Ken Bradstock had something valuable to say. A lot, actually. Enough to fill a book.
I hope he got it down, on paper or on disk, whatever, before he died on January 22.
If I remember right, I first noticed Ken during the bad days of turmoil among North Carolina pastoral Quakers. Ken had been a pastor among them for awhile, and seemed to fit the profile: no city slicker, a former marine, deputy sheriff turned PhD’d therapist and hospice worker, from the hills of southwestern Pennsylvania.
Hardly a radical. But somewhere along the line he read some Buddhism and also climbed off the “Christian” homophobia train, and the combination put him and the small group he then clerked in the crosshairs when the troubles came to North Carolina Yearly Meeting.
But that’s not what I want to recall about him here. After that whirlwind passed, he and I corresponded many times, via emails and Facebook. Struck by his vivid writing, I soon recruited him to write an essay for what was a called the “Narrative Theology” rubric in the journal Quaker Theology. Called “The Land” (online in full here) I urged him to regard it as the first chapter of a book: memoir, autobiography, whatever. That became a standard, drill sergeant-style closing to my emails: “Write the damn book!”
He often replied: “I’m writing the damn book!” I hope he got enough of it finished to be a testament.
Here’s an example of why my hopes have been so high. An email exchange from 2017, which began when I sent him a photo of one of the “Peaceable Kingdom” paintings by Edward Hicks, along with a special message from Hicks.
A print of the painting had sat for some weeks on a chair at the rear of Spring Friends Meeting, where I attend. Usually my phone (and its built-in camera) come to meeting with me, and I couldn’t resist taking a photo of the happenstance display.
The “special message” from Hicks was from a few years after his death in 1849. It came through a Progressive Quaker who was also a spiritualist medium, Isaac Post of Rochester, New York. It too is online, here.
Ken enjoyed the peculiar “spirit post.” But there was more to say:
From: Ken Bradstock
To: Chuck Fager
Sent: Mon, Nov 20, 2017
Subject: Re: Hicks’ Paper
I got interested in Hicks and the paintings after seeing one in Reynolda Manor in Winston-Salem. It’s not my favorite but I was awed.
One short story about the power of the paintings: I was leading a therapy group in the Child and Adolescent Psych unit at Baptist. We had a 13 year old kid who had severely sexually abused his sister and he was a hard case. They’d had him for months with no break-through. One of the kid’s defenses was to use is considerable intelligence to evade and attack with sarcasm. He was cold and they thought he might be a sociopath.
I was doing a session with color copies of the Peaceable Kingdoms where in they picked the animal that they thought described them the best and then explain why to the group. Then they were asked to draw their own Peaceable Kingdom.
He suddenly got up and left the group with his drawing in hand and sought out a resident. Two hours later, I saw him in what looked like an intense conversation with the resident. The next day, the resident approached me quietly and asked what I did to the kid.
Of course I didn’t do a thing, the painting reached his soul. The team asked me to describe the technique using the paintings. They said that he’s had a complete break-through, realizing what he’d done to his sister and had opened up to the resident for almost three hours. They finally could work out a discharge and follow-up plan with his treatment.
This was the most dramatic result I had with the paintings but there are many more in more subtle ways and more incremental steps toward healing. The tone of the groups working with the paintings were fairly identical. On one extreme, there would be a stunned quiet and on the other a sort of focused curiosity. . . .
No wonder I kept shouting at him, “Write the damn book!”
A bonus: Here’s a snippet from “The Land,” about the family farm where he spent much of his childhood:
As far back as age 5, I loved that farm. Aunt Myrtle taught flannel graph Bible stories for kids in her front room around the large coal stove and our knees lined up on the sofa that smelled of farm animals and my unwashed Uncle Joe. She led me to Christ in that living room the year I was 5 and it is an event firmly ensconced in my mind to this day. It always amazes me as to how those salvation events are so entrenched in the minds of people who experience them.
They call it “Salvation” but in my life-long study of religion and its psychology, it is very similar to almost every significant religious awakening. I have a very clear picture of her, the living room, the kids on the sofa and the act of raising my hand. She asked if anybody wanted the “New Man” to run their lives instead of the “Old Man.” It was a teaching from St Paul and is a piece of good solid Evangelical Orthodoxy.
I loved Aunt Myrtle, but over the years, I realized that this was more than the family tie of being my paternal grandmother’s sister. It was her close bond to something that I loved far more but took years of excavating to identify. No relative in my family livery aside from my father held my esteem more strongly. It has also come to me that I associate my love for her with my love for the land.
I hesitate to begin a description of her here because of my temptation to become romantically entangled with my love for both. Snapshots will do for now: her at the churn, or with the bell that brought the hands in from the field for dinner, or the burdened table piled with her produce cooked all morning, and her stained apron and long white hair tied in a bun. These shots capture her sweet demeanor, but they also peek at the shadow of a woman who spent a life-time with a drunken, abusive husband. The chickens were hers; the kitchen garden was hers along with the rhubarb and the apples. The tomatoes Uncle Joe grew in perfect red and green rows out of black soil also ended up somewhere in the symphony of her table.
Aunt Myrtle knew the history of the farm and would tell stories about the part it played as she cared for the flowers she always planted around the huge grindstone in the front yard. It was there I learned about the Whiskey Rebellion of 1791, not in a classroom. She could show a kid the gun ports in the logs used to fight the French and Indians, and tell the story of the stone safe room under the house she used for a root cellar.
That damp room encased in stone would be filled with family and livestock when an Indian attack was anticipated. The house could be burned to the ground and those in the stony vault would be protected. Her work and her life were tied to the land, and my love for the land and the farm were teamed with a child’s awe for her.
Her eyes would light up when I and my cousin Don helped collect eggs or pick up apples over near the barn for a pie or two or three. She had a look of pleasure when she made us take over the churning while she checked on something. It was fun for her to tease us when a few minutes of pumping would have both of us panting and sweating compared to her ease and rhythm.
I wasn’t aware that the land was sick where we lived. I was less than a year old in late October of 1948 when the Donora Steel mills, American Steel and Wire Works and Carnegie Steel poured sulfuric acid, soluble sulphants, and fluorides into the air. . . .