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Resident Artist Emily Ruth Hazel’s new poem in response to the theme of “Lies” and Genesis 2:21-25, 3:1–13; John 3:8; 18:37–38; Ephesians 5:25-33 and Revelation 22:17 as she builds a poetry collection responding to every theme from the year as a 2013 Spark+Echo Artist in Residence.
Genesis 2:21-25
Genesis 3:1–5
Genesis 3:7–13
John 3:8
John 18:37–38
Ephesians 5:26–33
Revelation 22:17
Runaway
By
Emily Ruth Hazel
Credits:
Curated by:
Spark+Echo Arts, 2013 Artist in Residence
2013
Poetry/Spoken Word
Primary Scripture
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As with the first three themes of the year, which I found myself defining by contrast—Light and Darkness were intertwined, the theme of Fools led me to write about wisdom, and Dancing was set in relief against grief—the theme of Lies inspired me to explore the alternatives, honesty and truth. Under the many layers we wear, there is an opportunity for daring vulnerability and naked authenticity. The truth of who we are, and of who God is, is not as simple or as flat as it is often presented or misunderstood to be; deeper truths are always multifaceted.
In “Runaway,” I wanted to take a closer look not only at our human tendency to run away—from truth, among other things—but also at how God has different qualities of a runaway, being hard to tie down and moving unexpectedly. This got me thinking about our human strategies for trying to make sense of our world and of the spiritual realm, and how religion can come close to articulating these things but sometimes misses the point entirely. Since subtle masks and readily accepted myths can be just as dangerous and destructive as overt lies, if not more so, I wanted to offer a poem that could acknowledge a few misconceptions about Christianity and some of the contradictions within the global and historical Church, which are troubling to me.
When I began delving into the chain reaction of deception and hiding just a few pages into Genesis, I was surprised to discover a direct connection between that text and the New Testament passage I had already had in mind to respond to (Ephesians 5:25–33), which quotes a line from Genesis about the mystery of marriage. I’m intrigued that the Apostle Paul chooses the metaphor of marriage—perhaps the most complex and intimate of human relationships—to depict the relationship between God and the Church. It was this image that became my starting point for taking off some of the layers.
Spark Notes
The Artist's Reflection
Emily Ruth Hazel is a poet, writer, and cross-pollinator who is passionate about diversifying the audience for poetry and giving voice to people who have been marginalized. Selected as the Honorary Poet for the 25th Annual Langston Hughes Community Poetry Reading in Providence, Rhode Island, she presented a commissioned tribute to the Poet Laureate of Harlem in February of 2020. She is a two-time recipient of national Dorothy Sargent Rosenberg Poetry Prizes and was awarded a National Endowment for the Arts Fellowship for a residency at The Hambidge Center in 2014. Her chapbook, Body & Soul (Finishing Line Press, 2005), was a New Women’s Voices finalist. Emily’s work has appeared in numerous anthologies, magazines, literary journals, and digital projects, including Kinfolks: A Journal of Black Expression and Magnolia: A Journal of Women’s Socially Engaged Literature. Her poetry has also been featured on music albums, in a hair salon art installation, and in a science museum exhibition.
Emily has written more than twenty commissioned works for organizations, arts productions, social justice projects, and private clients. Currently, she is developing several poetry book manuscripts and writing lyrics for an original musical inspired by the life of the extraordinary singer and Civil Rights icon Marian Anderson. A graduate of Oberlin College’s Creative Writing Program and a former New Yorker, she is now based in the Los Angeles area.
Instagram: @EmilyRuthHazel
Emily Ruth Hazel
About the Artist
Explore the other works composed throughout the year in Emily's poetry collection, created as a 2013 Artist in Residence.
Explore her works created throughout the year:
LIGHT AND DARKNESS (JANUARY 21, 2013)
“Circling the Waist of Wisdom”
FOOLS (APRIL 26, 2013)
DANCING (JUNE 27, 2013)
LIES (AUGUST 8, 2013)
HARVEST (NOVEMBER 14, 2013)
MEMORY (JANUARY 6, 2013)
Artists in Residence
Spark+Echo Artists in Residence spend a year developing and creating a major work in response to Scripture. Click on their names to view their projects.
Current Artists in Residence
Spark+Echo Arts seeks to develop and support communities of artists who engage with and create in response to the Bible. Due to the impacts of COVID-19 and some internal changes, we decided to pause the Artist in Residency for a year so that we could regroup our resources. Our hope is to continue offering this opportunity in 2021.
