occasions with real people in them. The question I immediately faced was whether to preserve the context of the talks, and the persons...
I: Karma and Craftsmanship
This talk was given at Haystack Mountain School of Crafts on Deer Isle in Maine, in August of 1964. It is low key, and expresses, I think, a tenacious respect for feeling, even at wit's end â and the need to be nourished by Haystack's supportive environment. Thus, Feeling, and Community â and the intimacy of its tone. It was an informal occasion, for a...
II. Thoughts on Writing
In the summer of 1965 at Haystack School of Crafts I offered for the first time a workshop called "Writing as a Handcraft." It came out of my feeling for starting at the beginning again, from real inner sources: in this case from the gestures of writing/drawing the alphabet, which had been awakened through my study of Rudolf Steiner's educational and artistic...
III: Occupational Therapy
In the spring of 1966 I was asked by Robert Mather, program chairman, if I would speak to the Eastern Pennsylvania Association of Occupational Therapists. I felt equipped, however modestly, by having come into such close fellowship with my own disabilities. I met Robert Mather at a talk I gave in Wallingford, Pennsylvania, at the Arts Center...
IV: The Crossing Point
In September of 1966,1 was invited by Vilma Harrington, of the Community Church in New York City, to lead a retreat of Unitarian Universalist Women, at Senexet, Connecticut. Since I was innocent both of "retreats" and of Unitarian Universalists, it worked out pretty well. In...
V: New Resources
After the Perm State talk, I returned to England to be visiting American professor at the Curriculum Laboratory of the University of London Goldsmiths' College. My participation there helped me to experience individual initiative within a group dynamic, and to experience the life process of persons as in itself creative. Its extraordinary founder and director, Charity...
VI: Pilot Course Seven
I wrote this report in the summer of 1967, after my term as visiting professor in Course Seven at the Curriculum Laboratory, University of London Goldsmiths' College. It tells what the Lah experience was for me, and how it worked. Fuller discussion of the fourfold interdisciplinary curriculum may be found in Young Lives at Stake by the Lab's director Charity...
VII: Current Trends in Education
At New Year's, 1968, I returned from England to follow through on a proposal I had made to friends here. It was that we should hold a two-week festival of kiln building and pottery making, on Paulus Berensohn's farm in Pennsylvania, where he had a pottery shop- and big fields for camping and outdoor firing. The festival took place, with thirty-six people...
VIII: Insight 1969
I lingered on at the farm after the kiln festival Summer 1968: to share in some additional firings with Karen Karnes, Ann Stannard, Helen Penny, and Paulus Berensohn. And to harvest my winter squashes. In October I returned to New York City, but not for long. I was mugged and robbed near my apartment, and as a result Paulus invited me to move to his...
IX: Some Thoughts
In September of 1969, I drove the trans-Canada highway in my old Volvo, to Alberta. Through the initiative of Pauline McGeorge, I was to be artist-in-residence at the University of Lethbridge till spring. Before settling in, I made a trip by bus to eastern Washington. There I gave a talk on.Art and Wholeness in Learning to the Twenty-ninth Annual Washington Art...
X: Wholeness in Learning
During the academic year 1969-1970, I was artist-in-residence at the University of Lethbridge in Alberta, Canada. My appointment was cross-discipline, shared by the Art Department and the English Department, which seemed custom-built for me. I was also, I thought, to be connected in some vital way with an experimental college within the...
On February 14, 1971, at the invitation of Professor James Carpenter, I gave a public lecture at Colby College, Waterville, Maine, as part of an Arts Festival, in which I also gave a poetry reading, a showing of poem prints and of pots, and a pottery class. As often happens, I was asked to talk about "whatever I wanted." What did I want to say? I would be back in the...
XII: Wrestling with the Daimonic
In August, 1970, Molly Francis had come from England to celebrate her birthday on our farm. I drove her into the Catskills to visit her dear Quaker friends, Virginia and Bainbridge Davis. Virginia Davis later said it was "fate" since she had just gotten my book Centering and was thinking to propose at an autumn meeting of the executive committee that I be...
XIII: Mental Handicap
This piece wrote itself "out of the blue" one morning in the early summer of 1971- I considered sending it to Saturday Review in response to the Illich article which helped to set it off, but my impulse was fragile and didn't survive. It is published here for the first time. During this year I was preoccupied with my relationship to the Camphill Movement for...
XIV: Work and Source
This talk was given on September 16, 1971, in Farmington, Michigan, at the invitation of Robert Piepenberg, for the Michigan Potters' Guild and Oakland Community College, where Piepenberg teaches and where the talk took place. In it for the first time I made an extensive showing of new work in clay and talked around it, letting this dialogue give the form of my...
We begin now with this, how we are in a new time of ourselves. These past years have been a continuous unveiling, taking masks away, taking away familiar shapes, familiar structures, treasured truths, to reveal a living seedbed, flowing waters, interweaving colors, spiritual contours...
Page Count: 258
Publication Year: 1973
OCLC Number: 748588743
MUSE Marc Record: Download for The Crossing Point