Showing posts with label Nields. Show all posts
Showing posts with label Nields. Show all posts
Tuesday, December 09, 2014
Gospel of John, Lennon: Darkness and Light
Can it really be thirty-five years ago that John Lennon was murdered? He was 40 at his death; soon he will be 40 years gone. I keep checking my math, and it's undeniable. I was in eighth grade in 1980, finally shedding some of my insecurity, and just beginning to express myself as a singer and songwriter. John's death had a dramatic effect on me; I responded by immersing myself in his biography, learning everything I could about him and Yoko. Something in his outlaw identity matched my own adolescent mood, perhaps. At any rate, in reading about him and his courage in the late 60s when he took an idiosyncratic stand for peace (think bed-ins, think "Christ, you know it ain't easy"), it occurred to me that I didn't need to spend all my energy, as I had been, worrying about what everyone thought of me. I began the slow process of understanding that I was an artist, and therefore had a mission for the world. I wore black to school (instead of the requisite blue uniform), spoke out for peace, and came home to close myself in my bedroom with my Beatles and Lennon LPs. After months of this, I emerged a different person: braver, more ridiculous, perhaps, but definitely braver.
Of course, Lennon's death meant something to millions of people. And certainly thousands if not millions of 13 year olds. I could have told this story very differently. I could have said that during this same time my grandfather was dying of cancer, and that my deep grief for the former Beatle was simply a mask for my sadness over losing my grandfather. I could have interpreted my reaction as plain old adolescent drama, but the fact that I claimed it as a positive personal myth shaped the way I have grown into a person. I am glad I saw things the way I saw them.
My Underground Seminary has been reading Richard Rohr's meditations for Advent this December, and today's reading was on darkness and light. The Gospel of John says "The light shines on inside the darkness, and the darkness will not overcome it." (1:5). Rohr goes on to say that "We must all hope, and work to eliminate darkness...but at a certain point, we have to surrender to the fact that the darkness has always been here, and the only real question is how to receive the light and spread the light...What we need to do is recognize what is, in fact, darkness, and then learn how to live in creative and courageous relationship to it. In other words, don't name darkness light. Don't name darkness good."
This is a challenge to me and my theology. I want there to be a silver lining in all darkness, and I want to go farther than that. I want the silver lining to actually redeem the darkness, make the darkness worth it. But how dare I say that Lennon's death was worth it because I got inspired? Or that the deaths of Michael Brown and Eric Garner might lead to a national re-thinking of racial profiling? The people who love them might want that too, but I bet they want their son or brother or friend back more. I wanted to think that something would change after Columbine, after Sandy Hook. But nothing changed that I could see (though my optimistic self wants to cry, "But the story isn't over yet!").
How do we tell the story? A baby was born in a manger, born into the generosity of the barnyard animals; born in the cold shrug of the innkeeper who wouldn't give a room to a pregnant woman in labor. A prophet healed the sick and cured the lame and made the blind to see, and preached liberation theology and encouraged the believers to question the authorities and pluck grains on the Sabbath, and was executed by the Roman government in a hideous, slow, public way. And then his words got twisted for millennia and millions were murdered in his name. And along the way, many people derived great consolation from his teachings and the example of his life. Many found enlightenment through following him.
My son has had a difficult fall, in some ways. For the first three months of school, he dragged his feet every morning, clinging to his Legos, our legs, refusing to get dressed some days, even weeping as he trudged up the stairs and through the school doors every morning. We held him, we comforted him, we gave him consequences. We talked it over with his teacher, a wonderful women whom our older daughter had had, and whom we loved. Maybe she was the wrong fit for our son. We considered asking the school to switch him to a different class room. I fantasized about home schooling him (for about three seconds.) Finally, I consulted my parenting Bible, How to Talk so Kids Will Listen and Listen so Kids Will Talk by Adele Faber and Elaine Mazlish. The next time he threw himself on the carpet during morning violin practice and yelled, "School is stupid! I hate school! Teachers are stupid!" I took a page from the book, and instead of trying to reason with him, as I usually did, ("Well, you might not like school, but it actually is the opposite of stupid," and "it's not very nice to use that word about anyone!"), I gave him a piece of paper and said, "I am so interested in how you are feeling! Could you show me so I could understand? Why don't you draw a picture of that!" So he did. He drew a stick figure of himself, and then a bigger stick figure of his teacher. Then he drew a line from his hand to her head. He paused and said, "How do you spell 'lightning?'" I paused too. Anger was one thing. Homicide another. But as I looked at my boy, I thought, he needs to know his anger is okay, and this is exactly the way I want him to express himself. So I gave him the correct spelling, and when he took his marker and scribbled out the teacher's face with it (because, of course, the lightning had blown her head up!), I said, "Wow, you are so mad at her!" and nodded. He looked up at me, a satisfied look coming into his little face. This was right before Thanksgiving vacation. I didn't hear any more complaints after that, and in fact noticed that he was a lot lighter and easier going. Last Friday as I was kneeling in front of him to zip up his winter coat, he said, "I love school, mama. I don't hate it any more. I can't wait to go to school!"
"Really," I said mildly. "What changed?"
He shrugged. "I just grew into it."
Yet as I write this, I know that, for myriad reasons, some mothers don't have the freedom to trust their son's (or daughter's) darkness. I don't claim to have the solutions to how we eradicate racism or violence. I just know that the frame that the story comes in is extremely important. And I would add to Rohr's admonition to call the darkness darkness and light light, that some of that discernment is in the eye of the beholder. And that, as we all have darkness, we need to stop being so afraid of it. I think it helped my son immensely to have me come into his darkness and witness it and not tell him that he needed to be afraid. Maybe by saying, "Wow, you are really mad!" I was simply naming the darkness, and affirming that "mad" was an overlay. "You" are full of light, and this is just a dark spot on your essentially light background.
I have been lucky enough to outlive my own fears of the dark––of my own dark, anyway. Over the weekend, Katryna and I played a show in Virginia and got to hang out with my parents who are two of my favorite people who ever lived. Long gone are my adolescent conflicts, my petty criticisms of what I once called their bourgeois lifestyle. All that's left is sweet, gentle, tender love, and more gratitude for them and to them than I can ever communicate. When I went through my own series of crises in my late twenties and early thirties, I was taught how to shine a light in my own darkness and untangle the stories, see them as just stories, frame them appropriately and make my amends; move on. Once I did that, forgiveness ceased being a choice; it became as obvious and necessary as breathing. Forgiveness seems to me a river at the base of it all, underground, like the river Styx, perhaps, and that when I get baptized in that river, I come out clean, and able to endure the beams of love, which were there all along. We all shine on, as John Lennon said. Shine, baby, shine.
Thursday, October 16, 2014
What It Means to Do Work
I am sticking my head up for a moment to say I am here. We are playing two shows in NYC area this weekend: Friday at Rockwood Music Hall on the lower East Side, and Saturday at Jalopy in Red Hook (Brooklyn). I am bringing both kids with me to the City, and my beloved aunt and uncle are taking care of them. (In between gigs, we are going shopping for items for Elle's Mad-Eye Moody costume). I say "sticking my head up" because I have been spending the bulk of my time gearing up to release our new album XVII. Though the official release date is not till Feb 2, 2015 (Groundhog's Day! Imbolc! St. Bridget's Day! Midwinter!), our Pledge Music Campaign starts October 27, and we are scrambling to film our video, write our copy, meet with our team, post the new photos by the amazing Kris McCue to the page, prepare the newsletter, send it out, pray for donations, etc. etc. Kit (our producer) is mixing tracks as we speak, and as soon as he sends them to us, we'll be scrutinizing them (or whatever the aural equivalent of "scrutinizing" is) to make sure they are note-perfect. Meanwhile, the world goes on. Part of me wants to stay away from NYC because of Ebola (my kids are terrified about getting it), and most of me just feels so deflated that people are dying and their loved ones are standing by, helpless. This is just what the Climate Change scientists predicted, back in the innocent 00's. Tuesday, in my guitar class, we played through Pete Seeger's "Quite Early Morning," and as I was singing the lyrics, I realized that though this song is about the Cold War, and the fear of nuclear annihilation, we're now facing an entirely different form of annihilation with climate change. The more I learn about climate change, the more I want to hide my head in the sand, which is another reason I am sticking my head up now. A folksinger who hides her head in the sand, who doesn't stay current, is not doing her job.
