Newsletter

When our girls were young they would badger me with requests, “Daddy, tell us a story about when you were bad.” I think our girls learned about the reputation of my younger days by listening to family stories at the gatherings of the Arnold clan. Do not be tricked. When you think your kids aren’t paying attention, they are.
I never told them all the stories; too traumatic to their little psyches. I usually distracted them by suggesting we create our own stories full of characters that got into trouble.
“Like you, Daddy?” came the innocent question. “Well, maybe,” was my cagey reply. We would create scenarios fraught with conflict, danger, and drama and we figured out how their characters got into and out of these troublesome situations. This freed their imaginations and got me off the hook.
I have lived in the world of storytelling all my life as an actor, a playwright, a director, and a novelist. I have played and written about all manner of saints and scoundrels. Kay tells me I do best with scoundrels. She knows me too well. But to be an effective storyteller it goes back to the advice I gave our girls: pay attention.
I try to look at life from a 360 degree perspective, paying attention to what is happening around me, but also what might be happening within me. Surprises will follow. I am surprised by what other people reveal of themselves and many times surprised by my own reactions. Both responses are real and authentic. I want my characters to be fully believable because they have been fully felt by me.
Refraining from judgment is a test for a storyteller. I seek to describe the action taken by the characters and the possible motives behind the action. There are always consequences to the choices characters make, just like in real life. As a writer, I try to authentically make logical connections between character, choice, and consequence.
This requires daydreaming. “He has his head in the clouds” would be an apt description when it comes to the artist. I see the reality of the world around me, and then I take the time and freedom to daydream about what it was, what it is, and what it might be in relation to my story.
To create a compelling story requires time spent in the clouds to give meaning and depth to our lives here on earth. Defy the law of gravity. Keep daydreaming. Keep creating. The world is a better place for it.

No, your eyes are not deceiving you. That is a picture of Bernie Arnold, my dear mother, preparing to cook a pot roast on the manifold of our 1958 Impala. The power had not been turned off at the house. The oven had not broken. This was an experiment. One of many creative and clever cooking ideas Mom discovered that made her exceptional. It also helped her win the “Mrs. Tennessee” contest one year and eventually lead to the job of the Food Editor for The Nashville Tennessean and The Nashville Banner.

The early years of the six-member Arnold household were lean. There was no disposable income. There were no luxuries. The bank account was like the proverbial turnip from which no monetary blood could be squeezed. Vacations were never to the beach or mountains. Our vacation was a trip to my paternal grandparents’ home in Virginia.

The journey from Nashville to Richmond began in the predawn hours and ended well after dark. This was before seat belts were standard in most automobiles, which meant for us kids in the back we were in constant danger of becoming human projectiles should the brakes be applied suddenly.

It was also before the Interstate system. Two-lane highways led through cities and towns and along the twisting roads of the Blue Ridge Mountains. If we got stuck behind an eighteen-wheeler, we would be asphyxiated by diesel fumes before being able to pass.

The fast-food industry had not yet popped up like gastronomic weeds, so Mom would prepare snacks and full meals for the drive. Our favorite was her roast beef and vegetables wrapped in heavy-duty aluminum foil. Dad would secure it on top of the manifold of the engine with wire.

While we drove that eight cylinder engine was a natural oven maintaining a steady temperature. What was normally a feast prepared for guests on Sundays after church, would be ready for consumption by the time we reached Bristol, Tennessee.

This picture of Mom reminds me of the lyric in Thomas Chisholm’s hymn “Great is Thy Faithfulness.” In celebrating God’s creation the heavens above “join with all nature in manifold witness.” My mother gave a “witness” of the pot roast on the manifold of our car. It was a roadside feast that no fast-food joint could ever equal.

We’ve all heard the catchy platitude “You’ve got to fake it till you make it.” What that usually implies is a lack of preparation. When an opportunity presents itself you suddenly realize your inadequacies. To fake is to create a false image, and we all know, an image can be easily shattered.

In 1550, Giorgio Vasari wrote a biography of Renaissance artists entitled Lives of the Painters. One of the artists featured in the book was Giotto di Bondone who lived in Florence two hundred years earlier. Legend has it that when Giotto was an apprentice, he painted a fly on one of his master’s paintings that was so life-like, that when the master looked at it, he kept trying to brush it away. Apparently, the kid had talent.

Vasari writes that at the beginning of the 14th century, when Pope Benedict wanted to spruce up St. Peter’s Basilica with some new frescoes, courtiers were sent out into the country to interview artists and collect samples of their work. The audition process for artists has changed little over the centuries.