Previous Artists in Residence
2020
Sapient Soul, Marlanda Dekine (Poetry + Spoken Word)
2019
Lancelot Schaubert (Short Story)
2018
Elias Popa (Installation Art)
2017
Aaron Beaumont (Music), Lily Maase (Music)
2016
Ebitenyefa Baralaye (Visual Art), Chris Knight (Film), Lauren Ferebee (Theatre), Stephanie Miracle (Dance)
2015
Benje Daneman (Music), Jason DaSilva (Film), Melissa Beck (Visual Art), Don Nguyen (Theatre), Christine Suarez (Dance), The Spark & Echo Band (Music)
2013
Nicora Gangi (Visual Art), Emily Ruth Hazel (Poetry)
Related Information
The Church is a conflicted bride, her face flushed with passion, her thoughts laced with doubt. Home, to her, has never been a single street address.
Runaway
by Emily Ruth Hazel
1
The Church is a conflicted bride,
her face flushed with passion,
her thoughts laced with doubt.
Home, to her, has never been
a single street address. She lives
everywhere, a temple built of flesh
instead of stone, a body
with a mind and a will of her own,
her heart not only red but also blue
and independent, her spirit
both radiant and restless.
How far she has wandered, dragging
the train of her newly washed dress
through sewage-flooded gutters.
When she returns, ready to change,
grace attends her, fingers gently
combing out the tangle of her hair, patiently
undoing seven times seventy buttons.
But legalism has one narrow foot
braced against the Church’s back, two hands
yanking taut the laces of a corset
made from the bones of faith,
that great, endangered mystery
that swims beneath the surface.
Perhaps this undergirding was designed
for the body, to shape and support,
but it digs into her skin,
pressing her inmost parts
to conform to its constraints.
Breath held captive, the bride
anxiously waits to be untied,
Pilate’s questioning of Christ
reverberating through her
centuries later—What is truth?
This far from paradise,
knowing good and intimate with evil,
how could her heart ever again
be naked without shame?
What would she look like if she lost
the fig leaf lingerie? What if
she continued the long walk down the aisle,
eyes fixed on her first love,
confessing all her uncertainties—
would God still have her?
2
Born hungry, we feed each other
false hopes like the warm milk of a lullaby.
Having outlived the famine years,
we think we are finally wise
and bite into the red delicious of deception,
handing it off to our partners.
The growl grows louder.
A tribe of exiles and runaways,
we are all in the same soup line,
but we front as if we’re in the queue
to enter an elite club where God is
a brass-knuckled bouncer
letting in only those who pay
or charm their way inside.
Angling for VIP passes,
we bleach our teeth with white lies,
wear pretense like concealer,
sweep shades of embellishment
in all the right places. We flaunt
our faux diamonds and flash our fake ID.
Fully knowing who we are,
knowing that we can’t afford the cover,
the host at the door waves us in
and offers us a bowl and spoon.
We grab what is given with one hand,
the other hand already reaching back
to draw the invisible velvet cord
across the path behind us:
we want to be the first inside
and the last to make the cut.
3
Measuring our steps like a barefoot bride
who wears a borrowed spoon
dangling from her necklace,
what is it we are limping toward?
Eden is a memory of the scent of
apple blossoms. What do we have left,
we ask, that we have not created
for ourselves? Our fingerprints on everything,
by this time, who can tell
how much of religion is manmade?
The river of life that streams from heaven
has been dammed and redirected,
human calculations managing the flow,
interrupting natural rhythms.
From the spinning belly of the same truck
out of which that wall was born,
poured as a thick, gray river of our own,
we have built a semblance of refuge on the shore.
Easily sold on the invention
of that which is concrete—
a substance that grows stronger
as it ages—who can blame humanity
for mixing with cement
our aggregate beliefs? We manufacture
cinder blocks of knowledge
weighty enough to withstand
minor disasters, but never
too heavy to lift alone.
Stacking rules upon rituals,
long ago, we tried to build a tower
that would scrape away the blue,
leave a keyhole in the sky
so we could see beyond,
but our tongues divided us;
our ladders toppled.
Among our tall attempts,
we have landscaped a courtyard instead,
an echo of the garden we once knew,
then sealed it with a glass roof
more transparent than our prayers,
turning the open space into yet another
structure to contain the wind,
to cage our fear of what we can’t control.
Everything within our reach
we have domesticated. But what can we do
with a wind that cannot be caught?
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The Church is a conflicted bride, her face flushed with passion, her thoughts laced with doubt. Home, to her, has never been a single street address.