But neither can she do nothing but worry. We hiked in the Adirondacks last weekend, bringing almost-10-year-old cousin William with us. He is on Harry Potter 5, and even though Elle has technically finished all 7 books, most of them were read to her several years ago, and thus she does not have the same grasp of the details that William does. So as they marched up and down Hurricane Mountain, he instructed them on all the different spells they could cast with the wands they fashioned out of twigs (only certain twig shapes could be wands, of course. There was much searching for wands as we hiked.) They also decided to speak only in British accents. I, meanwhile, had downloaded a free pedometer app. Interestingly, while I now know I am way more sedentary than I'd previously thought, and though before the download I would have maintained to anyone who cared to listen that at 47 I am in the best shape of my life, after I downloaded and saw with dismay the meager number of steps I take on a daily basis, I immediately gained three pounds. But even though I am sorely tempted by the new Apple Watch, I am instead going to save my pennies for a treadmill desk.
As much as I do want an Apple Watch--and oh, doesn't it delivers the promise we all had as kids, fantasizing about watching TV on our wrists?--I have some concerns about turning my body over to a device, or perhaps into a device. I have a strong feeling that Apple has already taken over the better part of my brain. Plus, I don't want my kids to see just how obsessive I would be if all the answers to my potential questions were actually on my body at all times. Which is the problem with the pedometer and why I have resisted for so long in getting a Fitbit or any such thing. I'd rather just shoot for getting outdoors every day, breathing the air at its various temperatures and consistencies, feeling if my jeans are getting baggy or tight and adjusting accordingly.
As for Hurricane, it's a pretty big mountain, and when we started out around noon, I felt ambivalent about ascending. What was wrong with a long walk in the woods with Stella and the kids? I had no need to actually go to the top of a peak. It was overcast, and there was no view. But as we hiked, and especially as we neared the summit, some internal chemistry shifted, and I was overcome with the desire to touch the fire tower at the top.

I wanted to pause, up there in the clouds, put my hands on my hips and sigh, turning 360 degrees to see what I could see. I wanted to say "I did it."

Turns out there was a view after all.
We have to raise $30,000 for our new album, XVII. I guess we don't HAVE to. We have to eradicate Ebola and figure out a way to consume less fossil fuel and save the planet and try not to kill off any more other species. But it would be nice to raise $30,000 too. I could just as easily go with a plan where we do the bare minimum, like we did with our last album, The Full Catastrophe. In that case, we made 1500 copies, did a super cheap cover (in fact, I took the picture. If we'd asked Katryna--an actual photographer--it would have cost more.) We did almost no publicity, and certainly no radio. We did exactly one CD release show with a band. Releasing that way, low budget, felt like going for a long walk in the woods. There is merit in climbing to the top inherent in the climbing. We artists are communicators. If we don't do our job as fully and as well as we can, we feel we have failed, even as the work stands strong and proud (and I firmly believe that The Full Catastrophe is a strong, proud, truthful, helpful, beautiful record.) If you are reading this, we have already succeeded in communicating with you. But there are people who love the Nields and don't know it yet. We need to reach them. This money that we are raising, we hope, will do just this. Someone's life will be saved by "Witness" or "Princess." Someone needs to hear "Victory" and "River." Someone will be changed by "Dave Hayes the Weather Guy." To paraphrase Pete Seeger: we want to put our one grain of sand on the beach we believe in. We really really really love this record and we firmly believe you will too.
Last winter, when faced with the choice of writing new songs or starting a new book project, I wrote new songs. When the first one wasn't great, I wrote a better one. When that one didn't totally get at the issue, I wrote another. I wrote until Katryna said, "You've written the album. Let's record. These are the best songs you've ever composed." I hope they tell the truth, that they bring hope, that you can dance to them, that kids will learn them on their guitars and pianos and that one day I will hear them being covered. Then I will feel as though I have done my job.
But neither can she do nothing but worry. We hiked in the Adirondacks last weekend, bringing almost-10-year-old cousin William with us. He is on Harry Potter 5, and even though Elle has technically finished all 7 books, most of them were read to her several years ago, and thus she does not have the same grasp of the details that William does. So as they marched up and down Hurricane Mountain, he instructed them on all the different spells they could cast with the wands they fashioned out of twigs (only certain twig shapes could be wands, of course. There was much searching for wands as we hiked.) They also decided to speak only in British accents. I, meanwhile, had downloaded a free pedometer app. Interestingly, while I now know I am way more sedentary than I'd previously thought, and though before the download I would have maintained to anyone who cared to listen that at 47 I am in the best shape of my life, after I downloaded and saw with dismay the meager number of steps I take on a daily basis, I immediately gained three pounds. But even though I am sorely tempted by the new Apple Watch, I am instead going to save my pennies for a treadmill desk.
As much as I do want an Apple Watch--and oh, doesn't it delivers the promise we all had as kids, fantasizing about watching TV on our wrists?--I have some concerns about turning my body over to a device, or perhaps into a device. I have a strong feeling that Apple has already taken over the better part of my brain. Plus, I don't want my kids to see just how obsessive I would be if all the answers to my potential questions were actually on my body at all times. Which is the problem with the pedometer and why I have resisted for so long in getting a Fitbit or any such thing. I'd rather just shoot for getting outdoors every day, breathing the air at its various temperatures and consistencies, feeling if my jeans are getting baggy or tight and adjusting accordingly.
As for Hurricane, it's a pretty big mountain, and when we started out around noon, I felt ambivalent about ascending. What was wrong with a long walk in the woods with Stella and the kids? I had no need to actually go to the top of a peak. It was overcast, and there was no view. But as we hiked, and especially as we neared the summit, some internal chemistry shifted, and I was overcome with the desire to touch the fire tower at the top.

I wanted to pause, up there in the clouds, put my hands on my hips and sigh, turning 360 degrees to see what I could see. I wanted to say "I did it."

Turns out there was a view after all.
We have to raise $30,000 for our new album, XVII. I guess we don't HAVE to. We have to eradicate Ebola and figure out a way to consume less fossil fuel and save the planet and try not to kill off any more other species. But it would be nice to raise $30,000 too. I could just as easily go with a plan where we do the bare minimum, like we did with our last album, The Full Catastrophe. In that case, we made 1500 copies, did a super cheap cover (in fact, I took the picture. If we'd asked Katryna--an actual photographer--it would have cost more.) We did almost no publicity, and certainly no radio. We did exactly one CD release show with a band. Releasing that way, low budget, felt like going for a long walk in the woods. There is merit in climbing to the top inherent in the climbing. We artists are communicators. If we don't do our job as fully and as well as we can, we feel we have failed, even as the work stands strong and proud (and I firmly believe that The Full Catastrophe is a strong, proud, truthful, helpful, beautiful record.) If you are reading this, we have already succeeded in communicating with you. But there are people who love the Nields and don't know it yet. We need to reach them. This money that we are raising, we hope, will do just this. Someone's life will be saved by "Witness" or "Princess." Someone needs to hear "Victory" and "River." Someone will be changed by "Dave Hayes the Weather Guy." To paraphrase Pete Seeger: we want to put our one grain of sand on the beach we believe in. We really really really love this record and we firmly believe you will too.
Last winter, when faced with the choice of writing new songs or starting a new book project, I wrote new songs. When the first one wasn't great, I wrote a better one. When that one didn't totally get at the issue, I wrote another. I wrote until Katryna said, "You've written the album. Let's record. These are the best songs you've ever composed." I hope they tell the truth, that they bring hope, that you can dance to them, that kids will learn them on their guitars and pianos and that one day I will hear them being covered. Then I will feel as though I have done my job.
Thursday, March 06, 2014
Thoughts Post-FAWM
I am paying a debt of honor by finally reading Charles Dickens. And by "reading," I really mean listening, since all I ever do anymore is listen to audiobooks. And by "all I ever do anymore" I don't mean that literally. Because I do a lot. This is my daughter's depiction of her day:
You can surmise the apple does not fall far from the mama tree. I got up this morning at 6, did some yoga, then meditated, then counseled a friend on the phone, then cuddled my 5 year old, made him and me breakfast, then made my daughter's breakfast, then tidied up, did violin practice with the kids, then cleaned the house, ran to the Y, lifted weights, ran home (all while listening to my audiobook), led a phone meeting, ate lunch while listening to NPR on my iPhone to try to figure out what is going on in the Ukraine (now I kind of have an idea, which is better than yesterday), then sent out a dozen emails and texts that ranged from the personal to the familial to the various businesses and classes I run. Then Patty (my manager) and Katryna came over and we had an hour meeting to figure out booking issues, and by the time it was over, I had to pick up the kids from school. I took them straight to the corner supermarket to get bananas and milk and to the post office where I sent a friend a CD copy of my demo of new songs. Then I dropped off Jay at a playdate, took Elle to her violin lesson, talked to a friend who has a rare stage 3 cancer about her chemo treatments, picked Jay up from the playdate, scooted home with the kids, made them dinner, ate dinner, played ten minutes of piano, and here I sit in my writing group, writing prose for the first time in a month.