Many artists were interviewed for the job. I mean this was the Pope and the paintings were for the Basilica, so just any old painter would not do. Imagine the number of great painters in Italy in that time. So, when a courtier stopped by the workshop of Giotto in Florence, he probably had a carriage full of drawings and paintings he had collected from many artists.

The courtier asked if Giotto would like to submit drawings to his Holiness. My guess is the courtier expected samples of angels and saints or another Madonna and Child. Instead, Giotto took a sheet of paper, and with a pen dipped in red, he fixed his arm against his side. Then with a turn of his hand, Giotto made a perfect circle.

When Giotto gave the courtier his sample, he mistakenly thought the artist was mocking him. The courtier was incensed and asked Giotto if he was to have no other drawing than this? Vasari reports that Giotto replied, “This is enough and too much. Send it with the others and see if it will be understood.”

Those artists who submitted angels and saints lost out that day. Giotto got the gig. There was no fakery. There was no image to be propped up. There was no shameless self-promotion. Just years of hard work developing talent so that when an opportunity presented itself, Giotto did not have to fake it. He was prepared.

In the famous “Sermon on the Mount,” Jesus had a term for folks that loved to stand in the streets playing to the crowds and drawing attention with public shows of false piety. He called them “hypocrites,” which is the Greek word for play-actor (Ouch, that hurt). He goes on to say that these “play-actors” love to babble on about their beliefs because they think God is sitting in a box seat applauding this theatrical performance. And if they are not playing for God, then they play for an audience of like-minded people.

When the mask of false piety breaks open it often reveals a hidden rage. The voices and faces of rage are all too common, and the selection of rage-inducing topics is vast. Rage is a destroyer. Among many things it destroys is conversation, and once conversation is destroyed, the aftermath can be brutal.

The art of conversation includes the powerful component of listening. One cannot be yelling and listening at the same time. Language delivered at such heated levels becomes high-decibel gobbledygook. All you are left with is a contorted visual of rage on the human face: swollen visage, popping neck veins, mouths agape, and bulging eyeballs. It is the same physical effect as strangulation only self-induced.

We are complex human beings. The fabric of our souls is woven together with delicate threads. Each time we engage in conversation with someone, especially someone who does not necessarily think and believe like we do, we add a deeper layer of human connection and take a step closer to losing ourselves for the sake of each other.

There is a spiritual component at play here. It is more than just reaching across the divide. It is a giving up or losing of oneself. It is self-sacrifice. Jesus said if you want to find yourself, you have to lose yourself. It is a divine paradox that defies all manner of personal vanities, defies all the raging for those self-important rights and entitlements we think we deserve. The way to expand our world is to think less of ourselves, to be curious about each other, to ponder the beauty of another soul, and listen.

Hospitality was held in high esteem in the Arnold household. If we kids grumbled about the hordes flowing in and out of our abode, the parents might say, “We could be entertaining angels.” That biblical morsel would mystify us, but never fully mollify.

Missionaries, actors, teachers, journalists, writers, preachers, freeloaders, hoarders, artists, strangers, students, politicians, all racial stripes, all gender stripes, rich, poor, ex-cons, addicts, alcoholics, the terminally ill, the greatest of these and the least; if you were at our house at the dinner hour, invited or uninvited, a plate was set, and a bed was made should lodging be required. If there were any angels in this disparate group, they came and went undetected.

There were guests who stayed for a few nights or a few weeks, and sometimes those who stayed to infinity and beyond. The weirdest experience I remember was when a marginal friend from college brought his new bride to Nashville for their honeymoon. He said he was too broke to afford a hotel and asked to stay with us. We knew the Bible said, “Angels do not marry or are given in marriage,” so we did not expect the newlyweds to arrive with halos and harps.

Now, when “two or more were gathered” at the Arnold hotel, my siblings and I could be displaced from our rooms, but on this occasion my brothers and I could sleep in our own beds. My sister happened to be away from home, so her room was available for the happy couple.

The “just marrieds” hardly made a sound. We could only imagine what was going on, or not going on in my sister’s room. The couple was invited to our evening meals, and my friend accepted a few times, but the bride never made an appearance. He took her meals up to their room offering a mealymouthed excuse for her absence. We never laid eyes on her after their initial arrival, not even accidental bump-ins at the one bathroom we all shared upstairs.

After several days of this absurdist drama, the couple slipped away while we all were conveniently absent. No note. No “thank you.” No nothing. Raptured, maybe? Within a few weeks, we got word that their marriage had been annulled, which explained the silence in my sister’s room. You just don’t realize how peculiar a situation might be until you try to describe it.

