Holy Ground

Ten years or so ago around this time of year, I met a woman in the grocery store in my old neighborhood. I had been admiring her t-shirt, which was silk-screened with beautiful, brightly-colored playbill images from various Sondheim musicals. We got to talking, and she told me that she had worked as a lighting designer in A-level regional theaters, but had settled in the neighborhood and was the mother of a five-year-old daughter. She was active in my parish, where I had only recently started regularly attending mass after many years away. Her daughter, whom I had seen around the church and the neighborhood, had, she told me, been born with severe, life-threatening birth defects, but, because of the prayers of our fellow parishioners, was now healthy and thriving. "This," said my new friend, referring to our neighborhood, "is holy ground."

I'm sure she was right. How could it not have been holy ground? The body of a great saint was in residence there. The prayers of the faithful evidently rose up to heaven with great success from there. Untold thousands of people had suffered there in all kinds of unimaginable ways in their working-class apartments there, including me. Maria Callas had grown up there. Okay, that last was a joke, though Callas, born in Astoria, Queens, really did grow up on the same street where I used to live, a few blocks from my building, until she moved to Greece in her teens. But that penultimate was not a joke. We have it on good authority that suffering sanctifies -- makes holy -- the sufferer, so why would it not also sanctify the place of his suffering? We honor the dirt where a saint has walked, the very fibers of the clothes that his body has touched, assuming that the saint's holiness confers spiritual power upon these things. If we ask the dead to pray for us, including those who may not (yet) be in heaven, it seems logical that we should consider holy the ground where those who suffered walked in life. And many saints have walked the ground of New York City, and many perhaps walk there still.

I still miss New York terribly. I miss my life there, which was not just my life but felt to me as though it were a piece of a whole, one part of a vital community that I thought was fairly stable. But that community itself has dispersed more and more; more of my near and dear ones have left. As Henry David Thoreau wrote in his voluminous journal: "Methinks my present experience is nothing my past experience is all in all. . . 'Our life is a forgetting' &c."

But I wonder if where I'm standing now might also be holy ground. I've found that, as dull and benighted as this area is, there are some bizarrely wonderful things here, things that don't reveal themselves readily at first glance. Our pastor is one. The church we finally settled on, after a few initial months of parish-hopping, is what passes here for an urban one; it's a largely Italian parish in the midst of what is now a slum, and, not unlike the well-known Our Lady of Mount Carmel not far from where I used to live in the Bronx, it's attended on Sundays mainly by Italian-Americans who have moved up and out of the neighborhood, and you can still hear Italian spoken out on the pavement after Mass. This is by no means a friendly crowd; if you're "from there," as they say, you will know that even proverbially close-knit Italian-American communities harbor a not-insignificant amount of suspicion, even hostility, towards outsiders. So it's not what I would call a "friendly" place, but our pastor -- young, smart, orthodox, beautifully well-spoken, and passionate about the faith -- is like a beacon shining in the gray decrepitude of the parish's neighborhood. Friends who came here from New York and Boston for Jude's baptism last year noted how lucky we are to have such a priest, and it's true.

Another bright spot is my son's violin teacher, one of the greatest musicians I've ever met, who ended up in this backwater through a complicated chain of events (I've written about him here).  There are other good classical musicians here, too, if none on his level, but the best of them suffer from a kind of self-consciousness that is probably endemic to aesthetic strivers far-removed from artistic capitols -- a self-consciousness that comes, I think, from a kind of uncertainty and insecurity about the choice not to go to one of those capitols, but to stay in a small place in which each year the audience for the arts grows smaller and smaller. V. is not like this, because he is the real thing; and musicians on the highest level usually don't care about these things, though this not-caring is benign rather than bitter. Musicians who are the real thing also tend, in my experience, to have some balance in their lives, and to put things both musical and non- into a right-seeming perspective. (I'm not saying that I'm one of them, because, in spite of the fact that I'm a skilled musical crafstman, my relationship to music is virtually entirely neurotic.)