Our prompt today is a poem called "Let Go. Return" by Josephine Johnson, from 1937. In it she writes:
This is the need, the deep necessity of every life:
To scatter wide seed in many fields,
But build one barn.
This is our blunder, to have built
Gilt shacks for every seed,
And followed our sowing on fast anxious feet,
Desiring to grind the farmost grain.
Let go. Let go. Return
Heighten and straighten the barn's first beam.
Give shape and form. Discover the rat, the splintered stair.
Throw out the dry, gray corn.
Then may it be said of you:
Behold, he had done one thing well,
And he knows whereof he speaks, and he means what he has said,
And we may trust him.
This is sufficient for a life.
I am queen of building gilt shacks for every seed. Did this woman worm herself into my head and speak to me from the grave, reaching her hands out to grab my ankles the way Pip imagines the dead might treat his sinister nemesis Abel Magwitch in that first chapter of Great Expectations? For this is my midlife crisis, right here: I am in danger of letting my barn fall down because I am so busy tending to every little gilt (guilt) shack. And which ones really merit my attention?
On the way back from the violin lesson, Elle said, "I didn't know T had cancer."
"How did you know she did?"
"I eavesdropped on you."
"Ah," I said. "That is a good skill to have."
We drove for awhile. She said, "When did she get cancer?"
I said, "No one knows when exactly, but she was having trouble breathing, and they found out about it around Christmas." My eyes welled up a bit. I had just told T how brave I thought she was, and she said, "You'd do the same thing. I mean," and here she had pointed at Elle who was on the floor playing with the violin teacher's baby. "We don't have a choice. We can't just roll over and die." T has two young daughters. I said now, to Elle, "We need to pray hard. Not that that always works, but sometimes it does. And we need to be really nice to her kids right now. And I am going to be really mad at God if we lose T."
Elle paused. Then from the backseat: "It's not exactly God's fault."
Part of the problem is that the barn, as I saw it, was the music I created with my bandmates. The music is obviously my life's work, even as I can neglect it dreadfully for months at a time. This past month, I did not neglect it. I spent the whole month of February writing songs, 14 to be exact. Well, really 13. One was a duet of Katryna singing "You've Got to Walk that Lonesome Valley" with Siri, the iPhone voice over.
My big contribution to that number was to immortalize it on my own iPhone and post it on Facebook. But I did write 13 whole other songs, some of which are pretty good. And what was great about the experience was that I don't even care that much if the songs are good or not, or if I'll record them and put them on my next CD. I now remember how to write songs, and I have confidence that I can. February was like spring training. I'm ready to play ball now.
But like so many mothers I know, I also feel that my "real" work is my family: nurturing my relationship with my husband, and the day-to-day mothering of my two children. I spend much of my energy (as demonstrated by my big list) on keeping the machine going, that contraption that feeds, clothes, transports, amuses, bathes and grooms and educates and snuggles my children. And on many occasions, that other barn (for I won't, certainly, call this a gilt shack) seems directly at odds with the first. Which barn gets the attention, the small improvements? How can I chose which beam to straighten when they both need fresh wood? How can I chose which one thing to do well?
Well, for one thing, let's simply acknowledge that Josephine Johnson wasn't writing at a time when women could, from a practical perspective, raise two barns. But in the age of Hillary Rodham Clinton, Nora Ephron and Cate Blanchett, to name just three career moms among countless others, I think it's fair to say that many do, nowadays, build two barns. (Men as well as women.) But perhaps I don't need to build fourteen. Maybe I can let some of my smaller projects be just that: smaller projects. Pete Seeger's death reminded me that my true calling is still, and always will be, conveyer of song to a group, however humble that may look. It's a ministry calling, every bit as dramatic as Jonah's. We don't get to choose where we get sent. I might prefer Telluride Bluegrass Festival, or the Grammies to the parking lot of River Valley Market, but I am a singer, and as Pete said to the HUAC, "I'll sing for anybody." We singers can only hope, as Dickens might say, to be beams of God's grace, shining on all alike.
Back in the car, I was struck by Elle's lucidity. I don't know if agree with her, theologically. I have read When Bad Things Happen to Good People, and I am intrigued by the idea that since an omniscient God cannot co-exist with an all loving God, we need to choose which we believe. I haven't come down firmly on either side, and I suspect, still, that God is somehow all loving and omniscient, but we humans can't possibly be expected to take such a long view. Still, I said,
"You're right. I agree with you, actually."
"I don't like when people blame God," Elle said. I turned to look at her. She's seven, now. She wears, daily, a fuzzy plush vest of tiger stripes with a tiger hood, and on top of that an Adidas windbreaker. Her eyelashes are so long I sometimes can't believe they're real, that she's real, this elf-like child of mine who can go from regular silly kiddo to wise-beyond-her-years sage on a dime's turn.
"Neither do I," I concede. "Thanks for the reminder."
So it's March, now. The songs got written. Now it's time to make them good. Write more songs. Schedule the recording we'll be doing this summer. Book some gigs. Practice piano, play guitar, read some classics, listen to a lot of old and new music, hand your guitar to young ones stronger, thank God, thank God, thank God.
You can surmise the apple does not fall far from the mama tree. I got up this morning at 6, did some yoga, then meditated, then counseled a friend on the phone, then cuddled my 5 year old, made him and me breakfast, then made my daughter's breakfast, then tidied up, did violin practice with the kids, then cleaned the house, ran to the Y, lifted weights, ran home (all while listening to my audiobook), led a phone meeting, ate lunch while listening to NPR on my iPhone to try to figure out what is going on in the Ukraine (now I kind of have an idea, which is better than yesterday), then sent out a dozen emails and texts that ranged from the personal to the familial to the various businesses and classes I run. Then Patty (my manager) and Katryna came over and we had an hour meeting to figure out booking issues, and by the time it was over, I had to pick up the kids from school. I took them straight to the corner supermarket to get bananas and milk and to the post office where I sent a friend a CD copy of my demo of new songs. Then I dropped off Jay at a playdate, took Elle to her violin lesson, talked to a friend who has a rare stage 3 cancer about her chemo treatments, picked Jay up from the playdate, scooted home with the kids, made them dinner, ate dinner, played ten minutes of piano, and here I sit in my writing group, writing prose for the first time in a month.
Our prompt today is a poem called "Let Go. Return" by Josephine Johnson, from 1937. In it she writes:
This is the need, the deep necessity of every life:
To scatter wide seed in many fields,
But build one barn.
This is our blunder, to have built
Gilt shacks for every seed,
And followed our sowing on fast anxious feet,
Desiring to grind the farmost grain.
Let go. Let go. Return
Heighten and straighten the barn's first beam.
Give shape and form. Discover the rat, the splintered stair.
Throw out the dry, gray corn.
Then may it be said of you:
Behold, he had done one thing well,
And he knows whereof he speaks, and he means what he has said,
And we may trust him.
This is sufficient for a life.
I am queen of building gilt shacks for every seed. Did this woman worm herself into my head and speak to me from the grave, reaching her hands out to grab my ankles the way Pip imagines the dead might treat his sinister nemesis Abel Magwitch in that first chapter of Great Expectations? For this is my midlife crisis, right here: I am in danger of letting my barn fall down because I am so busy tending to every little gilt (guilt) shack. And which ones really merit my attention?
On the way back from the violin lesson, Elle said, "I didn't know T had cancer."
"How did you know she did?"
"I eavesdropped on you."
"Ah," I said. "That is a good skill to have."
We drove for awhile. She said, "When did she get cancer?"
I said, "No one knows when exactly, but she was having trouble breathing, and they found out about it around Christmas." My eyes welled up a bit. I had just told T how brave I thought she was, and she said, "You'd do the same thing. I mean," and here she had pointed at Elle who was on the floor playing with the violin teacher's baby. "We don't have a choice. We can't just roll over and die." T has two young daughters. I said now, to Elle, "We need to pray hard. Not that that always works, but sometimes it does. And we need to be really nice to her kids right now. And I am going to be really mad at God if we lose T."
Elle paused. Then from the backseat: "It's not exactly God's fault."
Part of the problem is that the barn, as I saw it, was the music I created with my bandmates. The music is obviously my life's work, even as I can neglect it dreadfully for months at a time. This past month, I did not neglect it. I spent the whole month of February writing songs, 14 to be exact. Well, really 13. One was a duet of Katryna singing "You've Got to Walk that Lonesome Valley" with Siri, the iPhone voice over.
My big contribution to that number was to immortalize it on my own iPhone and post it on Facebook. But I did write 13 whole other songs, some of which are pretty good. And what was great about the experience was that I don't even care that much if the songs are good or not, or if I'll record them and put them on my next CD. I now remember how to write songs, and I have confidence that I can. February was like spring training. I'm ready to play ball now.
