Something in us is dissatisfied with the ordinary. There’s something in the ordinary that can have us think that predictable routines, domestic rhythms, and commitment to duty can weigh us down, swallow us up, and anchor us outside the more rewarding waters of passion, romance, creativity, dance, and celebration.

We often vilify the ordinary. I remember a young woman, a student of mine, who shared in class that her greatest fear in life was to succumb to the ordinary, “to end up content, a little housewife and mother, happily doing laundry commercials!”

If you’re an artist or have an artistic temperament, you’re prone to this kind of feeling. That’s one of the propensities of an artist. Doris Lessing, for example, once made the comment that George Eliot could have been a better writer “if she hadn’t been so moral.” What Lessing is suggesting is that Eliot kept herself too anchored in the ordinary, too safe, too secure, too far from the edges.

Kathleen Norris, in her biographical work The Virgin of Bennington, shares how as a young writer she fell victim to this kind of ideology: “Artists, I believed were much too serious to live sane and normal lives. Driven by inexorable forces in an uncaring world, they were destined for an inevitable, sometimes deadly, but always ennobling wrestle with gloom and doom.”

An ennobling wrestle with gloom and doom! That does have a seductive sound to it, particularly for those of us who fancy ourselves as artistic, intellectual, or spiritual. That’s why on a given day any of us can feel a certain condescending pity for those who achieve simple happiness. Easy for them, we think, but they’re selling themselves short! That’s the artist inside of us speaking. You’ve never seen an artist doing a laundry commercial!

Don’t get me wrong. Not all of this is bad. Jesus, himself, said that we do not live by bread alone. No artist needs that explained. He or she knows that safe routine, dram duty, and a mortgage that’s been paid, alone do not necessarily make for heaven. We need bread, but we also need beauty, color, and celebration.

Doris Lessing, who was a great artist, joined the communist party as a young woman but later left it after she’d matured. Why did she leave? One phrase says it all. She left the communist party, she says, “because they didn’t believe in color!”

Life, Jesus assures us, is not meant to be lived in black and white, that is, as simply an endless cycle of rising, showering, going off to work, responsibly doing a job, coming home, having supper, getting things set for the next day, and then going back to bed.

And yet, there is much to be said for that seemingly dram routine. The rhythm of the ordinary is, in the end, the deepest wellspring from which to draw joy and meaning. Kathleen Norris, after telling us about her youthful temptation to side-step the ordinary to engage in the more ennobling battle with gloom and doom, shares how a wonderful mentor, Betty Kray, helped steer her clear of that pitfall. Kray encouraged her to write out of her joy as well as her gloom and to “dismiss the romance of insanity as a sham.” As Norris puts it: “She tried hard to convince me of what her friends who had been institutionalized for madness knew all too well: that the clean simple appreciation of ordinary, daily things is a treasure like none on earth.”

Sometimes a different mentor teaches us this. When we regain our health and energy after having been ill, off work, and out of our normal routines and rhythms, nothing is as sweet as returning to the ordinary – our work, our routine, the normal stuff of everyday life. Only after it has been taken away and then given back, do we realize that the clean, simple appreciation of daily things is the ultimate treasure.

Artists, though, are still partially right. The ordinary can weigh us down, and keep us outside the deeper waters of creativity, of romance, of color, and of the wildness that lets us dance. But, that being admitted, anchors and weight also have a positive function. They keep us from being swept away. They anchor our sanity. They keep us steady. The rhythm of the ordinary is perhaps the most powerful anchor of all to hold us in sanity.

Paul Simon, in a 1970s song entitled, An American Tune, sings about coping with confusion, mistakes, betrayal, and other events that shatter our innocence. And he ends that rather sad ballad quite peacefully with the words: “Still tomorrow’s gonna be another working day, and I’m trying to get some rest. That’s all I’m trying, is to get some rest.”

Obedience to that imperative helps anchor our sanity. There’s much to be said about being a contented, ordinary person, anchored in the rhythms of the ordinary, trying at the end of the workday to get some rest.