And then it's so beautiful here in the summer, in certain places at least. The sky is so blue; there are so many trees. The heart of city itself is not beautiful; in fact, it looks exhausted and defeated, a victim of 1970s-era urban renewal and several generations of residents fleeing and decamping for the nearby suburbs, which are, in some ways, even worse. I laughed out loud when I saw postcards of the downtown for sale at a local shop, because they were probably the least-picturesque postcards I'd ever seen. But the wonderful library is downtown, as is the great independent coffee roaster who moved here on purpose after doing a demographic study and calculating that most of his trade was mail-order anyway. There is a farmer's market downtown, too, and the farms are just a ten-minute drive away; some are even in the city itself: there's a movement to establish a culture of urban agriculture here, which has a certain symmetry when you consider the generations of people and corporations that have left this place and so many places like it, leaving the buildings to crumble back into the earth.

The other day I was driving around on the slummy outskirts of my middle-class neighborhood, outskirts that are truly more impoverished than any place I ever lived or lived near in New York City, and I saw a patch of queen-anne's lace and chicory blossoms that had pushed up through the cracked sidewalk and grown so thick and tall that they looked as if they were about to overtake the lamppost they surrounded. For a second, I felt ecstatic. Thoreau also said that heaven is under our feet as well as over our heads, and I could see, as I witnessed this square foot of urban wilderness, that it was true -- this ragged little street-corner prairie was as beautiful, in its way, as anything I'd ever seen. If the combination of suffering and beauty can make a place holy ground -- or if suffering actually engenders beauty, which I believe it can do --  then even this decaying city might be, in its own way, holy.

Above: Moses taking off his sandals at the command of the Lord, who speaks to him from the burning bush (Michiel van der Borch, 14th century).

Poetry Friday: Autobiographia Literaria

I heard Billy Collins read this poem on The Writer's Almanac while driving this morning, and reflected that it was practically perfect.

******************************************

When I was a child

I played by myself in a

corner of the schoolyard

all alone.

I hated dolls and I

hated games, animals were

not friendly and birds

flew away.

If anyone was looking

for me I hid behind a

tree and cried out "I am

an orphan."

And here I am, the

center of all beauty!

writing these poems!

Imagine!

-- Frank O'Hara, from The Selected Poems of Frank O'Hara. © Vintage Books

Poetry Friday: Next Year

Next year, she says, I think I will be four,
And will I still live here,
she asks, in this house, and with you?
A funny kid thing to say except
she's from the orphanage so it's not funny
entirely, not entire comedy I'd say.
Of course I tell her
you'll live here
with me forever, until you kick me out,
until you pry me from your side
with your stubborn teenage body,
with your young adult scorn,
with your middle aged disgust,
with whatever weapon you try against me.
And even then we will not be parted.
It took a miracle to part the waves.
It would take a greater miracle to drive me from you.

-- Liz Rosenberg, from The Lily Poems, ©Bright Hill Press, 2008

More Poetry Friday at Carol's Corner.

 

No Gay Friends

Having reverted rather dramatically to the Catholic faith about ten years ago, I have an interest in conversion narratives (an interest which extends to my professional life, since the book I'm currently writing for a British publisher, one of the reasons for my currently scanty blogging, is about religious conversion in Victorian England). In light of this, I got hold of a book that made a bit of a bump in the Christian press a few months ago, The Secret Thoughts of an Unlikely Convert, the conversion memoir of Rosaria Champagne Butterfield, a reformed lesbian and erstwhile professor of feminist studies and queer theory. (I like that her name means "rosary"; she is Italian-American and was raised Catholic, but her conversion was into a Reformed, i.e. evangelical Presbyterian, denomination.)

This is not a book review; I'm only a few dozen pages into the book. I have to confess to being slightly put off by its slapdash writing and virtually-nonexistent copyediting (though I suppose a small Christian publisher like Butterfield's doesn't have much of an editing budget), but the book is both more complex and more honest than most conversion narratives I've read. What interests me most, though, is what Butterfield, after her conversion, did with her past. After becoming a Christian, she felt constrained to jettison not only her career, but also her friends, and she writes: "I felt like a vampire -- possessing no reflection in mirrors. I realize now that this is what it means to be washed clean, to be truly made new again. The past really is gone. The shadow of what was remains, but the substance is truly taken away." But is it really?