But like so many mothers I know, I also feel that my "real" work is my family: nurturing my relationship with my husband, and the day-to-day mothering of my two children. I spend much of my energy (as demonstrated by my big list) on keeping the machine going, that contraption that feeds, clothes, transports, amuses, bathes and grooms and educates and snuggles my children. And on many occasions, that other barn (for I won't, certainly, call this a gilt shack) seems directly at odds with the first. Which barn gets the attention, the small improvements? How can I chose which beam to straighten when they both need fresh wood? How can I chose which one thing to do well?
Well, for one thing, let's simply acknowledge that Josephine Johnson wasn't writing at a time when women could, from a practical perspective, raise two barns. But in the age of Hillary Rodham Clinton, Nora Ephron and Cate Blanchett, to name just three career moms among countless others, I think it's fair to say that many do, nowadays, build two barns. (Men as well as women.) But perhaps I don't need to build fourteen. Maybe I can let some of my smaller projects be just that: smaller projects. Pete Seeger's death reminded me that my true calling is still, and always will be, conveyer of song to a group, however humble that may look. It's a ministry calling, every bit as dramatic as Jonah's. We don't get to choose where we get sent. I might prefer Telluride Bluegrass Festival, or the Grammies to the parking lot of River Valley Market, but I am a singer, and as Pete said to the HUAC, "I'll sing for anybody." We singers can only hope, as Dickens might say, to be beams of God's grace, shining on all alike.
Back in the car, I was struck by Elle's lucidity. I don't know if agree with her, theologically. I have read When Bad Things Happen to Good People, and I am intrigued by the idea that since an omniscient God cannot co-exist with an all loving God, we need to choose which we believe. I haven't come down firmly on either side, and I suspect, still, that God is somehow all loving and omniscient, but we humans can't possibly be expected to take such a long view. Still, I said,
"You're right. I agree with you, actually."
"I don't like when people blame God," Elle said. I turned to look at her. She's seven, now. She wears, daily, a fuzzy plush vest of tiger stripes with a tiger hood, and on top of that an Adidas windbreaker. Her eyelashes are so long I sometimes can't believe they're real, that she's real, this elf-like child of mine who can go from regular silly kiddo to wise-beyond-her-years sage on a dime's turn.
"Neither do I," I concede. "Thanks for the reminder."
So it's March, now. The songs got written. Now it's time to make them good. Write more songs. Schedule the recording we'll be doing this summer. Book some gigs. Practice piano, play guitar, read some classics, listen to a lot of old and new music, hand your guitar to young ones stronger, thank God, thank God, thank God.
Tuesday, October 29, 2013
How to Beat (Song)Writer's Block
A few months ago, I was struggling to write songs. This fact totally shocked me. I have been a songwriter from the age of 13, and for quite some years, I was averaging one new song a month. Starting in 2008, I have been a loyal participant of February Album Writing Month, and while I never succeeded in writing 14 songs that would make a decent album, I usually came out with a pretty great take.* But last February, I fell way shy of my goal, and not only that, the process of trying to write was excruciating. (I was destroyed by social media, if you must know, but that's altogether another story, though about that I will say that the root of all evil is busy-ness. Being too busy and overloaded with Thoughts, and Things To Do)
Bent, but not broken, I sat back and contemplated my disappointing case of writer's block. What was wrong? What could I do to make it better?
I moonlight as a coach for creative types, and so I have some tricks up my sleeve. Here's my general advice for beating songwriter's block:
1. Give yourself permission to write some really bad songs. In fact, TRY to write the worst song ever.
2. Along these lines, if you do get a good idea for a song (say someone, like your sister who is also your bandmate, gives you an excellent idea, since you currently have zero ideas), tell yourself that you will write no less than five versions of this great idea song. That way, you won't be overwhelmed by the great idea. That happens to me. I think, "Man, this is such a great idea. And now I am going to wreck it, because I am so completely uninspired." And I think, "I'm supposed to write a song about a princess! But I have so many divergent feelings about princesses! How can the case of princesses be summed up by one mere song? It'll have to be a great song! That's way too much pressure!" So then I think, "OK, I'll write five princess songs!" I give myself leeway, again, to write some bad stuff. And since we always think what we're writing is bad, we'll be pleasantly surprised when we find a good line or two.
3. Fill the well. When I am empty of ideas, I need to be filled. So I start listening. I start watching TV. I go to the movies. I read read read read. I make sure to read and watch a lot of junk, as well as some good stuff. I just go into collection mode. I become a packrat of ideas. I let it all settle down at the bottom of my river, like so much flotsom and jetsom. Or, to use another metaphor, I collect a lot of scraps for compost and let it all meld together. Rich soil, effluvium, for later.
4. Along these lines, I listen to my old favorites: Bob Dylan, the Beatles, Joni Mitchell. Last month, I wrote a princess song that was totally inspired by Joni. More on that in a moment...
5. I also listen to new stuff. Brandi Carlile, Ingrid Michaelson, Miley Cyrus. (Just kidding about Miley Cyrus.)
6. Study an instrument. Usually when I get writer's block, I work on my guitar playing. This time, I started taking piano lessons. Piano!
I have to digress at this point to wax poetic about my love for the piano, and my piano teacher, Maggie Shollenberger. In just 5 lessons, Maggie has unlocked the secrets of the keyboard for me, taught me some blues, helped me to improvise for the first time, not to mention taught me "Imagine," "Hey Jude" and "Woodstock." I practice my "chord gym" every day, and I even played "Imagine" and "Sarah's Circle" in church last month. Studying piano has restored the freshness of music to my tired ears. I hear totally differently now, as a budding pianist.
But did these ideas work in terms of my songwriting? YES! Last month, Katryna and I debuted two new songs: "River," a Gillian Welch-inspired sister to my song "Give Me a Clean Heart;" and "Princess," an ode to princesses and anti-princesses everywhere. (And I only had to write one princess song, as it turned out.) We'll sing these songs, and many others on Friday Nov. 15 at Passim in Cambridge. Hope to see you there!
*Songs written during February Album Writing Month: "Good Times Are Here," "I Am Half My Mother's Age," "Between Friends," "Rise and Shine." Plus a bunch of HooteNanny songs.
Bent, but not broken, I sat back and contemplated my disappointing case of writer's block. What was wrong? What could I do to make it better?
I moonlight as a coach for creative types, and so I have some tricks up my sleeve. Here's my general advice for beating songwriter's block:
1. Give yourself permission to write some really bad songs. In fact, TRY to write the worst song ever.
2. Along these lines, if you do get a good idea for a song (say someone, like your sister who is also your bandmate, gives you an excellent idea, since you currently have zero ideas), tell yourself that you will write no less than five versions of this great idea song. That way, you won't be overwhelmed by the great idea. That happens to me. I think, "Man, this is such a great idea. And now I am going to wreck it, because I am so completely uninspired." And I think, "I'm supposed to write a song about a princess! But I have so many divergent feelings about princesses! How can the case of princesses be summed up by one mere song? It'll have to be a great song! That's way too much pressure!" So then I think, "OK, I'll write five princess songs!" I give myself leeway, again, to write some bad stuff. And since we always think what we're writing is bad, we'll be pleasantly surprised when we find a good line or two.
3. Fill the well. When I am empty of ideas, I need to be filled. So I start listening. I start watching TV. I go to the movies. I read read read read. I make sure to read and watch a lot of junk, as well as some good stuff. I just go into collection mode. I become a packrat of ideas. I let it all settle down at the bottom of my river, like so much flotsom and jetsom. Or, to use another metaphor, I collect a lot of scraps for compost and let it all meld together. Rich soil, effluvium, for later.
4. Along these lines, I listen to my old favorites: Bob Dylan, the Beatles, Joni Mitchell. Last month, I wrote a princess song that was totally inspired by Joni. More on that in a moment...
5. I also listen to new stuff. Brandi Carlile, Ingrid Michaelson, Miley Cyrus. (Just kidding about Miley Cyrus.)
6. Study an instrument. Usually when I get writer's block, I work on my guitar playing. This time, I started taking piano lessons. Piano!
I have to digress at this point to wax poetic about my love for the piano, and my piano teacher, Maggie Shollenberger. In just 5 lessons, Maggie has unlocked the secrets of the keyboard for me, taught me some blues, helped me to improvise for the first time, not to mention taught me "Imagine," "Hey Jude" and "Woodstock." I practice my "chord gym" every day, and I even played "Imagine" and "Sarah's Circle" in church last month. Studying piano has restored the freshness of music to my tired ears. I hear totally differently now, as a budding pianist.
