More on: Editorial

I’m waiting for that strange experience when a picture speaks, sometimes in a whisper, sometimes with a shout, sometimes with a reverberating silence that pulls me to the edge of a precipice where I’m not sure whether I’ll fall or fly.

Our society is grappling with a soul-sickness that is ultimately an infection of our imagination. An election may address symptoms, but how do we treat the underlying disease? How to heal the imagination? Perhaps this is what the arts are for.

Like the strange paradox of social distancing, where we step away from our neighbors in order to protect them, so the artist loves the world by retreating from it. The art of solitude is ultimately social.

While we creatives apprentice ourselves to various crafts, aspiring to art that is “fine,” we might also look for subtle ways to decorate our daily lives with new intentionality. There is a training of the soul in the arts we live with.

Unknowing might be a way to relate to God anew. You might call this mystery.

In our information age, we need spiritual exercises of ex-formation.

I’m tired of beauty. Or rather, I’m tired of hearing the word “beauty” overused and misapplied.

The God who risked appearing in the flesh is the same God who leaves it to artists to bear witness.

Our solitude turns out to be crowded. The writer’s tiny hut is filled with ghosts; the painter’s chilly studio is populated by unseen rivals; in the poet’s hard-won hideaway, invisible influences lurk. Others are always already there. So much for the romantic myth.

IN HIS BOOK The World Beyond Your Head, Matthew Crawford talks about what he calls “ecologies of attention”—the social infrastructure that shapes and channels the way we attend to the world. In an earlier age, quiet spaces cultivated the sort of attention that freed you up to read War and Peace. In the frantic ecology that…