Frederick Franck turned to the door of the building, a massive wooden sculpture in the form of the sun and its rays, and pushed it open. I saw that it turned on a central axis, so that only one half of the door was open at any one time. To remind us, he murmured, that we step into this sacred space as we walk into life, alone and silently . . . I looked around me and marveled at this ninety-year-old man from whose hand had sprung everything I could see. He had carved the door, made the stained-glass windows and every other object in sight. Pacem in Terris, I realized, was one man’s act of artistic faith: a work of art outside the parameters of the art world, and also a religious statement unconfined by any religion.
As infants we enjoy an intimacy with everything around us: tiny stones, butterflies, flowers, birds, animals both stuffed and real. We live in a world of beauty and imagination. Ecstasy comes easily. We feel at one with nature and the realm of dreams...The past, the future, the present: these are meaningless to us, for we have the ability to blend them into one. We can be anything we want at any time...Then at some point in our lives, that awareness changes...adults convince us that we are not all one.
Risk. The word had a whole new meaning when uttered within the context of these jungles and the people who populated them. For most tribal people, the risk was not so much of dying but of not living properly. It was the quality of your time on earth, not the quantity, that was important. How different that dream from the one I had been taught! Where, I wondered, did we get the idea we must do everything possible to postpone the inevitable? What is it about the words more and longer that has made them assume such a paramount position in our language?
~ from THE WORLD IS AS YOU DREAM IT by John Perkins