But did these ideas work in terms of my songwriting? YES! Last month, Katryna and I debuted two new songs: "River," a Gillian Welch-inspired sister to my song "Give Me a Clean Heart;" and "Princess," an ode to princesses and anti-princesses everywhere. (And I only had to write one princess song, as it turned out.) We'll sing these songs, and many others on Friday Nov. 15 at Passim in Cambridge. Hope to see you there!
Nerissa and Katryna debuting new songs at the Parlor Room in Northampton, October 12, 2013
*Songs written during February Album Writing Month: "Good Times Are Here," "I Am Half My Mother's Age," "Between Friends," "Rise and Shine." Plus a bunch of HooteNanny songs.
Wednesday, October 02, 2013
Martha, Mary and Michaelmas (And Cheryl Wheeler and Louis C.K.)
Sept. 29, 2013
Scripture: Luke 10:38-423
…and second scripture:
In every instant, two gates.
One opens to fragrant paradise, one to hell.
Mostly we go through neither.
Mostly we nod to our neighbor,
lean down to pick up the paper,
go back into the house.
But the faint cries—ecstasy? horror?
Or did you think it the sound
of distant bees,
making only the thick honey of this good life?
-Jane Hirshfield
Today is Michaelmas, a lesser Catholic feast that somehow always gets my attention. It makes me think of midlife. Maybe it makes everyone think of midlife. It comes, after all, just a few days after the autumn equinox, and autumn is certainly the season of midlife, what with the balding maples, the falling leaves, the drama before the long quiet.
This year Michaelmas falls also on a waning moon. It seems all of nature is conspiring to force us to think about the brevity of life. The two readings—the Martha/Mary story which Steve has preached about often, and the Jane Hirshfield poem—both touch on this idea of the choices we make, and it seems to me that midlife can be an especially painful time to sit with our choices. (Though I suspect every phase of life has this potential pain…)
When we were kids, we were Marys. My kids are Mary-like. They pay attention to the important stuff. They know that it’s good for them to play, to move their bodies, to climb on things. They know a good story when they hear one, and they also know justice. They have an acute sense of what is fair.
As we age, we become more Martha-like. We don’t pause from our dinner preparations to run outside during one of those summertime micro rain storms, to dance in the rain after a long dry dusty hot spell. We do the never ending laundry—Mount Washmore, my friend calls it. We go to the grocery store. We pick up the kids. We exercise—but on a schedule. And we justify our good, hard disciplined work: in any revolution there is work to be done, and Jesus surely was a revolutionary.
And don’t the ones who do the work get the praise? So why is Jesus saying that Mary’s the one who gets it?
Part of the gift of midlife is that we do get it. We see how painfully brief it all is. Now I know Mary’s got the right idea. And I still can’t stop doing doing doing. Still can’t stop frantically doing the dishes, doing the laundry, telling my kids to hurry up so we won’t be late to school. I do my meditation and my yoga—but I time myself with my iPhone and don’t let myself linger. I tell myself I will go on a meditation retreat when the kids are older.
But I have the usual questions. Is Jesus saying we should always listen to God? Or just when he comes over for dinner? Does Jesus really want us to forgo making the beds in the morning and instead practice piano? Wasn’t Jesus glad that Martha was making preparations? I know I’m not alone in having some feminist annoyance with this passage. Would it have been better if Martha had sat down too? But then there’d be no food for anyone. Maybe they would have just eaten locusts, then. Is Jesus saying “Sorry, babe. You’re just a Martha. Marthas cook and clean. Marys sit and listen. Try again next life, and you might luck out.”
Well, of course not. Jesus’s whole point was to free us from the binary thinking of the old world, teach us non-dualism. No I, no Thou. Jesus said, “I and the Father are one. And so it is with you.” Jesus said, “I am the vine, you are the branches.” Last time I looked, it was hard to tell the difference between vine and branches. We’re always Martha and Mary, just as God is in each of us, beyond all of us, and in the interactions between everything.
Moreover, when I grumbled a version of this to my friend Peter Ives, he pointed out that at the time of Jesus, women were barely considered human. For Jesus to say that Mary should sit and listen to him, and in fact Martha should put down her dishrag and join in too, was completely revolutionary. He was calling them, these two sisters, to be disciples, equals to his male followers. It’s not really news in Bible scholarship that Jesus elevated the role of women to that of equal, though the Nicene Creed and fifteen hundred years of organized religion put the kibosh on much of that. But when I heard this, I had to look at my own internalized sexism. It hadn’t occurred to me on first read-through that in fact Jesus might indeed have been saying, “Dudes, your turn. Go make the dinner while Martha and Mary get their time with me. And if you don’t know how to make the dinner, go find some locusts.” For all we know, that was in the original text, only to be nixed three hundred years later during the Council of Nicea. Three hundred years later, women were back in their historical place.
This came through my email-box this morning from Richard Rohr, a Franciscan friar:
And the other wise sage I came across was the comedian Louis CK who went on a rant about iPhones on the Conan O’Brien show. He basically says the same thing as Father Richard:
To be an artist, or a revolutionary, or just a good person trying to feel our way through life with a modicum of consciousness, we need to rest, Mary-style, fill the well. We need to do nothing. We need to look up at the sky, notice what kind of moon it is, breath in the smell of falling leaves and pond scum and compost and fall-bearing raspberries. To love someone, to really love someone, we need to give them years of our attention. Years. Focus and appreciation every single day. That’s the sunlight they need to grow.
Last week, I happened to notice, as I occasionally do, all the people around me who were doing it better than me. By “it” I mean everything from having a music career to gaining spiritual insights. I couldn’t help but notice all my spiritual friends who all seem to be gaining enlightenment at a frightening clip. My friend Julie went on a 10 day silent retreat, and now she has no more anger. My friend Charlotte did this three year long inventory of her greater defects and now she hears God’ voice loud and clear and never has any questions about what she should do. All this makes me want to give up, give in, throw in the towel, text and drive, abandon my highly scheduled meditation practice. Instead I called my mom and asked her what she thought of Sheryl Sandberg, the latest voice in the Mommy wars. Sandberg wrote a book called Lean In, which points out the sexism still rampant in our culture, and how hard it is for career women to be mothers and gives excellent advice to women who want to fight to keep their careers thriving. Sandberg exhorts women to lean in rather than lean back when they even begin to think about having a child. Recently, I’ve heard my peers rumbling with discontent about this message. “The problem is,” said one of my closest friends, a highly successful author, “I really do want to lean back right now. I want to volunteer at my daughter’s school. I want to make her Halloween costume. Is that so wrong?”
“Well there’s just so much to hate about Sheryl Sandberg,” my mother began. “She has nannies raising her children! What are all these people thinking, making $300,000 a year! I am so glad I invested my time in you girls.”
I’m pretty sure my mother hasn’t read the book. She, like me, had a career and also had kids, and tried to balance them as well as she could, which seemed to involve a lot of yelling and tossing of backpacks into the car with a hot cup of coffee sloshing about. It’s true that when push came to shove, she would choose her children every time. But still, my mother worked hard. She sure as hell leaned in. She was always grading papers at the kitchen table, cooking our dinner, making our lunches, or playing extremely competitive tennis during those hours after school and before dinner. She did not get on the floor and play games with us, or engage in imaginative play. But she did sit on my bed at the day’s end and ask me to talk about things. She knew what the better part was. Mostly. Like all of us, she was sometimes Martha, sometimes Mary.
So if Jesus is calling us to be disciples, if Jesus is calling women to be disciples with the same urgency that he calls men, this brings us right back to the question women have been wrestling with since the dawn of the women’s movement. I, for one, certainly can make the dualism about choosing family over career, for instance. Last week, Katryna and I opened for a great singer songwriter Cheryl Wheeler. Cheryl is one of a kind. She looks like what she is: a 62 year old who dresses in LL Bean (onstage and off), loves her dogs and Cathleen, her wife of 10 years, and doesn’t give a whit about what the music business—or anyone else for that matter—thinks of her. She is hilarious, occasionally raunchy, onstage, so funny that my sides often hurt from laughing so hard when I am at one of her shows. She has a song on her latest CD called “Shutchier Piehole”, making the point that it would be really hard if your last name were “Piehole” and your parents named you “Shutchier.” Hard, yes, but funny. A few songs later, she delivered her 1980’s love ballad “Arrow,” a song so achingly beautiful we were all in tears by the end. Her following is as strong today as it ever was. Her fans are loyal; we opened for her in 1992 at the Iron Horse, and a couple from last Friday’s concert came up to us and said, “I remember seeing you at that show, 21 years ago…”
Cheryl has what I always wanted. A career that keeps growing. She sang songs she’d just written, along side songs that were over thirty years old. But what’s most enviable about her show is that she is just…Cheryl. She is totally herself. There is no artifice. She is completely unconcerned about whether or not we like her. She performs sitting down and refuses to leave the stage for the encore. She asked the lighting engineer to turn down the lights because “No one paid to see the visuals. If they did they would be sorely disappointed. They came to listen.”
