CLASSICS MADE IN THE USA

If classical music’s to find a fuller audience in America, the works of our own composers need to be presented. Especially those I call the Illuminists, after the great painters who finally have found widespread appreciation.

I love the orchestral works of John Knowles Paine, George Whitefield Chadwick, Amy Beach, Arthur Foote, MacDowell, Griffes … and no other composer spanned so much change within two decades as Charles Ives.

We know only the surface. Listen closely, and you’ll find none of them sounds truly German, despite the accusations. Even were it true, we need to remember (a) German was the standard for classical music, so much so that even Dvorak suffered, and (b) German was a central component of American culture at the time, anyway – it was even a required language in many major city high schools.

Acknowledging this puts Aaron Copland within a longer tradition, and all of those who follow.

Now, if our major orchestras would only live up to the challenge. Is it really to much to ask that they play a fourth of their repertoire from their home base?

YEARBOOK CONFESSIONS

There was the night when my daughters – at the time, one in college, the other beginning high school – had been chattering about something that prompted me to get out the yearbooks. Show them what things had been like back then, when Bob Dylan was just going electrified, Vietnam was ramping up, and hippies, well, were still more than a year away in the future. (My wife insists this came up on my birthday.)

Their reactions weren’t quite what I expected. Yes, there was the giggling, especially over the girls’ flip-style hair and A-line dresses. And their dismissal of some beauties I’d lusted after, as well as their agreement on others. Initially, they couldn’t find me in the pictures, and then, when they did, they started laughing: “You’re everywhere! Is there a group where you weren’t an officer? Hey, he even has some poetry here!” As well as my wife’s, “My, you were cute back then.” Which pains, in a way: I’m not now? Of course, I was the skinny, clueless intellectual back then – and generally unloved. To my further surprise, my girls declared that the boys in my high school class were generally pretty attractive – “They look put together,” as they put it – compared to those today. Maybe it was all the ties and shorn heads. I thought we looked pretty dorky. Still do, looking back.

A bit later, one night at the office, as one of my coworkers was complaining to another about the latest machinations by her son’s teacher, and his high school’s draconian response, I remembered that I’d been having a fleeting sense that this would have been the year for my 40th reunion – that is, if anyone was still in charge. With all of my moves about the country, though, they’d long since lost track of me. I’d never made any of the reunions anyway, either being unemployed at the time (and thus short of cash), unable to get the vacation time off or budget for the air fare, or even learning of the last one a couple of months after it happened. Lately, though, there have been some tentative Web searches for individuals, which did lead to a posting of some items from The Hilltopper, from when I was editor-in-chief. So now, around midnight, I decided to Google, just in case, a reunion notice might be posted, somewhere. And lo and behold, there it was. The Victory Bell, and then photos from their 35th anniversary gathering.

The Web site itself wasn’t in the best shape. A bit of nosing about did turn up a notice that there would, indeed, be a 40th observance, though because “we’re especially short of funds,” no mailings would be sent out. (As if they had my address.) But do I want to spend an evening in an American Legion hall with a DJ and people trying to make happy? The idea gives me the creeps. I’m a country dance kind of guy, or would at least prefer a setting where conversation would be facilitated, rather than masked.

Still, something in my awareness was pierced, and the emotions could not be restrained. For 40 years, from my perspective, at least, these classmates have been frozen in time. Their supple flesh and worldly inexperience, preserved intact. Jarring, then, comes the notice on the site, informing of the death of one who had been incredibly desirable, with side-by-side photos of her at 18 and then aged. As are notices of a cluster of others, now deceased. I click again, to photos from the 35th reunion, and am appalled. I recognize no one. They’re loud, badly dressed, and have not aged well. Finally, I find a few photos with the people identified, and then admit some are actually in pretty good shape. Another icon leads to a listing that includes married surnames, and the trail of these classmates is no longer lost from my sight. Further Web searches, for instance, present one I’d idealized who is now spouting political drivel, while another – once the epitome of cool sexuality and now apparently divorced in the past five years – is teaching knitting or quilting in a fundamentalist church. I return to the class Web site. Wonder about the Adonis club males, and just how did so many become so grotesque? As for the dress, strange tans, paunches, and wrinkles, the gray or dyed hair, or lack thereof: this is what I thought I wanted to return to, after college. Here, I must confront the reality that some – essentially the reunion crowd – were able to stay in town, largely on the one side of town, at that – while some others have been scattered to the winds. After all, I am among those “location unknown.”

How could I possibly begin to relate to them all of the twists in my own life – the ashram experience, the orchards and mountains of the Pacific Northwest, the St. Helens eruption, my Quaker progression and return east, publication of experimental novels and countless poems, the divorce and finally coming to have children when many of them are enjoying grandchildren, to say nothing of having a wife who’s nearly the age of their own children?

I looked at the posted photos and wondered, who are all these old people? Wondered, too, how I ever escaped that circle. (Oh, vanity!)

 

ESCAPE? OR ENCOUNTER?

A comment by Aaron James a few days back in response to my post “The Novel as a Time Machine” has prompted me to rethink my own expectations of literature, both as a reader and a writer. It was one of those elephant-in-the-room moments, actually, in which the most obvious thing can sometimes be the hardest to see.

