Lent: Mountains Were Mountains

I looked out the kitchen window yesterday during a lull in the afternoon and observed that the sky was gray, the same color, and seemingly the same substance, as the winter-bleached asphalt of the road, which, if there were no other houses in the way, seemed as if it could go on forever into the distant vanishing point and dissolve into that lowering metallic horizon, gray into gray. The unrelenting grayness seems to have seeped into my bones and entered my spirit. Though this happens less frequently now, my mind leapt to compare the northern-Appalachian grayness to what I used to know, in New York City, where on a day like this I would have left my house and walked and walked in the cold and the grayness until it seemed as if the March wind, which howled down certain streets unchecked and whipped scraps of paper into whirlwinds on street-corners, had swept everything contrary and unyielding from me, leaving my spirit as empty as a bare room.

The other day I was looking to buy some fava beans, but even the large supermarket chain that carries gourmet and ethnic foods didn't have them. I ended up at a little halal corner grocery store in the ghetto where, when I asked for fava beans, I was shown a whole shelf of them -- the Egyptian variety, the Palestinian variety, the Yemeni variety -- and which kind did I like? The shop was like a scrappy, rundown echo of Atlantic Avenue in Brooklyn, the blocks-long bazaar of Middle Eastern shops and restaurants where long ago I used to shop on Saturdays. I chatted with the owner, a halal butcher who told me that for twenty years he drove the 200 miles to New York every week to deliver his meat to those very shops. "In New York," he mused, "you walk out your door, and everything is handed to you."

Yes, that is true. In New York, someone has already opened that shop and sourced the gourmet groceries so that you don't have to. You can pay one thin dime, or even a penny, to time-travel and immerse yourself in the parallel dimension of the great artifacts of every culture in history at the Metropolitan Museum; a generous and well-endowed foundation has made it possible for even the broke and the poor to use their own judgment when considering the recommended $25 admission fee. You can go anywhere, you can walk anywhere. And the most beautiful trees bloom in the spring, the flowering pear trees that turn whole city blocks into tunnels roofed with white blossoms. And the gray of that rara avis, the urban pigeon, is illuminated by the lovely purple-green iridescence of its neck feathers as it struts and bobs to devour your half-eaten hot dog.

A zen master is supposed to have said, "When I was young, mountains were mountains and rivers were rivers. When I sought enlightenment, mountains were no longer mountains, and rivers were no longer rivers. Finally, mountains are mountains again, and rivers are rivers."

One of the hardest things for me about leaving New York and being here has been the unrelenting grayness that cannot be swept away with a long walk. While the countryside surrounding this town is beautiful in an unkempt, natural way, there is a distinct lack of the kind of man-made beauty that is fashioned by skill and artifice -- the beauty of Wallace Stevens's jar, which gave order to "the slovenly wilderness." When you go out your door, nothing is handed to you. You're on your own, in alien territory that feels vaguely hostile.

Back in New York, I sat on the floor next to my baby's crib and wrote my doctoral dissertation while he slept. When he woke up, we went to the neighborhood playground. Here, I despair of getting any serious work done on the book that the dissertation has become; there's no time even to write a blog post. Because nothing is handed to you here, I spend much of my time striving to create a parallel dimension for my children with the books and music and pictures in my own home, and I sometimes have my doubts about whether this endeavor is healthy. Is it creating a bulwark against the darkness of the world that will shore up my children against its cruelties, or is it nurturing futile dreams of beauty that will necessarily be crushed by that darkness? It seems a lot easier when everything is handed to you.

But I know some young single mothers who are refugees from New York, who see this broken-down, post-industrial former boom-town as a haven full of promise, and who never, ever want to go back. And I imagine that many, if not most, of my fellow citizens live in places like this -- small, decrepit cities that are gradually being invaded by spiritual darkness and in some cases even reverting to "the slovenly wilderness" -- and that to have spent the rest of my life in one of the greatest and most beautiful cities in the world, where everything is handed to you, would be to ignore that darkness, to be lulled to sleep by beauty and ease of access, and to do nothing about it.