Though I can try to make this about right and wrong, Martha and Mary, kids versus career, what I really want is that comfort with myself. I want to not care whether or not you notice that my face isn’t airbrushed. I want not to care if you notice that I’ve gained or lost a few pounds. But more than that, I want to not care what you think about how hard I’m working, how much I’m doing, how the fact that I spent the last seven years trying to raise human beings has resulted in flaws, in big gaping holes in my artistic work, not to mention the more painful flaws in my parenting. I want to stop trying to prove my worth by scrubbing the dishes for the revolutionaries. I want instead to sit around, the way Cheryl did, and chew the fat with her old buddies who’d paid $25 a head just to see her. And I want the humility to keep learning, keep growing. I want to laugh. And this is both the gift of an awake, aware midlife passage, and the gift of discipleship.
As Hirshfield seems to be saying, every instant has two gates, but it’s true that we mostly go through neither. We’re just not that awake most of the time. Martha didn’t choose incorrectly just because Mary happened to see the instant and go through the gate of paradise. Martha just missed seeing the gate. We all do, all the time. We get worried and upset—that’s a guarantee if we are human. It’s more than guaranteed if we’re parents. In fact, every single day I vow, on my knees, that I will do better, that I will be patient with my kids, that I will not be short with them, that I will react to frustration with humor (in fact I have “react to frustration with humor” as a reminder on my iPhone, and it pops up regularly, along with “don’t read your iPhone right now—pay attention to the kids instead.” And still, every day, I lose it. I lose it even as I am praying not to. Even as I am thinking, “don’t shame her, let her be herself,” I say, “You’re wearing THAT to school?”
But then, there is grace, too. Somehow, I can sometimes see the gates and choose the better one. Yesterday, a perfect September afternoon with a cloudless sky, I abandoned my agenda and let the kids stay late at school to play on the playground. Johnny found a pick up game of soccer. I stood and watched him race across the field, galloping after the ball, kicking, falling, getting up again, chasing the bigger kids, leaping from one foot to the other. I breathed in the sweet smell of cut grass, the late blooming sedum, and said Yes. This is the better part. Or maybe it’s just the thick honey of this good life.
Scripture: Luke 10:38-423
8 As Jesus and his disciples were on their way, he came to a village where a woman named Martha opened her home to him. 39 She had a sister called Mary, who sat at the Lord’s feet listening to what he said. 40 But Martha was distracted by all the preparations that had to be made. She came to him and asked, “Lord, don’t you care that my sister has left me to do the work by myself? Tell her to help me!”
41 “Martha, Martha,” the Lord answered, “you are worried and upset about many things,42 but few things are needed—or indeed only one.[a] Mary has chosen what is better, and it will not be taken away from her.”
…and second scripture:
In every instant, two gates.
One opens to fragrant paradise, one to hell.
Mostly we go through neither.
Mostly we nod to our neighbor,
lean down to pick up the paper,
go back into the house.
But the faint cries—ecstasy? horror?
Or did you think it the sound
of distant bees,
making only the thick honey of this good life?
-Jane Hirshfield
Today is Michaelmas, a lesser Catholic feast that somehow always gets my attention. It makes me think of midlife. Maybe it makes everyone think of midlife. It comes, after all, just a few days after the autumn equinox, and autumn is certainly the season of midlife, what with the balding maples, the falling leaves, the drama before the long quiet.
This year Michaelmas falls also on a waning moon. It seems all of nature is conspiring to force us to think about the brevity of life. The two readings—the Martha/Mary story which Steve has preached about often, and the Jane Hirshfield poem—both touch on this idea of the choices we make, and it seems to me that midlife can be an especially painful time to sit with our choices. (Though I suspect every phase of life has this potential pain…)
When we were kids, we were Marys. My kids are Mary-like. They pay attention to the important stuff. They know that it’s good for them to play, to move their bodies, to climb on things. They know a good story when they hear one, and they also know justice. They have an acute sense of what is fair.
As we age, we become more Martha-like. We don’t pause from our dinner preparations to run outside during one of those summertime micro rain storms, to dance in the rain after a long dry dusty hot spell. We do the never ending laundry—Mount Washmore, my friend calls it. We go to the grocery store. We pick up the kids. We exercise—but on a schedule. And we justify our good, hard disciplined work: in any revolution there is work to be done, and Jesus surely was a revolutionary.
And don’t the ones who do the work get the praise? So why is Jesus saying that Mary’s the one who gets it?
Part of the gift of midlife is that we do get it. We see how painfully brief it all is. Now I know Mary’s got the right idea. And I still can’t stop doing doing doing. Still can’t stop frantically doing the dishes, doing the laundry, telling my kids to hurry up so we won’t be late to school. I do my meditation and my yoga—but I time myself with my iPhone and don’t let myself linger. I tell myself I will go on a meditation retreat when the kids are older.
But I have the usual questions. Is Jesus saying we should always listen to God? Or just when he comes over for dinner? Does Jesus really want us to forgo making the beds in the morning and instead practice piano? Wasn’t Jesus glad that Martha was making preparations? I know I’m not alone in having some feminist annoyance with this passage. Would it have been better if Martha had sat down too? But then there’d be no food for anyone. Maybe they would have just eaten locusts, then. Is Jesus saying “Sorry, babe. You’re just a Martha. Marthas cook and clean. Marys sit and listen. Try again next life, and you might luck out.”
Well, of course not. Jesus’s whole point was to free us from the binary thinking of the old world, teach us non-dualism. No I, no Thou. Jesus said, “I and the Father are one. And so it is with you.” Jesus said, “I am the vine, you are the branches.” Last time I looked, it was hard to tell the difference between vine and branches. We’re always Martha and Mary, just as God is in each of us, beyond all of us, and in the interactions between everything.
Moreover, when I grumbled a version of this to my friend Peter Ives, he pointed out that at the time of Jesus, women were barely considered human. For Jesus to say that Mary should sit and listen to him, and in fact Martha should put down her dishrag and join in too, was completely revolutionary. He was calling them, these two sisters, to be disciples, equals to his male followers. It’s not really news in Bible scholarship that Jesus elevated the role of women to that of equal, though the Nicene Creed and fifteen hundred years of organized religion put the kibosh on much of that. But when I heard this, I had to look at my own internalized sexism. It hadn’t occurred to me on first read-through that in fact Jesus might indeed have been saying, “Dudes, your turn. Go make the dinner while Martha and Mary get their time with me. And if you don’t know how to make the dinner, go find some locusts.” For all we know, that was in the original text, only to be nixed three hundred years later during the Council of Nicea. Three hundred years later, women were back in their historical place.
This came through my email-box this morning from Richard Rohr, a Franciscan friar:
Did you know the first half of life has to fail you? In fact, if you do not recognize an eventual and necessary dissatisfaction (in the form of sadness, restlessness, or even loss of faith), you will not move on to maturity. You see, faith really is about moving outside your comfort zone, trusting God’s lead, instead of just forever shoring up home base. Too often, early religious conditioning largely substitutes for any real faith.
Usually, without growth being forced on us, few of us go willingly on the spiritual journey. Why would we? The rug has to be pulled out from beneath our game, so we redefine what balance really is. More than anything else, this falling/rising cycle is what moves us into the second half of our own lives. There is a necessary suffering to human life, and if we avoid its cycles we remain immature forever. It can take the form of failed relationships, facing our own shadow self, conflicts and contradictions, disappointments, moral lapses, or depression in any number of forms.
All of these have the potential to either edge us forward in life or to dig in our heels even deeper, producing narcissistic and adolescent responses that everybody can see except ourselves.
And the other wise sage I came across was the comedian Louis CK who went on a rant about iPhones on the Conan O’Brien show. He basically says the same thing as Father Richard:
…you need to build an ability to just be yourself and not be doing something. That's what the phones are taking away, is the ability to just sit there. That's being a person. Because underneath everything in your life there is that thing, that empty—forever empty. That knowledge that it's all for nothing and that you're alone. It's down there.
And sometimes when things clear away, you're not watching anything, you're in your car, and you start going, 'oh no, here it comes. That I'm alone.' It's starts to visit on you. Just this sadness. Life is tremendously sad, just by being in it...
To be an artist, or a revolutionary, or just a good person trying to feel our way through life with a modicum of consciousness, we need to rest, Mary-style, fill the well. We need to do nothing. We need to look up at the sky, notice what kind of moon it is, breath in the smell of falling leaves and pond scum and compost and fall-bearing raspberries. To love someone, to really love someone, we need to give them years of our attention. Years. Focus and appreciation every single day. That’s the sunlight they need to grow.
