Centering in pottery, poetry, and the person by Mary Caroline Richards

By Mary Caroline Richards

A flowing number of poetry that also is a advisor for all times.

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Additional resources for Centering in pottery, poetry, and the person

Example text

What a riddle it is. It was ten years after the publication of Centering that I had this conscious breakthrough. I have been a faithful student of the lessons of the potter's wheel. ) The hardest and most rewarding lesson has been to learn to experience antipathy objectively, with warmth. For antipathy follows a gesture of separating, and the goal, Page xix which is to be both separate and connected, requires that one move inwardly in opposite directions. Toward self-definition and toward community.

I have heard many stories these past twelve years (since I personally came upon this work) from people whose lives were as deeply affected as my own by this work. I shall merely tell my story. The first time I read this book I was in the process of designing a master's program in spirituality. I had traveled the country examining all the spirituality programs then in existence and had written a report in which I summarized my findings: all were lacking in their treatment of the role of art, justice, feminism, and body, and all were lacking practical tools for drawing the mystic out of persons.

Within us lives a merciful being who helps us to our feet however many times we fall. Page 9 Chapter I Centering as Dialogue Centering: that act which precedes all others on the potter's wheel. The bringing of the clay into a spinning, unwobbling pivot, which will then be free to take innumerable shapes as potter and clay press against each other. The firm, tender, sensitive pressure which yields as much as it asserts. It is like a handclasp between two living hands, receiving the greeting at the very moment that they give it.

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