I once thought I would do something great; I longed to reveal something of lasting beauty in the world. But instead, I teach music at a sad, down-at-heels community college to hardscrabble working-class students, who seem far less naturally-intelligent and well-prepared than the hardscrabble working-class students I used to teach in the City University of New York system. I feel sometimes like a Lego minifigure whose plastic legs have been swapped out for the short ones, or like the Black Knight in Monty Python and the Holy Grail:



But maybe mountains really are just mountains, and rivers really just rivers.

D.H. Lawrence wrote in his poem "The Phoenix":
Are you willing to be sponged out, erased, cancelled,

made nothing?

Are you willing to be made nothing?

dipped into oblivion?

If not, you will never really change.

Thickening the Culture

I know. I haven't posted here in ages. I'm really too busy to keep up this blog right now. Homeschooling has been hugely time-consuming, and I have to get the first draft of my book to the publisher within the next very few months. Besides, though my thoughts are often scintillating to me, I doubt that they would be to you. And no one has time to read blogs anymore, right? Where we once all connected, we've gravitated to Facebook instead, which takes so much less thought and deliberation.

I am guilty of of this too. I read blogs very rarely these days, even those written by my friends. I just don't have the time. I get up at five a.m. to try to do a little bit of research and reading before the day begins, and, once it does, I'm rarely sitting down, unless it's to drive somewhere. (Which means, come to think of it, that I'm actually sitting down quite a lot, since I seem to have become some sort of simulacrum of a suburban housewife, constantly driving to places that neither promise nor supply either satisfaction or rest.)

But I did read Melanie's thought-provoking post the other day, and have been turning it over in my mind. Melanie notes the movement among Catholic mothers -- or at least those who have an online presence -- to revive lost traditions. In the end, she finds herself mourning the loss of a "thick" Catholic culture (a term I love), one that draws American Catholics together in shared celebration, fellowship, and purpose:

We create ersatz holidays that have passing reference to the farmer’s world, we yearn to be connected to the seasons in a liturgical way, but most of us are grasping at straws, we have no idea really what we’re yearning for . . . . We have in our day no harvest feasts or mystery plays, no Michaelmas goose to share with out neighbors. But let us… Let us what? Let us be received? Certainly we are received at Mass, but is that enough? Time and time again I hear that it isn’t. It’s not enough to live the faith on Sundays, it must permeate our lives. And we try, we Catholic mommy bloggers. We try to revive an authentic Catholic culture in our domestic churches. But it seems to me we must do more. We must somehow make these traditions live outside the four walls of our homes, we must make our parishes as well as our homes the seats of authentic Catholic culture 

This is a real cri-de-coeur, to which I unite my own. How does one do this? How do we re-create what has been lost? Melanie suggests that we go outside of our homes, that we make common cause with other people in real life. But will we?

I started this blog in 2007, and the very next year we moved from New York City, where I imagined I'd always live, to northern Appalachia. The difference between the two places, in social customs and much else, is hard to overstate. When you live in a walking-around city, you make friends. When you're shut up in the private realm of your own automobile, you don't.

I assumed that, in a new place, I'd always make friends at church.  But I didn't. There is a vibrant community of orthodox Catholic mothers here, but they did not invite me in; I was so different that i might as well have moved here from Mars. When I received my doctorate and posted a picture of myself in my cap and gown on Facebook (at Lincoln Center, no less,  where my university holds Commencement), one of the mothers in this group said to me, "I didn't know you were still in school," evidently a shocking and bad thing for someone of my station. As a matter of fact, it was only this fall, six years into our sojourn here, that I was invited to one of this mothers' group's weekly meetings, and it was only because someone had gotten wind that I was homeschooling; I would never have been invited in if I had kept my older son in public school, evidently (I declined -- not because I'm too proud, but because it seemed futile).