Last week, I happened to notice, as I occasionally do, all the people around me who were doing it better than me. By “it” I mean everything from having a music career to gaining spiritual insights. I couldn’t help but notice all my spiritual friends who all seem to be gaining enlightenment at a frightening clip. My friend Julie went on a 10 day silent retreat, and now she has no more anger. My friend Charlotte did this three year long inventory of her greater defects and now she hears God’ voice loud and clear and never has any questions about what she should do. All this makes me want to give up, give in, throw in the towel, text and drive, abandon my highly scheduled meditation practice. Instead I called my mom and asked her what she thought of Sheryl Sandberg, the latest voice in the Mommy wars. Sandberg wrote a book called Lean In, which points out the sexism still rampant in our culture, and how hard it is for career women to be mothers and gives excellent advice to women who want to fight to keep their careers thriving. Sandberg exhorts women to lean in rather than lean back when they even begin to think about having a child. Recently, I’ve heard my peers rumbling with discontent about this message. “The problem is,” said one of my closest friends, a highly successful author, “I really do want to lean back right now. I want to volunteer at my daughter’s school. I want to make her Halloween costume. Is that so wrong?”
“Well there’s just so much to hate about Sheryl Sandberg,” my mother began. “She has nannies raising her children! What are all these people thinking, making $300,000 a year! I am so glad I invested my time in you girls.”
I’m pretty sure my mother hasn’t read the book. She, like me, had a career and also had kids, and tried to balance them as well as she could, which seemed to involve a lot of yelling and tossing of backpacks into the car with a hot cup of coffee sloshing about. It’s true that when push came to shove, she would choose her children every time. But still, my mother worked hard. She sure as hell leaned in. She was always grading papers at the kitchen table, cooking our dinner, making our lunches, or playing extremely competitive tennis during those hours after school and before dinner. She did not get on the floor and play games with us, or engage in imaginative play. But she did sit on my bed at the day’s end and ask me to talk about things. She knew what the better part was. Mostly. Like all of us, she was sometimes Martha, sometimes Mary.
So if Jesus is calling us to be disciples, if Jesus is calling women to be disciples with the same urgency that he calls men, this brings us right back to the question women have been wrestling with since the dawn of the women’s movement. I, for one, certainly can make the dualism about choosing family over career, for instance. Last week, Katryna and I opened for a great singer songwriter Cheryl Wheeler. Cheryl is one of a kind. She looks like what she is: a 62 year old who dresses in LL Bean (onstage and off), loves her dogs and Cathleen, her wife of 10 years, and doesn’t give a whit about what the music business—or anyone else for that matter—thinks of her. She is hilarious, occasionally raunchy, onstage, so funny that my sides often hurt from laughing so hard when I am at one of her shows. She has a song on her latest CD called “Shutchier Piehole”, making the point that it would be really hard if your last name were “Piehole” and your parents named you “Shutchier.” Hard, yes, but funny. A few songs later, she delivered her 1980’s love ballad “Arrow,” a song so achingly beautiful we were all in tears by the end. Her following is as strong today as it ever was. Her fans are loyal; we opened for her in 1992 at the Iron Horse, and a couple from last Friday’s concert came up to us and said, “I remember seeing you at that show, 21 years ago…”
Cheryl has what I always wanted. A career that keeps growing. She sang songs she’d just written, along side songs that were over thirty years old. But what’s most enviable about her show is that she is just…Cheryl. She is totally herself. There is no artifice. She is completely unconcerned about whether or not we like her. She performs sitting down and refuses to leave the stage for the encore. She asked the lighting engineer to turn down the lights because “No one paid to see the visuals. If they did they would be sorely disappointed. They came to listen.”
Though I can try to make this about right and wrong, Martha and Mary, kids versus career, what I really want is that comfort with myself. I want to not care whether or not you notice that my face isn’t airbrushed. I want not to care if you notice that I’ve gained or lost a few pounds. But more than that, I want to not care what you think about how hard I’m working, how much I’m doing, how the fact that I spent the last seven years trying to raise human beings has resulted in flaws, in big gaping holes in my artistic work, not to mention the more painful flaws in my parenting. I want to stop trying to prove my worth by scrubbing the dishes for the revolutionaries. I want instead to sit around, the way Cheryl did, and chew the fat with her old buddies who’d paid $25 a head just to see her. And I want the humility to keep learning, keep growing. I want to laugh. And this is both the gift of an awake, aware midlife passage, and the gift of discipleship.
As Hirshfield seems to be saying, every instant has two gates, but it’s true that we mostly go through neither. We’re just not that awake most of the time. Martha didn’t choose incorrectly just because Mary happened to see the instant and go through the gate of paradise. Martha just missed seeing the gate. We all do, all the time. We get worried and upset—that’s a guarantee if we are human. It’s more than guaranteed if we’re parents. In fact, every single day I vow, on my knees, that I will do better, that I will be patient with my kids, that I will not be short with them, that I will react to frustration with humor (in fact I have “react to frustration with humor” as a reminder on my iPhone, and it pops up regularly, along with “don’t read your iPhone right now—pay attention to the kids instead.” And still, every day, I lose it. I lose it even as I am praying not to. Even as I am thinking, “don’t shame her, let her be herself,” I say, “You’re wearing THAT to school?”
But then, there is grace, too. Somehow, I can sometimes see the gates and choose the better one. Yesterday, a perfect September afternoon with a cloudless sky, I abandoned my agenda and let the kids stay late at school to play on the playground. Johnny found a pick up game of soccer. I stood and watched him race across the field, galloping after the ball, kicking, falling, getting up again, chasing the bigger kids, leaping from one foot to the other. I breathed in the sweet smell of cut grass, the late blooming sedum, and said Yes. This is the better part. Or maybe it’s just the thick honey of this good life.
Sunday, September 22, 2013
How to Be an Adult Introduction, Part Two: What We Learned About Life in 20 Years on the Road
What We Learned About Life in 20 Years on the Road
Katryna first got the idea to write a book called How to Be an Adult after graduating college. She felt clueless, living with her sister and brother-in-law in a prep-school dorm and eating the prep-school’s free food, while trying to figure out things like how to get health insurance and how to pay her taxes on the non-existent income of a budding folk singer. She pronounced, “Someone should write a book called How to Be an Adult. How are we supposed to know any of this stuff? We all need a manual. Someone should write it, and since no one else will, I guess it’s got to be me. Except I don’t know how to be an adult, so why don’t you do it?”
We had grand plans to research the topic, but we never followed through. Over the years, we’d revive the project and toss around some ideas, but mostly the concept of either of us writing a book about how to be an adult reduced us to fits of tearful laughter. Who would take a couple of folk singers as their models for responsible adulthood?
But by my mid-thirties, I had observed two things. First of all, somehow along the way, like everyone else, I’d figured it out, mostly, and so had Katryna. It took years, and we made lots of painful and hilarious mistakes. But many of those mistakes were wonderful lessons.
Secondly, what I hadn’t figured out (taxes, insurance, retirement accounts, bill-paying) were easily deciphered by the simple act of homing in on someone who clearly appeared to be a competent adult and asking that person how she did what she did. Believe me, if you ask enough people, someone will have a strong opinion on this topic and feel it’s their mission in life to sit you down and set you straight.
Katryna first got the idea to write a book called How to Be an Adult after graduating college. She felt clueless, living with her sister and brother-in-law in a prep-school dorm and eating the prep-school’s free food, while trying to figure out things like how to get health insurance and how to pay her taxes on the non-existent income of a budding folk singer. She pronounced, “Someone should write a book called How to Be an Adult. How are we supposed to know any of this stuff? We all need a manual. Someone should write it, and since no one else will, I guess it’s got to be me. Except I don’t know how to be an adult, so why don’t you do it?”
We had grand plans to research the topic, but we never followed through. Over the years, we’d revive the project and toss around some ideas, but mostly the concept of either of us writing a book about how to be an adult reduced us to fits of tearful laughter. Who would take a couple of folk singers as their models for responsible adulthood?
But by my mid-thirties, I had observed two things. First of all, somehow along the way, like everyone else, I’d figured it out, mostly, and so had Katryna. It took years, and we made lots of painful and hilarious mistakes. But many of those mistakes were wonderful lessons.
Secondly, what I hadn’t figured out (taxes, insurance, retirement accounts, bill-paying) were easily deciphered by the simple act of homing in on someone who clearly appeared to be a competent adult and asking that person how she did what she did. Believe me, if you ask enough people, someone will have a strong opinion on this topic and feel it’s their mission in life to sit you down and set you straight.