Quite simply, when he said “a lot of people like to read as a form of escapism,” an alarm was triggered, based on a deeply engrained value from my formative years, the one that derided escapism as, well, unhealthy at its core and essentially fluffy. Looking back, I suspect the message was that escapism had the social relevance of sugar overload or a wild drunken night on the town. You know, it just wasn’t serious enough.

At a deeper level, I suspect the reaction also touches on the lingering historic distrust of the arts from my dad’s Quaker and Dunker roots, perhaps even some from my mother’s mix of Calvinist traditions (never mind Sir Walter Scott), and that’s even before we get to Tertullian and his critique of the “pagan” arts during the formation of the early church itself. You know, it all begins with assuming a role of another’s identity, something that’s simply counterfeit and a lie. (My apologies for way oversimplifying a marvelous line of reasoning. And, for the record, many modern Quakers are fine writers, actors, and artists.)

Still, as I was reflecting on Aaron’s comment, I had to admit how much I enjoy work that crosses from “reality” into a magical realm, one of fantasy or surrealism. I like to be taken places – or, as he hints, be given a sense of travel where exploring and learning are part of the sensation of the trip.

Is that escapism? Or is it encounter?

My inclination is to argue the latter. But does that make for a more rugged route? It even has me thinking about the “diet” we allow ourselves when it comes to literature – do we go vegan, for instance, or kosher, or out-and-out hedonistic? What’s “good” and what’s “bad”? And what’s simply another guilty pleasure?

IVAR’S PAINT QUIP

I wish he hadn’t said it. My former landlord in the Yakima Valley, visiting us here in New England, remarked on how many of the houses he saw that were in need of new paint. That was before he saw ours, too.

Now, in this seemingly picturesque location, everywhere I turn, I see houses with peeling paint. Or worse.

I wish he hadn’t said it.

At least he said nothing about roofing.

FRESH EGGS

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Buying “free-pastured” eggs from a coworker produced one of those Eureka! observations in our kitchen. Just look and you see how different organic or natural food can be. The yolks were bigger and brighter than anything we got at the supermarket. Tastier, too, which isn’t always the case with the back-to-nature examples.

The shells, I should add, came in lovely pastels, depending on the breed. The light green was my favorite.

And then he moved on, and so did I. Or maybe winter came first, with the annual drop-off in hen productivity.

Still, we see a difference in the free-range eggs we’re buying these days, rather than the supermarket’s own brand.

NO MATTER THE PRICE

Inscribed on gravestone of John P. Hale (1806-73) in Dover:

He who lies beneath surrendered office, place, and power rather than bow down and worship slavery …

He was the first United States senator to take a stand against slavery.

Earlier, while serving in the federal House of Representatives, he refused to follow the New Hampshire legislature’s directive to support the admission of Texas as a slaveholding state. In the following election, barred by his party from running under its banner, he ran as an independent; none of the three candidates won a majority and the district went unrepresented.

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SO MUCH FOR ROMANCE

A reporter assigned to cover a large singles scene mixer returned to the newsroom with a telling image.

Three women had been remarking about an earnest young man who wore a tag proclaiming himself an “Incurable Romantic.”

As they snickered: “Sounds like a venereal disease.”

~*~

And you wonder what happened to the traditional English love poem? Please think again.

FASTER! FASTER?

I hope nobody’s getting whiplash from the wide variety of my recent Red Barn postings. Much of it I’d scheduled ahead, anticipating the usual rhythm of the seasons. And then the book-length publications jumped in, along with a few other surprises.

As we bounce from one category to another, I’m feeling like somebody’s turned up the speed on a merry-go-round. Way up. As you might sense, life’s been getting chaotic around here. More than usual, that is.

But as I’ve been hearing from others, that’s not unique. Seems May, especially, has everybody on the run while much of the winter cycle wraps up and summer events start to kick in.

And we thought it was a long winter? Maybe (and I hope this isn’t too heretic) it wasn’t long enough?

Oh, and now I’m thinking of all those house painting projects still ahead. The ones I can’t put off any longer.

RETURNING TO THE MONET WINDOW

The window I long viewed from my seat on the facing bench in the meetinghouse may also be regarded as an icon or mandala – a piece of art to facilitate the practice of spiritual focus and release. As an image used to settle a person into meditation, the window is hardly static. I’d settle in and close my eyes, as usual. At some point, though, I’d open them, softly, gaze around the room and then the window. Where is my heart today, truly? Where are my emotions? Let my thoughts still, for now. One looks out, to look within.

I recall another Friend, Randy Kezar, who once proposed photographing the view from another window in the room. His concept was to shoot the same scene from the same spot, at the same hour every Sunday for a full year. The record would show the small wooded slope blooming and in fullness, autumn color, snowfall and melting. Sunny days and rain. Glimpses of the city cemetery beyond.

On most Sundays after that, I would ask myself which artist best related to the scene framed before me. It turned out to be quite a collection.

And then there was that one April morning when I realized the visual quality of the air itself had changed. We’d crossed out of winter and into the light that accompanies summer. In the coffee hour afterward, a former TV producer told me of the ways his cameraman had to have the film adjusted to accommodate for this change every spring and again every autumn.

Just as telling was that one morning in May when I was struck by the hues of green and blue in the window and saw what resembled a Monet painting. While this was not a reference many of the earlier Friends in the room would have acknowledged or accepted, it definitely was one I could … along with most of the others present that day. The view in that color continued for three weeks but has never returned quite the same.

If I watch my own window hoping for a return of the Monet experience, I can too easily miss what’s present.