(This is an actual real-life picture of me, a first for this blog. Did you know that when you get an advanced degree in music, your hood is pink, and your gown has pink trim?)

I'm convinced, sadly, that syncretizing a newly-vibrant Catholic culture out of recipes and crafts cobbled together from Pinterest and other mothers' blogs is destined to fail, or at least to fail to "thicken," and that the main reason for this is that we are all doing it in our own homes with our own children, and then posting about it on the internet. In short, we are not going out to meet each other -- not even in church, much less in the street. And if we don't meet each other, we can't invite each other over. We are not breaking down barriers; we are, in fact, raising them a little higher with our lovely photos of what we've accomplished and you can too! But comboxes do not make a community, and those crafts, no matter how lovely, are not a substitute for traditions and lore passed down from generation to generation.

I was particularly touched by Melanie's mention of making challah from a recipe of her husband's great-grandmother. I have often felt wistful about Jewish culture, which, in some ways, is the original "thick" culture. Jews -- at least religiously observant Jews -- have a shared sense of purpose and fellowship. They have jokes. They have excellent liturgical music. I used to sing the High Holy Days services in an eight-voice choir at a well-heeled synagogue near the U.N., attended by many diplomats, and the music we sang truly imparted to me, as a performer, a powerful sense of God's wonder and awe. That hasn't ever exactly happened to me at church. At synagogue, the elders fuss over the youngsters, and help guide them in the faith and inculcate in them a shared sense of cultural and spiritual endeavor. Some oof the ultra-Orthodox, like the Chabad Lubavitchers, have what can only be called a cult of joy. I had a Lubavitcher student back in New York who used to play at all the big Hasidic weddings in Brooklyn -- he was a jazz drummer -- and he often invited me to attend them. I didn't feel comfortable crashing, especially as an outsider, but I longed to witness the ecstatic music and dancing I had heard about. Joy! And what do we have? Well, if it's joy, I haven't tasted it, at least not in our culture or our so-called fellowship, in our music, in our gatherings, or in the ways that we deal with one another at Mass or outside of it. The Catholics here are cold, cold, cold.

I do not know if it's the same elsewhere. I've heard that midwestern Catholic churches are legendary for their outreach and hospitality; certainly the Protestants have that all over us, too. A few years ago there were some faint stirrings of a new Catholic agrarian-localist movement, inspired by the writings of people like Eric Brende and the briefly-Catholic Rod Dreher; but I don't know anyone who attempted such a lifestyle or whether it worked out for them.

I think in the end one has to assess the place where one finds oneself, and try to push into it, to knead it a little -- indeed, to thicken it with one's own flesh-and-blood actions. How do we do this? I don't know, but I suppose each in her own way, utilizing her own gifts. I think we have got to get out from behind our screens and do something in our communities, however small. I think of this often in my car as I drive around my down-at-heels new city (though it's not so new now), looking out at the depressed and impoverished pedestrians walking for necessity, not for joy, against the bleak landscape. Sometimes, at those moments, I find myself chanting aloud: "Make the desert bloom! Make the desert bloom!" I'm quite sure we are called to do this, though I'm not quite sure how.

Velvet Shoes

A song, by American composer Randall Thompson, about a winter walk. The poem is by Elinor Wylie:

Let us walk in the white snow

          In a soundless space;

With footsteps quiet and slow,

          At a tranquil pace,

          Under veils of white lace.

I shall go shod in silk,

          And you in wool,

White as white cow's milk,

          More beautiful

          Than the breast of a gull.

We shall walk through the still town

          In a windless peace;

We shall step upon white down,

          Upon silver fleece,

          Upon softer than these.

We shall walk in velvet shoes:

          Wherever we go

Silence will fall like dews

          On white silence below.

          We shall walk in the snow.