If you open your home to the world, you never know who might walk through the door. Perhaps entertaining angels would not be that weird after all.

Job was the first biblical complainer. The oldest book in the Bible is the story of Job and much of the content make up his complaints. When we think we we’ve been wronged or life doesn’t go the way we planned it, we take to social media to voice our rants and raves, but we have nothing on this man. Our reasons to whine can’t compare with his. Job has the bona fides.

Without warning, Job’s ordered life went into chaos. He lost everything and was reduced to sitting in a pit of ashes; his friends told him that his plight was of his own making; his spouse told him to blame God and commit suicide. All he had left was a broken piece of pottery that he used to scratch the painful sores on his body. What a metaphor: the pain of Job’s broken life alleviated by a broken piece of pottery.

And did Job curse and cry and howl? You bet he did. He cursed his birth. He cursed his bitter life. He cursed his friends calling them, “long-winded, miserable comforters.” (Have any of those friends?) He tried to justify himself. He tried to maintain his innocence. He tried to preserve his integrity as if to say, “I do not deserve this. I am a good person. Life is unfair to me.”

We work so hard to configure our world to protect us from chaos, and when the storms of life blow against us, our true nature is revealed. Are we over-wrought and obsessed, like Job, with preserving our “rightness?” If you can reduce your rant into the number of characters allowed by Twitter, then you probably have little to complain about.

Being right is a mirage of temporary power and comfort. Right beliefs, right behaviors, right feelings, right lifestyles, and keeping company with those like-minded/like-faith people, are erroneous constructs. Job had structured all the right systems and practices to prevent his life from spiraling out of control, but life had different ideas, and Job ended up in the ash pit.

When life does not cooperate with our belief systems, too often we do not humble ourselves. Instead, we whine about life’s unfair treatment and rail against those we want to blame for our ills. This misguided rationale turns the indigent belief of our rightness into self-righteousness, a much harder heart to crack.

Job was a consummate complainer, but he never cursed God. He never walked away from God. And when he finally ran out of complaints, Job saw the wonders of God. He humbled himself and said, “Surely I spoke of things I did not understand, things too wonderful for me to know.” The world is chaotic, and at times, our personal lives get battered and fried by life. But hold on until the wonders of God appear.

In this month of love, I revisited John Coltrane’s A Love Supreme. The work of art is hard to resist. It is impossible to imagine how Coltrane heard this music. I envision the thousands of notes spinning around in the air above his head, and as inspiration possessed him, how he must have snatched each note, causing his saxophone to overflow as he created his masterpiece.

Nathaniel Mackey writes of Coltrane in his book of poems “Late Arcade,” that Coltrane seemed to “exhaust his horn as if there were infinite possibilities to it.” The infinite notes played in an infinite number of ways by a true genius is the proverbial strike of artistic lightening.

The story is told that Coltrane and his fellow musicians performed A Love Supreme only once in a live venue. When he finished and walked off stage Coltrane was heard saying “nunc dimittis servum tuum,” which translates “now dismiss your servant.”

This phrase was first spoken by Simeon from the gospel of Luke. It had been revealed to him that he would not die until he beheld the Messiah. When Simeon took the child into his arms, he knew he held the light of revelation, the glory of Israel, and the salvation of all people. For Simeon, this moment of perfection would never happen again.

How Simeon knew he held the Messiah could only be explained in mystical terms. How John Coltrane knew he had played a perfect piece of music is likewise a mystery. Both men knew the moment it happened that their quests in life were finished.

Coltrane and his fellow musicians had performed a perfect set of A Love Supreme. It could never be played like that ever again. To expect to repeat such an inspired level of excellence would be impossible. The performance was now a memory and such a memory can never be perfectly recreated.

Coltrane writes in the liner notes of the album that, “A Love Supreme is a ‘thank you’ to God.” He had come to a knowledge and understanding that he and his music were all about God and the gifts God had given him. Once Coltrane had that revelation, he was completely free to love the music and the great Giver of his gifts. Such is the beauty and mystery of all great art.

Human beings love order. When our world descends into chaos, we quickly begin the task of restoring a semblance of order. When the larger world around us becomes chaotic, we are fearful of being sucked into the wider maelstrom.

God chose to reverse the chaos of the amorphous universe. After hovering over the waters of turmoil, God began the process of creating form and beauty out of disorder.