One of the things that stood out for me in the early pages of Butterfield's book was her description of  hospitality in the gay community.  She describes how "[on] Thursday nights, I had a regular tradition: I made a big dinner and opened my home for anyone in the gay and lesbian community to come and eat and talk about issues and needs." Wow, I thought; it sounds so beautiful. It reminded me of Christ, after the Resurrection, cooking breakfast for his friends on the beach and calling them to come and eat. Why can't we have that? Why can't we do that? Or is such friendship and camaraderie, such openheartedness, the special province of the marginalized and oppressed? I felt myself filled with longing for the community that Butterfield describes -- the community from which (thought I haven't read far enough to ascertain this) I am assuming she later cut herself off completely.

The book jacket states that Butterfield now lives in North Carolina with her husband and children, and I suppose that this kind of fragmentation of a formerly sprawling community into a nuclear family is not only the (hetero-)norm, but also the gold standard for a Christian family, but it made me wonder nevertheless how well such a narrowing and siphoning off of a once outwardly-directed hospitality would work. After many years of commitment not only to a sexual identity, but also to what sounds like sincere friendship and generosity within a community of the like-minded, what would it feel like to become someone else, someone suddenly rootless? Does the new community of believers who are strangers successfully take the place of the old community of hardened sinners who are beloved friends?

And then there's marriage and home life. If you marry young, when you're still becoming who you are, you and your spouse grow together in mutual recognition and come to share a certain language, a particular lexicon of references. But if you marry later, when you are already essentially who you are -- as I have done, and as Butterfield must have done -- I think there's a certain area in which you must always be a stranger to your spouse, and a certain degree to which you will have to attempt to translate the understanding of the world at which you arrived in the past, as if it were in a foreign language. If Butterfield's former friends are now strangers, she must now be engaged in the work of turning strangers, including those in her own home, into friends. Does this work?

The person that I believe myself essentially to be -- a lover of beauty, an associater of the workaday and the pedestrian with transformative aesthetic experience -- seems distant now from the person who performs the actions of my everyday life. When I think about my old life, I feel a sense of profound dislocation from its suchness, which was mainly concerned with finding meaning and beauty in the mundane. Now, perhaps like Butterfield, my life is primarily taken up with attempts to get through the day, to fulfill my commitments, and to make friends of the strangers with whom I live.

It's tempting to make a little joke here about having no gay friends, which was a bon mot in the opera world back when I was in it, and referred mainly to sopranos who chose unflattering audition- or recital-wear: "She clearly has no gay friends," we would say, because, obviously, if she had any, they would have put paid to these unfortunate sartorial decisions.

But when I think about it, it strikes me that I too have made it a practice to jettison people, places, and things when I felt that they had become (to quote the Catholic writer who once asked me to marry him, and later denounced me as a blasphemer and a bad wife, mother, artist, and person) "detrimental to me spiritually," or maybe when I felt they had just grown a little tiresome. So often in my life I've wanted to change, to be different from what I've been, to become somehow better, kinder, purer, and more sincere; and getting rid of personal effects, or dumping my friends, or going to hang out in new places were symbolic gestures that helped me believe I was inching forward in what I thought was a good direction. I left a thrift-store men's cashmere overcoat hanging over a chicken-wire fence once, because I felt it represented a dark time in my life; I gave away the flowing hippie skirts I'd purchased in the hopes that they would encourage a certain man to love me, since they would signal to him that we wanted the same vaguely-conceived alternative lifestyle; I gave a pair of expensive earrings from Tiffany's to my neighbor because of their painful associations; I left boxes and boxes of books in the basement of my building for the taking. And I placed my first wedding ring on one of the side altars at my old parish church a few years after that marriage went awry, and just walked away.