Quick Takes: Walking Distance

1. My son has moved up to the next-sized violin, a one-quarter which he has dubbed J.J. It's the first instrument he's had that actually sounds, when played, like a real violin. When I rented his previous axe, a one-eighth size which he called McGillicuddy, it already had little pieces of red tape stuck to the fingerboard to help little hands find the right notes, so I ignorantly asked our violin teacher, an elderly Hungarian master, to put some tape on J.J.'s neck for the same purpose. He fixed me with a stern look. "Pentimento," he said, "that is Suzuki nonsense.  Do you think I learned to play with pieces of tape on my instrument? He will learn to play the right notes by tuning with his ear and adjusting his fingers accordingly." I was embarrassed; of course, he was absolutely right, and, by the middle of the lesson, my son was tuning and adjusting and playing the right notes all on his own. All of a sudden I saw the proliferation and near-cult status of Suzuki instruction in this country -- perhaps unjustly -- as a money-making conspiracy, and started to wonder if it had played any part in the precipitous decline in musical literacy we've experienced in the past fifty years in America.

2. I brought McGillicuddy with us as I walked my son to school this morning, because the violin rental shop, operated out of a private Victorian home, is another three-quarters of a mile's walk away. A dad dropping off his daughter said to me, "It's so great that you walk everywhere!" I explained to him that not only was I not legally licensed to drive a car (though I may be by the end of this week, after I take my road test on Friday), but that if I didn't walk each day, no matter what the weather, my head would probably explode.

3. I hadn't had breakfast, and was hungry after dropping off McGillicuddy, so I walked the few blocks to the main commercial thoroughfare in the neighborhood, and went to the only place that was open at 8 AM, which was McDonald's. Until we moved here, I would go to McDonald's maybe once every five or six years, but things really change when you move to the greater U.S.A.  I remember mentioning this to Really Rosie once, and she scolded me, saying, "Haven't you read Fast Food Nation?" In fact I have, and so I know that McDonald's is destroying not only American society but also the entire universe. Nonetheless, I'm not a great believer in the efficacy of ideological boycotts, especially when you're hungry and it's the only game in town.  We boycotted Nestlé when I was little because of their greedy, unethical formula-pushing in maternity wards in Africa, which led to the deaths of thousands of infants; but it occurs to me now that few people who boycott Nestlé probably believe that abortion should be banned, which raises inevitable questions about the efficacy of such protests. About boycotting, I guess I have a sort of "circumcise your hearts" attitude.

4. As I ordered a sausage muffin and a coffee with five creams on the side, I briefly hoped that the front-end worker wouldn't think I was a junkie, which I probably would have thought if someone had ordered a coffee with five creams from me. But then again, I didn't ask for sugar.  I contemplated the offer on the wall behind the counter of Braille and picture menus, which gave me the good feeling that McDonald's is friendly towards people with disabilities, immigrants, and those with selective mutism. As I had my breakfast, I thought about where I might be if I were still in New York. Probably on the subway on my way to teach at the large urban university where I was an adjunct in the music department. Some of my fellow riders would be nodding off on strangers' shoulders, while others would be attempting to construct impenetrable self-contained universes around themselves with their iPods and newspapers. Young orthodox Jewish women, looking like it was 1949 in wool coats, platform pumps, and smart chapeaux, would be reading from little Hebrew prayer books with their red-painted lips moving silently, and would finish by kissing the books and stuffing them back into their pocketbooks.

5. After McDonald's, I walked over to the dollar store to get some cleaning supplies, and one of the grotesquely-tattooed moms from my son's class -- the one who drives a new Cadillac -- pulled over to offer me a ride. "I see you walking everywhere in the neighborhood," she noted, correctly. As we drove the few short blocks, she told me she was a vegan, that she didn't wear leather shoes, and that the U.S.D.A. allows one eyedropperful of pus in every glass of milk. There's more to these tattooed moms than meets the eye, I thought.