Just contemplate what you do in the waking hours of a single day and consider all the ways you attempt to maintain order in your life. How do you react when your personal world order hits the turbulence of life and is threatened by upheaval?

We spend a great deal of physical energy bringing form out of our chaos and maintaining an ordered life. And when our world does spin out of control, too many times our natural response is to complain, curse, and blame.

In the book of beginnings, Genesis 1:2 reveals a simple three-step process to bringing order out of chaos. It began with the chaos. How and when the chaos in the universe came to be is a debate others can argue. But chaos existed in the dark, wet, void of the cosmos. Perhaps this image was in the subconscious minds of the creators of the lava lamp.

Then God hovered. The original Hebrew meaning for hover is “to brood; to be relaxed.” When we are relaxed enough to brood, i.e., ponder and mediate on a situation, the time spent in doing so allows our imaginations to consider new forms to replace the chaos.

After such a brooding time, one goes into action to create beauty, to restore the benefits of peaceful existence in one’s heart and to the community at large. God’s response when the creation process was complete was to say, “It is good.” What a wonderful appraisal to be able to say when one is finished creating something beautiful, that “It is good.”

From the beginning it was so. Chaos, hover, and create.

I went through a rigorous audition process for the role of Atticus Finch in a play version of To Kill a Mockingbird. The artistic director had chosen nine actors for the final callback. Any one of them would have been an excellent choice.

When I was offered the role, I called Kay with the exciting news, then called both our daughters. I was able to reach Kristin, but not Lauren. Days later, when I spoke with Lauren, and dropped the “I got the role of Atticus Finch” bomb, her reaction was pure impulse: “Oh Daddy, I’m so excited. Atticus Finch is the father I always wanted.”

This was a moment of profound realization. I knew I was about to square off with a quintessential American icon seared into the consciousness of society. We still laugh at Lauren’s faux pas, but it is not easy to go up against the iconic Atticus portrayed in the film adaptation of the novel.

One theatre patron’s comment to me outside the stage door after a performance was, “You out Gregory Pecked, Gregory Peck.” I assume this was meant as a compliment, but the truth cannot be denied: the image of Atticus Finch will forever be associated with one actor. I mean, he’s got his own stamp for heaven’s sake.

The trouble with icons is that they never set out to be icons, whether born of literary imagination or born of woman. When a kid gets asked what they want to be when they grow up, the answer is never, “I want to be an icon.”

An icon carries with it the implicit expectation of a virtuous character. Family members and friends of the icon know all too well the fallacy of such a notion. When the spotlight is not on the icon, he/she must continue their mundane life of just being human.

A more desirable aspiration is to become a genuine human being. Icons are placed on pedestals and put into stain glass windows with appropriate mythologies built around them. I never have to worry about being placed upon a pedestal or my image fabricated into a multi-colored window. My flaws are too numerous and apparent for icon status. I desire to be authentic in all things and in all ways. Others can have the status of icon. It is enough of a struggle just to be human.

John Milton of Paradise Lost fame, wrote in a letter to a friend, “Why is the Bible more entertaining & instructive than any other book?” Because the stories are addressed to “the imagination, which is spiritual sensation.”

More than forty writers are attributed to authorship, and the divinely inspired literary styles and stories range from historical, poetic, wisdom, prophetic, narrative, epistolatory, to apocalyptic. Some of my favorite passages are in the Psalms. Every human emotion is expressed in those one hundred and fifty psalms. Honesty at its most raw.

Scripture also does not shy away from revealing every distinguishing trait of human nature, the good, the bad, and the ugly. Some stories are so outrageous that people can’t believe they are included in such a holy book. I say, how could they not?

This great quote from Bono describes one of many reasons I have such affection for the Bible: “That the Scriptures are brim full of hustlers, murderers, cowards, adulterers, and mercenaries used to shock me. Now it is a source of great comfort.” Ancient times or modern times, nothing is new under the sun.

When I began to write my biblical historical fiction series, The Song of Prophets and Kings, I dreamed of gleaning truths from these three-thousand-year-old stories without altering any of the historical events and put them into an artistic context so a modern reader could relate to the situations and the emotional life of the characters.

With the publication of Crown of the Warrior King, the second installment of this series, the tension between the characters has sharpened, the conflict between the monarchy and the theocracy has intensified. The choices made by the main characters threaten to destroy the nation of Israel and bring down the reign of King Saul before it has barely had time to be established.

The human struggle in this novel is as relevant now for the modern reader as it was for those who lived through it so long ago. We can learn from our past. It is not inevitable that we repeat it.