And I received my conversion. And eventually I got married and had a family and then moved away in space as well as in time from the site of my old self and my former understanding. Am I like a vampire? Am I washed clean? I don't know; but I do know that, when I walk through my new neighborhood at twilight, I sometimes wish for my old life. I sometimes wish for one of my old, far-flung friends to be there, one who would understand perfectly the lexicon of this particular darkening cloud, of that particular warm light illuminating a room in a house and pouring onto the grass outside, of the scent of this particular mock-orange tree, and would say, "Oh yes -- that." I do not know yet if Rosaria Champagne Butterfield wishes for these things too. I have to keep reading.

A Poem About Brahms

I was thrilled to read this poem today at The Writer's Almanac. Whether or not Brahms and Clara Schumann had a sexual relationship has been speculated about for many years -- it is undeniable that they loved each other profoundly -- but, although they burned most of their correspondence, the evidence is against it. Brahms biographer Jan Swafford has suggested that, after the death of Robert Schumann in an insane asylum in 1856, the younger composer had the opportunity to propose marriage to Clara, but instead left her disappointed. The two remained friends, and Clara, one of the greatest pianists of her age, premiered many of Brahms's works.

The Intermezzi mentioned by Lisel Mueller are opp. 117, 118, 119. Brahms called the three op. 117 pieces, which he wrote while Clara was in her final illness, "cradle-songs of my sorrows." Here is the great German pianist Wilhelm Kempff playing op. 117, no. 1, with beautiful directness and simplicity. The piece was inspired by the text of a Scottish poem, "Lady Anne Bothwell's Lament," and Brahms inscribed in the score an excerpt from the poem in Herder's German translation. The English words are:

"Sleep soft, my child, now softly sleep;

My heart is woeful to see thee weep."

  

And here is the poem about Brahms.

Romantics

Johannes Brahms and Clara Schumann

The modern biographers worry

"how far it went," their tender friendship.

They wonder just what it means

when he writes he thinks of her constantly,

his guardian angel, beloved friend.

The modern biographers ask

the rude, irrelevant question

of our age, as if the event

of two bodies meshing together

establishes the degree of love,

forgetting how softly Eros walked

in the nineteenth century, how a hand

held overlong or a gaze anchored

in someone's eyes could unseat a heart,

and nuances of address, not known

in our egalitarian language

could make the redolent air

tremble and shimmer with the heat

of possibility. Each time I hear

the Intermezzi, sad

and lavish in their tenderness,

I imagine the two of them

sitting in a garden

among late-blooming roses

and dark cascades of leaves,

letting the landscape speak for them,

leaving nothing to overhear.

-- Lisel Mueller, from Alive Together: New and Selected Poems. © Louisiana State University, 1995.

Difference as Blackness

One of my son's "special interests" (as the autism/Asperger's people say) is the waterways of eastern North America. He has about two dozen books about the Hudson River, the Saint Lawrence Waterway, and the Erie Canal; he loves the classic Paddle-to-the-Sea; and he spends a lot of time drawing maps of the Great Lakes and the cities that are built on their shores.  As a reward for good behavior, I recently got him a collection of DVDs called "On the Waterways," which was apparently a PBS series in the 1990s, and is narrated by Jason Robards. The episode about the Mississippi, predictably enough, uses a clip of Paul Robeson singing "Ol' Man River" from the great musical Show Boat, which, in the show, is sung by the dockworker Joe, and includes the lyrics:

Darkies all work on the Mississippi,
Darkies all work while de white folks play

and

Let me go 'way from de Mississippi
Let me go 'way from de white man boss;
Show me dat stream called de River Jordan;
Dat's de ol' stream dat I long to cross.



My son turned to me one night after watching this and remarked sadly, "I don't like being black."  He elaborated, "I don't like having doors closed in my face because I'm black."

This interested me, since my son is white. It may have interested me even more because my grandmother and mother were committed to the cause of civil rights. What does being black mean to a white boy? Is blackness its own essential suchness? Is it a state defined through self-recognition, or is it a condition demarcated, even imposed, by society? (Interestingly, Show Boat raises some of these same questions.) And why does my son, who is not black, believe that he is?

I am convinced it's because he is starting to perceive himself as different from, as other than, and as outside of. And the most prominent and notable class of people who, in our culture, have been those things has historically been black.