6. On my way to the violin shop through a run-down working-class neighborhood, I saw a little old Ford parked on the street covered with bumper stickers, one of which said, "I'd rather be reading Charles Bukowski." And when I entered McDonald's, they were playing "Bring It On Home to Me" (above), one of the most perfect songs ever written. It made me feel as if strange epiphanies might be happening all over the world in the most unlikely places.

7. My favorite crossing guard is training her elderly father, a man named Loyal, for the job. Yesterday, his first day without her, he asked me how many children I had. I told him just my kindergarten-aged boy for now, and mentioned our upcoming adoption. Loyal, who is what evangelicals call a "Bible-believing Christian," responded to the news about the adoption by noting that those who are merciful will be shown mercy. Somehow I hadn't thought about mercy in the context of adoption before, and as we stood there chatting at the street corner, he with a yellow reflective jacket and a stop sign in his hand, tears rolled unchecked down my cheeks.

8. All of which makes me think that, even if I pass my road test, I will still want to walk everywhere, lest I miss something beautiful.

Epiphany and Manifesto

Yesterday was my son's sixth birthday. We started the day with a birthday tradition of wild dancing in the kitchen to Brahms's Hungarian Dance no. 5 in F-sharp minor (above; the sound quality is poor, but it was one of the few performances on Youtube that I actually liked. The one we use for wild dancing -- and the one I love am bestsen -- is the solo piano version by the great but sadly-short-lived American Brahms proponent Julius Katchen), and then it was time for school.

One of the things I love am besten is taking brisk walks in the cold, and school is good for that. It's about three-quarters of a mile in each direction, and on the way back I have time to look around and think. The combination of Brahms and the cold early-January weather, though, is a poignant one for me, bringing up memories of countless cold walks in the desolate post-industrial neighborhoods of the wintry Bronx, walks that were nevertheless wonderful and full of all kinds of interior riches influenced by the bleak exterior landscape.  Here there's none of that. But there's still Brahms.

Brahms's music dominates the inner landscape of my life.  His music is so inextricably woven into the warp of my earlier life, from my childhood listening to my mother's LP of Glenn Gould playing the Op. 117 and 118 Intermezzi, to my earliest days of performing his art songs as an undergraduate voice major,  to later and more mature performances, including a turn in the four-soloist version of Liebesliederwalzer when I was still a soprano, and, most recently, the solo version of Ziguenerlieder in my last recital for my Doctor of Musical Arts degree in voice performance. (We had a three-recital requirement, and I made sure to program Brahms into each one. In the first of these recitals I performed George Crumb's song cycle Apparition for voice and amplified piano, based upon excerpts from Walt Whitman's elegy on the death of Lincoln, When lilacs last in the dooryard bloom'd, which was truly one of the greatest musical experiences of my life. I also sang a short group of Brahms songs early in the program, and one of my best friends -- a non-musician but no stranger to twentieth-century music -- said afterward, "The Crumb was just astonishing . . . but I loved the Brahms.")

I think now that if I hadn't had access to the kind of order and beauty that the practice of classical music has allowed me to take hold of, I would have fallen apart even more in this place where there is no discernible order, and not so much beauty, to my everyday life.  We left New York when I was just finishing my doctorate, and I was teaching music, studying music, writing about music, and performing music with my esteemed instructors and colleagues. But here, my practice of music is largely solitary. I still have a few gigs a year, nearly all of which involve travel, which means that what I work on at the little piano in my living room does not ripple out into the community at all, and essentially has no effect upon the place where I live, and is brought instead into other marketplaces and other communities, and I wonder why it is that the people and places that most need beauty that have the least access to it.

I have been thinking of A., too, whose life is lived minute to minute as she attempts to meet her own and her children's basic needs with the scanty survival skills she's learned in a hard place. The beauty of Brahms's music, and the music of so many others, has scarcely been short of salvific for me: it shines light upon the soul's darkness; it converts the tattered rags of a wasted day into a rich tapestry. I've always thought of this music as having not only real form, but also real, tangible substance, as if it were something that you could actually erect standing structures out of, something you could build with. And perhaps you can: as misshapen as my inner self might be, it was trained like a vine around the trellis of music (in other ways, it could be said, though certainly hyperbolically, to have been stretched like a tortured body upon the rack of music). In any event, the discipline of music gave order to my life where there was none, and gave me all kinds of mad coping skills in the face of crumbling chaos. But A. has never heard it, and perhaps never will.

