The other side of the coin from the art of gift-giving is the less heralded art of gift-receiving; and in order to live a balanced creative life we must practice both with equal skill. But as Alexander McCall Smith points out (in Love Over Scotland), the act that he calls gracious acceptance is "an art which most never bother to cultivate. We think that we have to learn how to give, but we forget about accepting things, which can be much harder than giving."
"Until we can receive with an open heart," notes psychologist Brené Brown astutely, "we're never really giving with an open heart. When we attach judgment to receiving help, we knowingly or unknowingly attach judgment to giving help."
"Human life runs its course in the metamorphosis between receiving and giving," the German Romantic poet Johann Wolfgang von Goethe once wrote; and art-making, too, thrives in the space where giving and receiving dance in partnership. We take in the gifts of inspiration, shape them to our purposes, and then pass those gifts along through our stories, paintings, and other creative works.
To be skilled in the art of "gracious acceptance" is to be wide-open and receptive to the gifts the muses bring, and this skill, it seems to me, is helped or hindered by one's perception of the emotion of gratitude. There are those for whom gratitude is an uncomfortable, weakening, even shameful feeling; while others of us experience gratitude in a warm and positive manner, perceiving its ties as chords of connection, not heavy chains of obligation.
The narrator of Elizabeth Berg's novel Open House is clearly in the latter camp: "I made cranberry sauce," she tells us, "and when it was done put it into a dark blue bowl for the beautiful contrast. I was thinking, doing this, about the old ways of gratitude: Indians thanking the deer they'd slain, grace before supper, kneeling before bed. I was thinking that gratitude is too much absent in our lives now, and we need it back, even if it only takes the form of acknowledging the blue of a bowl against the red of cranberries."
Mary Oliver, too, is a writer who seems to follow Meister Erkhart's dictum that "if the only prayer you ever say in your entire life is thank you, it will be enough" -- for every poem she writes is a hymn of gratitude for the commonplace marvels of daily living. Take her 1992 poem "Morning," for example:
Salt shining behind its glass cylinder.
Milk in a blue bowl. The yellow linoleum.
The cat stretching her black body from the pillow.
The way she makes her curvaceous response to the small, kind gesture.
Then laps the bowl clean.
Then wants to go out into the world
where she leaps lightly and for no apparent reason across the lawn,
then sits, perfectly still, in the grass.
I watch her a little while, thinking:
what more could I do with wild words?
I stand in the cold kitchen, bowing down to her.
I stand in the cold kitchen, everything wonderful around me.
Art-making, like gift giving, requires two separate actions: giving and receiving, both of them equally important. We breathe in the world and push it out again: inhaling, exhaling; the cycle kept in motion; never resting for too long on one side and not the other. The perpetual giver, like the perpetual receiver, is an artist (and a person) out of balance, in danger of draining the creative well dry. It's hard work, and it's humbling work, to master both roles equally, including whichever one we find the hardest -- but that's precisely the task that art (and life) demands of us.
"The reality of all life is interdependence," notes cultural anthropologist Mary Catherine Bateson. "We need to compose our lives in such a way that we both give and receive, learning to do both with grace, seeing both as parts of a single pattern rather than as antithetical alternatives."
"When we give cheerfully and accept gratefully," says Maya Angelou, "everyone is blessed."
The quietly beautiful still life paintings here today are by the American artist William Bailey. Born in Iowa in 1930, educated at the University of Kansas, Bailey is now Professor Emeritus of Art at Yale University.
"Morning" by Mary Oliver is from New and Selected Poems (Beacon Press, 1992), which is highly recommended. All rights reserved by the author.