Below is a clip of John Lennon and Yoko Ono on the Dick Cavett show, with Lennon explaining the genesis of his controversial song "Woman is the N*gger of the World," and Yoko thumping arrhythmically on a tambourine. Lennon quotes a statement by California congressman Ron Dellums suggesting that, owing to their alienation and figurative disenfranchisement, "most of the people in America are n*ggers." Perhaps this is the real meaning of my son's self-perception of blackness.

Mamas, Don't Let Your Babies Grow Up to be Opera Singers

I've been scarce here lately for more than the usual reasons. In fact, I spent April doing something I never thought I'd do again in this life: rehearsing and performing a small principal role in a Mozart opera with a reputable regional opera company. To make a long story short, the music director of company in question, which is about seventy-five miles from where I live, called me when the singer who was originally cast was offered a more career-making sort of role with a different company, creating a scheduling conflict. I didn't know this conductor personally, but another conductor had recommended me. I demurred at first, because it just seemed crazy. I'm not in the game anymore, and it really wasn't the kind of role I would sing if I were; it's usually cast with an up-and-coming singer, whereas I am more of a down-and-outing one. I explained to the conductor that I don't do opera anymore, that I have children, and that it would be very difficult for me to make rehearsals because of the distance. I also told him that I could recommend two excellent colleagues who had sung the role. But it seems the referring conductor's recommendation counted for a lot, and in the end I was offered the job, and, after my initial protestations, I figured I should take it, because . . . . well, I'm not sure why. I had been strongly prevailed upon; the money was good; and it was the chance to sing in a Mozart opera. And I had been told that I would only have to make it to three rehearsals, which turned out not to be true. I think I had to make the trip back and forth from my home to the city where the opera company is located twelve or thirteen times, and as a result I had to make some creative child care arrangements, and I spent most of the month more sleep-deprived than usual, since I was getting home well past midnight and my children wake up well before six a.m.

During the production process, I felt like an undercover anthropologist. After so many years away, I was overwhelmed by how vastly different my life was from the lives of my colleagues in the show, and, indeed, how different my life is now from the way it used to be when I was pursuing an opera career. I didn't have the chance to get close to any of my colleagues, because they were all in residence at a hotel for a month, while I was driving back and forth, so I missed out on some of the best things about being an opera singer: the camaraderie, the jokes, and the friendships that form in the inevitable Canterbury-Tales/Gilligan's-Island-type scenarios that arise when strange singers find themselves together in a strange city (incidentally, there's a wonderful novel on this topic, Now Playing at Canterbury by Vance Bourjaily). My colleagues were uniformly the best singers I've ever worked with; out of the cast of nine, three had already sung at the Met, underscoring the current dire economic climate for opera, in which, because of multiple regional-opera-house closings, A-level singers are working in C-level houses, which is both a boon to those houses and a disaster for singers less-well established.

None of the other female principals was married. Only one besides me had children: a three-year-old, whom she'd brought along on the gig, and who was being cared for by babysitters in the hotel room. "I don't know how much longer I can keep doing this," the singer-mother confided in me. Two of the male principals did have children, but they also had wives to care for them back home while they were out on the road. I overheard one of the unmarried, childless female principals ask one of her male colleagues, upon learning that he was going to New York to see his wife on our day off: "Can I live vicariously through your sex life? Because it's going to be a lot better than mine, no matter what." 

I'm sure I've mentioned this here before: you can't really be a mother and an actively-careerist opera singer. Well, you can, if you time your childbearing perfectly, and if you're commanding fees that allow you to pay for nannies, two conditions which almost never happen singly, let alone simultaneously. Some haters who used to read this blog a few years ago left comments suggesting that I quit opera because I lacked talent. While I don't think that's entirely true, it doesn't really matter that much, because once you get to a certain level of the profession, it's not even about talent. I'd like to say that it's about hard work, and that's certainly part of it; but it's much, much more about a confluence of things that are out of the singer's control, including the stars aligning. And of course, you have to really want it.