My son's wonderful violin teacher came with his quartet from Budapest to New York City in the 1960s. He has told me about playing school concerts in the inner city ghettos, and about how well-prepared and attentive the children were. Their teachers knew, then, that their young charges needed this music -- as who doesn't? But many teachers and educational theorists today reject that notion, believing instead that students, especially disadvantaged students, need forms of cultural expression that speak specifically to their circumstances. I don't deny that there is a place for particular, time-and-place-specific, vernacular art. But to say that each subculture should be sequestered with its own small and particular and self-referential art forms is to deny -- again to speak hyperbolically, even Beethoven-esquely -- the universal brotherhood of man; it's parochial at best, and bigoted at worst.  All people, and especially all children, deserve to learn and to study and to know the great soul-strengthening and spiritually-deepening works of the great wielders of the highest forms of artistic expression of our culture, which, for all of us living here, is western culture. And they deserve to learn and to study and to know these things not because they make you smarter or better at math or better at sports or whatever the hell, but because they are beautiful, and they speak to the essence of what makes us human.

Where that leaves me, I don't know. It's still cold out, and I'm still listening to Brahms. Happy Epiphany, everyone.

Senses Working Overtime

"Most people see beauty where there's beauty, Pentimento," my old comrade S., from the days of Bohemia, once said. "But you see beauty where there's none." This habit must have started early; my mother has told me that in the first grade, I pulled another child's discarded drawing out of the classroom trash can, wondering aloud that anyone could possibly throw away something so beautiful.

Once I'd moved the four miles that might as well have been a thousand -- from Washington Heights, that is, to the northern Bronx -- I retained my old habit of walking until the blocks turned to miles.  I loved to walk, to walk and to look. I walked around my own gemütlich neighborhood until I had to walk out of it. Then I walked in other, less savory climes: Bainbridge, Norwood, Mosholu Parkway, Fordham Road. I walked the four or five miles to the Botanical Gardens and back again. I walked from the Bronx Zoo to West Farms Square to the Belmont section. I did most of this with my baby strapped to me, trusting that his presence would keep unsavory types at bay, which it did; I don't know if this is true in America as a whole, but there's a by-no-means-negligible amount of respect for women with children in the street culture of New York that can confer a safe passage where none should be expected.  It's true that I walked in places where I probably shouldn't have. But to me, it was all beautiful. The sun, the people on their stoops, the weeds blooming in vacant lots, the music, the sound of the elevated subway, the smells of coffee from the bodegas and of diesel from the buses: it made me happy.

Now I live not a thousand, but a million miles away from that time and place. I have left my old life behind, and my old life was, itself, a leaving behind of my old-old life. Here, I walk my son to school first past stately homes with well-kept lawns, and then, after a certain point, past increasingly down-at-heels two- and three-family houses with sagging porches and roofs missing shingles. Beautiful or not, sunny or not, I feel mildly desolate, and I realize it's the people I miss -- seeing them, walking past them, exchanging nods, smiles, hellos. People don't say hello to each other here. Even on these mostly-deserted streets, when someone walks past you, he strenuously avoids looking you in the eye.

One of the school crossing-guards admired the Phishhead hat my former student made for me, so I ordered an extra one and asked her to send it to me, and I gave it to the crossing-guard. I see this particular guard only rarely, because she doesn't work my usual route, but today I had an appointment that required me to cross at her corner, and she greeted me by name. She remembered my name, she told me, because I share it with a popular actress, who happens to be her favorite. She wished me a good day. For some reason, as I walked on, I burst into tears. 

