Pooh and Eden

Listening to Robert Tear's wonderful album of the Fraser-Simson-A.A. Milne songs -- and it is growing on me, though my ancient loyalties lie, of course, with the Jack Gilford recording -- is turning out to be a poignant, even painful, experience for me.   The songs are so curious -- art music written on children's poetry -- and their beauty is so anachronistic, that they seem almost an aural metaphor for the strangeness and fleetingness of childhood itself.  I wish I could preserve the wonder of childhood for my own son, and of course I wish it could have been preserved for me, and I wonder sometimes how I became so determined to fall so far from the innocence of childhood, which, paradoxically, I managed to retain for a longer time than most American girls.  When the world begins to appear the mirror opposite of how it formerly looked  and felt (the shock and processing of this experience are very much what Mozart's last opera, Die Zauberflöte, is about), some children feel as if they've been driven out of the safe world of childhood, which now seems utterly false, and begin to act out their anger and grief at this loss which reflects the primordial loss of Eden.  This, at least, is what happened to me.

Yet I am strongly drawn to the ethos of childhood.  Most of what I read in my limited spare time is children's literature, and I am always trying to devise ways to bring the things I loved in my own childhood into my son's life (though I will need to accept the possibility that he may not love them himself).  But, I wonder, is it right, is it good to create a world of wonder around childhood, when the real world is such a hateful, mean, dangerous place?

I fervently wish that all children might be immersed in the world of delight that's portrayed in H. Fraser-Simson's wonderful Milne songs.  In my new city,  however, where I see little boys with neck tattoos that match their dads', where I read in the paper every day about horrific acts of child abuse and neglect, and where I hear parents screaming and cursing at their children as they walk them home from school, I'm even more acutely aware that this world is a distant dream for most children.  How fortunate are the few who, through happy circumstance and the efforts of their parents, are able to live in a world of innocence for a few short years.

The existential sorrow that the Fraser-Simson/Milne songs evokes for me is, I think, most of all elegiac -- not only for the world of childhood, which is always slipping away, always being lost -- but also for life itself, which starts out as a trickle of small goodbyes and later turns into a torrent of big ones.