One of the principal singers in my production -- one of the unmarried women who had sung at the Met -- is enrolled in a doctoral program in voice at a prestigious conservatory. Since I loved my own years of doctoral study, I was surprised, when I asked her how she liked it, to hear her say that it was a total waste of time, but that she needed the piece of paper to get a good teaching job. I realized that our reasons for getting our doctorates were very different: I had already transitioned out of opera when I enrolled, and was performing concerts of material I'd found in my own archival research, and I wanted to learn how to be a better researcher. She, on the other hand, is coming up against a wall in the business beyond which, since she's a lyric-coloratura soprano approaching forty, she cannot go, and she does not have a husband, and she realizes that she needs to make a career transition in order to continue to eat.

It is an unhappy profession, peopled by lonely, unhappy people.

When I told a friend, a Wagnerian soprano who left the career in order to have a family, about my recent experience, she wrote me:

I can't even imagine trying to go sing with the diva girlies now. I really think opera is a dying sport/art form, so it is probably worse now than it was when we were out there.

The best colleagues I ever sang with were Wagnerians, since they are too busy trying to get all their shit together to be prima donnas . . . and I generally found that they want you to know the stuff so that if they stumble, someone can help!

I think I acquitted myself without shame, and I'm glad it's over.

Why I Am Not A Trad

I see now that, in the recent post here in which I suggested that I'd go to great lengths to avoid an Extraordinary Form Mass, I didn't enumerate the reasons clearly enough. Because there is also this.

To quote Mark Shea on the same topic:

It brings the faith into disrepute, it causes honest and good people to stumble when they might enter in, it harms innocents . . . and, worst of all, it even tempts new Catholics who think they are embracing “hard truths” but are, in fact, embracing ancient evil to become twice the sons of hell that the Trad anti-semite is.  It is pure filth and every Catholic, but most especially every lover of the EF, should smash it flat.  People have died by the millions because of this crap.

The rite may be beautiful. But its contemporary association with abject hatred, and with those who attempt to justify it -- and even seem to delight in it -- is enough to make every person of good will shudder.

This day you will be with me

Elizabeth Duffy is one of the best writers I've read in a long time, in any genre. Read this.

Easter, Grocery Shopping, and the Transformation of the Self

My sister phoned me yesterday to complain about my father, who had driven several hours to spend Easter with her and her family. He was being his usual surly self, his surliness tempered only by the sentimentality that often overtakes him in his cups. I noted that he hadn't changed much since my mother's death in December. "Unless you're committed to self-transformation," my sister replied, "you're not going to change much."

As I've mentioned here before, my sister (once a daily Mass-goer) is now a committed Buddhist, so, while I'm not sure what Easter means to her, I am aware that the notion of self-transformation is a powerful part of her religious practice.  But even for faithful Catholics, if there's ever a time to be "committed to self-transformation," Lent is it. And I don't know how other people manage it, but I seem to fail miserably at this attempted self-transformation each year.

This year, my Lenten penance was a diffuse attempt to rely on God more radically by striving to consume the copious stores of food in my pantry. I would allow myself to go grocery shopping only when they had run out. This meant curbing my usual practice of buying several of something on sale if the something is a thing I use regularly.  This way, I told myself, I would be identifying with the poor: buying only as much as I needed at one time, buying the cheapest things possible, and eschewing my usual penchant for shopping in the gourmet and organic sections of the supermarket. I worried that I had a tendency to hoard food, and I imagined flinging myself on the mercy of God and relying on him to provide for all our needs.

This didn't work out for several reasons. One was that I realized how time-consuming and costly it was to dash off to the store when I'd run out of an essential item like eggs, instead of buying an extra carton on my regular grocery-shopping trip even if the carton at home in my refrigerator still had four eggs left in it -- even if, in other words, my egg stock wasn't yet depleted. So I soon gave up identifying myself with the inconveniences, logistical difficulties, and annoyances that the poor put up with every day -- because I could.