We are called, as Rabindranath Tagore said, to become the brother of the stranger. This brotherhood, so fleeting and so rare, melts the heart so that all hostility is disarmed.

Below: XTC's great song "Senses Working Overtime."

The Book of Tears and Remembering

It's a Saturday, and I'm surprised to find myself doing what I used to do on Saturdays for years back in New York City, before I was a mother, before I had fully accepted my reversion back to the Catholic faith (and even then for a long time after), before I moved to the Bronx, a move about which a friend of mine said, "I thought people went there willingly only to die." I am sitting at the enormous sixties-era oak desk that I got for fifty bucks at the apartment sale of a divorcing Argentine woman in my old neighborhood, editing text while I listen to Jonathan Schwartz's weekly radio program on WNYC, on which I know he will play at least one song that will make me want to take to my bed in a paroxysm of tears -- probably something sung by Audra McDonald or Nancy LaMott -- and sleep until my heart is healed, a moment which, of course, will never really come.  In those days, however, most of the text I was editing was my own, and I was often longing for love, love either past or ambiguously present, and working against the feeling of shikata ga nai, the sense that everything I was doing was just to fortify my own very small world against the encroachment of despair, so I had better keep working.  And then, as now, I was constantly nagged by the feeling that I had to get up from the desk and go over to my little piano and start practicing already, because I probably had a gig or a university recital requirement right around the corner.

Back then, when I would hit the wall and not be able to read another word, I would push up from my mammoth desk and flee the apartment, letting the steel door slam behind me.  I would go out the side entrance of my pre-war apartment building and walk to Fort Tryon Park.  Now, I slink out the back door of my house and walk through my silent neighborhood, often meeting no one on the street except a young man with Down syndrome, like me an inveterate walker no matter what the weather.  Days like this, I miss everything about New York.  I miss the colors and the smells.  I miss seeing people on the street, even if I didn't want to talk to them, even if I hoped and prayed, as I did on many a day, that I wouldn't run into anyone I knew.

I know there must be a reason for my coming here, besides accompanying my husband to the place where he got a job.  When he got the job offer, he told me that if I wanted to stay in New York, he would turn it down.  But even I, with my more-than-occasionally faulty grasp of the theory of mind, knew that I couldn't hold him back from what was a step up.  Even I had a shred of humility large and sincere enough to swallow hard and accept that we would be leaving everything we knew and many of the things we loved, but that it would be willful and cruel of me to put my foot down and keep it in the city I love.

That was two years ago.  It's been a hard, lonely two years.  There have been many struggles, and few bright spots.  Sometimes it feels as if things are just getting more and more difficult, and as if none of my prayers are being answered in the way I want, not even what seemed like the inocuous-enough one for a friend.  I feel like my life is contracting, getting smaller and narrower, rather than expanding, which is of course what everyone wants to happen in their lives.

It is so hard for my prima-donna self to accept this smallness, this forced humility.  My heart aches when I think of what might be happening in my old neighborhood.  The plane trees are turning yellow and dropping their leaves to the sidewalks.  My friend N., the opera singer who lives on the other side of the building, is writing some software code for a design client.  My great friend F., who was my recital accompanist before he moved to England, is swinging his book bag full of bottles of Italian wine from Astor Wines and Spirits as he trudges with his idiosyncratic gait up the hill from the subway to his apartment, which is around the corner from mine, and from which he can see a sliver of the river and the bridge out of one window.  My beloved downstairs neighbor, Mrs. M., an Austrian refugee from World War II who died last year a month before her ninety-ninth birthday, is walking back from the hair salon, looking natty in a tweed jacket.

But all of this is long ago.  My friends are dispersed, and some are dead.  And if I remember hard enough, I will see M. on the street outside, waving to me over his shoulder as I stand in the window of our apartment, on his way downtown to work a night shift in a building that was destroyed in 9/11.  And then I will remember the day he stopped waving.