I failed even in the small matter of coffee. As with most comestibles, when it comes to coffee I'm a fearful snob. My favorite coffee is Peet's Major Dickason's Blend, but, in some pre-Lenten paroxysm of penance, I had told myself that ten dollars was too much to pay for a bag of coffee beans, and I bought Eight O'Clock French Roast instead when it was on a buy-one-get-one sale. I made myself drink it during Lent, and it made me pretty sad -- so sad, in fact, that I cheated, and snuck in a bag of Starbucks toward the end of the forty days (I consoled myself that it was a bag of Starbucks Holiday Blend that I'd found as a deeply-discounted overrun at the local job lot). On Holy Saturday, with palpable relief, I threw out the remaining several-cups'-worth of Eight O'Clock coffee. So I failed to identify myself even with people who couldn't afford to drink expensive coffee, but who still needed, as I do, the buzz that coffee confers.

And then there was the other small matter of anger. I stayed mad at practically everyone I knew during the entire forty days. I found it very hard to let go of my everyday frustration with, and self-righteous indignation at, people who don't do the things I want them to do, or who don't do them in the ways I want them to be done. I cursed and swore many times a day, almost always in a room where I was momentarily alone, but even so. I wanted my family to be different. I wanted my three-year-old to stop acting like a three-year-old; I wanted my autistic son to stop being autistic; I wanted my husband to be less like a man and more like a woman in his emotional presentation and responsiveness. At the same time, I wanted everyone to like and admire me.

I see now that, instead of striving to be holier during Lent, I became obsessed with grocery price-points and whether or not I was getting the respect I felt was my due. And I see that this doesn't make me so different from my non-committed-to-self-transformation father, or from anyone in the world who doesn't observe Lent, since I had substituted material things and material results for that which is real.

And what is that which is real? I long for transformation every week at Mass -- for a transformation that can be felt. I beg God, when I receive him in Holy Communion, to transform me, to make me different,  in a perceptible, lasting way. I want the miracle of transubstantiation to change me, too, utterly. I want to see my old self go up in a conflagration, a holocaust upon the altar.

More often than not, however, I leave Mass feeling the same way I felt when I came in:  angry, petty, frustrated, drab, lifeless, irreparably broken.

The Easter flowers were beautiful on the altar today, and the music, while not exactly good in any Platonic sort of way, was much better than usual. In a few weeks, the flowers will be gone, and the choir will be back to its usual quality. And I will be the same. Or will I?

Perhaps we are all constrained to believe that, through our longing for Him, and through His gift of self to us, God is transforming us in ways that, though they may be imperceptible to us, are truly radical. We may pray for the sensation of knowing, of feeling, this transformation, but this is just as materialistic as my Lenten grocery obsession. We need to believe without seeing, and also without feeling. As T.S. Eliot wrote in the "East Coker" section of Four Quartets:

I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing; wait without love,
For love would be love of the wrong thing; there is yet faith
But the faith and the love and the hope are all in the waiting.
Wait without thought, for you are not ready for thought:
So the darkness shall be the light, and the stillness the dancing.

A blessed and joyous Easter to all.

Ubi Petrus

I came back to the Catholic faith ten years ago. I was a graduate student and a working mezzo-soprano with a busy performance schedule, and I had a part-time job crunching marketing data for a pharmaceutical company. Every morning I would kneel beside my bed -- a bed that was, no doubt mercifully, too big for me for the first time in a long while, and I would weep, and would pray that God would give me a true conversion. Sometimes now, when I think back upon all the many things I've prayed for subsequently (among others, for a happy and holy marriage and family, that my unborn children would survive pregnancy, that a miracle would heal my mother of the rare neurological disease that killed her, and that I would be able to find a friend in the barren new place I now live), it strikes me that that earlier, ten-year-old prayer was by far the most important.

Not long after my reversion, I discovered the existence of a subculture almost entirely unknown to me previously, that of Traditional Latin Mass Catholics (I say almost entirely unknown, because my boyfriend at the time had told me about Mel Gibson's separatist church with a kind of stunned bemusement, and I thought, mistakenly, that Mel and his coparishioners must be some kind of bizarre outliers). I discovered the beauty of the Traditional Latin Mass, and also the painful sort of group neurosis that seems to afflict many of its adherents -- the combination of a siege mentality with a kind of gnosis demonstrated in the belief that they are the keepers of true knowledge and that the majority of Catholics are either stupid or damned, or both. I even went out with a Traditionalist who had some commendable qualities, but who turned out to be a truly scary and unbalanced man (I still thank God, when I remember it, for giving me the momentary wisdom to turn down his proposal of marriage).