And then where will I be? At my desk in Appalachia, my heart aching, asking God that, if He's going to allow me to remember all of this, to let it be for a reason that will be helpful to someone else, even if I never know it.  As Pablo Neruda wrote, "Es tan corto el amor, y tan largo el olvido" -- love is so short, and forgetting is so long.  And now I really do have to go and practice.

Here's some music about tears and remembering on this lonely Saturday.

Music and Memory, part 12: First Chinese Presbyterian

Rodak has asked me to post my own pictures of New York on this blog. which I almost never do, since my photos are virtually all of my friends and family.  But as I was going on my rounds during last weekend's trip back, I got lost in Chinatown -- yes, this can happen, even if you've lived in the city your entire life -- and found myself walking past a place which was familiar to me, the First Chinese Presbyterian Church:

Which is hard by the Manhattan Bridge overpass:

What, you may wonder, was my connection with this place?  Well, the First Chinese Presbyterian Church was the site of my first orchestral gig, singing the soprano solos in the Vivaldi Gloria with a pick-up orchestra of conservatory students and a chorus of elderly Chinese ladies.  The alto soloist was a good friend of mine, who's gone on to an important career, though not an especially lucrative or renowned one.  We were conducted by a marvelously gifted South American lesbian, who had won a scholarship to the Tchaikovsky Institute in Moscow as a teen, but had switched her ticket at the last minute and gone AWOL from the conservatory, landing up in New York instead.  Upon disembarking at JFK, she fell in with the Moonies, and lived at their compound for a while, selling flowers on the street, but by the time I worked with her that was all in the distant past.  I have no idea what she's doing now.

I am not making any of this up, and I thought I would take a commemorative photo as I passed by.

A Walker in the City

I have not been feeling inspired to post here lately, but I wanted to mention Charles Reznikoff, whose compete poems I'm currently reading.  I had a discussion with a friend about the poem "I will go into the ghetto," posted in the link above (which is not its real title; Reznikoff did not title his poems, but numbered them), and my friend noted that the meaning of the poem changes dramatically depending on whether you set it in pre-war New York or pre-war Europe, and again if you transpose it to the present day.  To my mind, however, the poem is inexorably about New York, and, while it evokes images of the old pre-war immigrant Jewish ghettos in Canarsie or the Lower East Side, at the same time it suggests the seed of the artistic endeavor, the quest to find beauty where it is hidden and bring it forth.

One of the things I loved best when I was a very young woman dreaming of beauty was to get on the subway and ride it anywhere, then get out wherever the fancy struck me and walk and walk.  I ended up in all kinds of strange places, talking to strange people, peering into shops and alleyways, feeling especially heartened when I saw a green shoot pushing up through the cracked pavement, or geraniums rallying in a window box.  I passed laundromats, and breathed deeply the intoxicating aroma of damp, freshly-washed clothes drying in the machines; I went to lunch counters and ate what there was; I got back on the subway to head home, carrying with me Jamaican spice buns, quart jars of oregano, bottles of ghee, Chinese face powder and the gold and silver papers hung for luck at the lunar New Year, which I used for stationery.  Occasionally I found myself in places where I was met with veiled hostility, but I didn't really notice, so intent was I on my purpose of discovering and uncovering beauty wherever it resided, just below the surface of things.

the smell of the fields in this street
for only a day or two in spring
is enough for me.

Even now, one can walk into the New York ghetto and smell something wild, free, something fresh, seeming to come up from the earth and the sea.

Here is a poem by Reznikoff -- also, I believe, about New York, in the days when the country encroached upon the city -- in honor of the brutal heat today.

We children used to cross the orchard, the brown earth covered
with little green apples,
into the field beyond;
the grass came up over our knees,
there were so many flowers we did not care to pick any --
daisies and yellow daisies, goldenrod and buttercups.
It was so hot the field smelt of cake baking.

And here is a great multimedia piece about a walker in the city.