I am thrilled beyond belief by the election of Pope Francis. I'm no doubt projecting my own neuroses onto him, for we know little of him as yet, but I feel as if he's a man after my own heart. I was deeply moved by his appearance on the balcony in his plain white vestments, and by the simplicity of his greeting, and that little gesture he made -- so Italian, and, so the people who know the culture of Buenos Aires say, so porteño -- when he said, in his charming Italian, "Fratelli e sorelle . . . buona sera." And by the photos of him washing the feet of the poor, the cast-off, the rejected. And by his words about poverty. And by his taking the name of St. Francis of Assisi, which seemed to me a symbol of his profound humility.

In spite of my (admittedly small) experience of Traditionalists, I have to say that I was really shocked by the apparent contempt that many are demonstrating towards our new pope. A friend of mine was unfriended on Facebook by a Trad, who was horrified by the picture my friend had posted of Cardinal Bergoglio washing the feet of impoverished mothers in a maternity home in Buenos Aires; "I'm sorry but Our Lord didn't do that" was the Trad's explanation in a comment. Seraphic demurred, offering the hedge that the papacy was really not that important before JPII.  Charming Disarray, a former sedevacantist, articulates Traddy distress at the election of this clearly holy and doctrinally-orthodox man particularly well.

This is why I never go to the Latin Mass anymore. If it were offered at a parish across the street from me, I might even go a considerable distance to find a novus ordo Mass instead. The Mass itself is beautiful and reverent. The first time I really understood the sacrificial, rather than the celebratory, ethos of the liturgy was at a Latin Mass. But the people are, often, unapologetically mean-spirited and uncharitable.

May God bless our beloved Pope Francis, and may he lead many to the truths of our holy faith.

Poetry Friday: The courage that my mother had

The courage that my mother had
Went with her, and is with her still:
Rock from New England quarried;
Now granite in a granite hill.

The golden brooch my mother wore
She left behind for me to wear;
I have no thing I treasure more:
Yet, it is something I could spare.

Oh, if instead she'd left to me
The thing she took into the grave!-
That courage like a rock, which she
Has no more need of, and I have.

-- Edna St. Vincent Millay

More Poetry Friday at Check It Out.

How Not to Do It

No, they probably shouldn't have done that.

My cousin (who, incidentally, is pro-life) posted the video in the link to Facebook. I'd say it's a pretty textbook example of how not to protest abortion. Ironic that one of the protesters is carrying an image of the Divine Mercy.

Recordare

Ultra-light blogging, I know. I'm up against some intractable deadlines in my real-life projects.

In the meantime, there is this, from Mozart's Requiem. 

I think if Mozart had written only this one number and nothing else, nothing at all, he would still count among history's greatest musicians. I love the way that the piece's anxiety resolves into confidence in Christ's mercy.

The conductor is John Eliot Gardiner, the orchestra is the English Baroque Soloists, and the solo quartet is the exceptionally fine foursome of American soprano Barbara Bonney, Swedish mezzo Anne Sofie Von Otter, and the English tenor and bass Anthony Rolfe Johnson and Alastair Miles. The tempo is on the fast side, because the orchestra is playing period and period-replica instruments, whose sounds have a rapider decay than their modern counterparts.

The translation:

Remember, kind Jesus,
my salvation caused your suffering;
do not forsake me on that day. 

Faint and weary you have sought me,
redeemed me, suffering on the cross;
may such great effort not be in vain. 

Righteous judge of vengeance,
grant me the gift of absolution
before the day of retribution. 

I moan as one who is guilty:
owning my shame with a red face;
suppliant before you, Lord. 

You, who absolved Mary [Magdalene],
and listened to the thief,
give me hope also. 

My prayers are unworthy,
but, good Lord, have mercy,
and rescue me from eternal fire. 

Provide me a place among the sheep,
and separate me from the goats,
guiding me to Your right hand.