Tuesday, September 17, 2013
How to Be an Adult Introduction, part one
Introduction
On the occasion of my college graduation, I received my diploma and immediately began to examine it. It was written, unhelpfully, in Latin, a language I studied for one year at age thirteen. Undaunted, I flipped it over in the hopes that somewhere among the ovems and the isimuses there would be some final directive, some code that would tell me what to do next. I’d been an English major in college, taking the advice of my favorite high-school teacher who told me the purpose of college was to read all the books you’d never get around to reading otherwise. So while my roommates were studying pre-med, pre-law and economics, I was immersed in Shakespeare, Elizabeth Bishop, and Samuel Beckett. In March, Jenny was accepted to medical school, Susan was off to Stanford Law, and Giselle had a job offer on Wall Street. When anyone asked me what I was going to do, I said something vague about bringing my acoustic guitar to England, where I was planning to become a famous folk singer.
As the snow melted and the hackysackers returned to the green in the spring of my senior year, I noticed a consistent shortness of breath accompanied by a low buzzing in the back of my head. The approximate content of the low buzz was something along the lines of, “What the hell am I supposed to do now?” How, for example, was I supposed to find an apartment? What exactly was a down payment? Or a security deposit? For how long could I live solely off peanut butter and jelly sandwiches and ramen noodles? What was the difference between a premium and a deductible? Were they really serious about that whole filing taxes thing? That just seemed mean.
Hence the frantic fumbling with the diploma. There were no instructions on the diploma, just the smudged signature of the college president and some unintelligible Latin. So I did what any sensible, practical-minded person would do; I married my current boyfriend, David, who happened to be seven years older than I and, in my mind, a bona fide adult.
This worked out well for a while. David was happy to deal with what I termed the “grown-up stuff”: security deposits, medical insurance, bill-paying, and yes, taxes. My twenties rolled by pleasantly enough: I started a rock band along with David and my younger sister Katryna, and we drove around the country in a fifteen-passenger van.
Although in the early days of the band, I’d had to do a lot of what seemed like pretty “adult” stuff—booking gigs, putting together press kits, opening and maintaining a checking account—eventually, we hired a manager to do all that for us. Once again, I was off the hook. “Your job,” said our new manager Dennis, “is to write songs, stay in good shape, and rest up for your performances. Let me take care of everything else. After all, that’s why you pay me 16.67% of your gross income.”
So I spent my days in a kind of prolonged adolescent summer vacation: writing, reading, shopping for clothes that would make me look like a hot rock star (and running up credit card debt), exercising like a maniac so I would fit into said clothes, and driving around the country performing at festivals, coffeehouses, theaters and rock clubs. It was a blissful existence.
But nothing lasts forever, and by September 2001 the band had broken up, David and I had separated, and I was thirty-four years old—clearly an adult no matter how you did the math. I needed to learn how to function on my own and fast.
To read more, or to order the book, go here. Or...just wait until tomorrow when I post the next part.
On the occasion of my college graduation, I received my diploma and immediately began to examine it. It was written, unhelpfully, in Latin, a language I studied for one year at age thirteen. Undaunted, I flipped it over in the hopes that somewhere among the ovems and the isimuses there would be some final directive, some code that would tell me what to do next. I’d been an English major in college, taking the advice of my favorite high-school teacher who told me the purpose of college was to read all the books you’d never get around to reading otherwise. So while my roommates were studying pre-med, pre-law and economics, I was immersed in Shakespeare, Elizabeth Bishop, and Samuel Beckett. In March, Jenny was accepted to medical school, Susan was off to Stanford Law, and Giselle had a job offer on Wall Street. When anyone asked me what I was going to do, I said something vague about bringing my acoustic guitar to England, where I was planning to become a famous folk singer.
As the snow melted and the hackysackers returned to the green in the spring of my senior year, I noticed a consistent shortness of breath accompanied by a low buzzing in the back of my head. The approximate content of the low buzz was something along the lines of, “What the hell am I supposed to do now?” How, for example, was I supposed to find an apartment? What exactly was a down payment? Or a security deposit? For how long could I live solely off peanut butter and jelly sandwiches and ramen noodles? What was the difference between a premium and a deductible? Were they really serious about that whole filing taxes thing? That just seemed mean.
Hence the frantic fumbling with the diploma. There were no instructions on the diploma, just the smudged signature of the college president and some unintelligible Latin. So I did what any sensible, practical-minded person would do; I married my current boyfriend, David, who happened to be seven years older than I and, in my mind, a bona fide adult.
This worked out well for a while. David was happy to deal with what I termed the “grown-up stuff”: security deposits, medical insurance, bill-paying, and yes, taxes. My twenties rolled by pleasantly enough: I started a rock band along with David and my younger sister Katryna, and we drove around the country in a fifteen-passenger van.
Although in the early days of the band, I’d had to do a lot of what seemed like pretty “adult” stuff—booking gigs, putting together press kits, opening and maintaining a checking account—eventually, we hired a manager to do all that for us. Once again, I was off the hook. “Your job,” said our new manager Dennis, “is to write songs, stay in good shape, and rest up for your performances. Let me take care of everything else. After all, that’s why you pay me 16.67% of your gross income.”
So I spent my days in a kind of prolonged adolescent summer vacation: writing, reading, shopping for clothes that would make me look like a hot rock star (and running up credit card debt), exercising like a maniac so I would fit into said clothes, and driving around the country performing at festivals, coffeehouses, theaters and rock clubs. It was a blissful existence.
But nothing lasts forever, and by September 2001 the band had broken up, David and I had separated, and I was thirty-four years old—clearly an adult no matter how you did the math. I needed to learn how to function on my own and fast.
To read more, or to order the book, go here. Or...just wait until tomorrow when I post the next part.
Tuesday, July 09, 2013
Too Many Pots on the Stove
The last thing I should be doing right now is posting a blog. So maybe that's why I need to do it.
I am navigating the world of ebooks, to self-publish my 2008 title How to Be an Adult. The first time around, I had a deal with a local publisher to format the book. This time I am trying to figure all that out myself. Also, I am trying to write songs, and learn the 3 songs I've written so far this year, in time for Falcon Ridge. And I want to publish songbooks to go with our CDs Rock All Day/Rock All Night, and with our CD The Full Catastrophe. For the latter, I have a vision to put together a collection of essays on motherhood culled from this very blog. And I am deep in revisions of The Big Idea, my novel about a family rock band.
And even writing this, I am having trouble breathing.
I know I would be a lot more sane if I simply picked one project at a time to focus on and stopped trying to rotate the hot pans on the stove. But to let any of these projects go feels like death to me.
Add to all this a work schedule and a family schedule that's kept me extremely happy and occupied to the tune of not having a day off since Memorial Day. So on Saturday, Tom sent me to Williamstown, my ancestral home and the birthplace of my band (we got our start at the Williamstown Theatre Festival) for about 22 hours. What did I do? Sat in air conditioning and worked on all my projects. I sang through my new songs, recorded them on GarageBand for Katryna; worked on laying out How to Be an Adult and uploading it to CreateSpace; typed in a new first scene for The Big Idea; walked to the Co-op to eat dinner from their salad bar; and in the morning I went for a run to the graveyard where my grandfather and his family are buried.
Today I spent the day at Elle's Suzuki Institute, which meant I followed her around and took notes, avoided my iPhone, stretched my back a lot and listened to countless kids aged 5-14 playing a huge range of the Classical music canon. It's been beastly hot in New England––and everywhere I imagine––and no one is in an especially good mood. As I made a commitment this year to shake my bad moods, this didn't sit well with me. But the more I tried to "snap out of it," the more unpleasant I found the entire experience. And I kept asking myself, "Why am I not feeling the magic I always feel when I'm here?" Because for the past 3 years, Suzuki Camp has been one of my favorite places to be. I am usually a sucker for the whole package: the play-ins, the awesome teachers from New York, Maine and Boston, the lunches on the lawn, the antics during group class, the camaraderie of both kids and parents. But today, I was just bored and uncomfortable and sick of “Perpetual Motion.”
I'm sick of my own work too, at times. And sick of myself and my inability to pour my everything into just one project. I wish I had a boss, or a life coach, or a really tough friend, or my sister to tell me "Drop this and this and this and focus on that." I wish sometimes that someone would make me choose.
In the middle of the day, after lunch, the whole campus troops over to an old church where kids have their recitals. Over the course of a week, every kid in the camp gets a turn by him- or herself on stage to play a solo. Elle is playing something called “Gavotte from Mignon” by a composer named A. Thomas. It's cool–– and sounds the littlest bit like the theme from NPR. But today she wasn’t playing, so the two of us sat with another family, turned our programs into fans, and took turns fanning each other while we listened to the 13 or so kids get up and take their turn. Some were good, some were beginners, most had that stereotypical Suzuki Glaze in their faces that made me doubt the method way back when I thought I had a choice about my life. That was before Elle grabbed me by the hand at age 3 and dragged me to our current teacher, Emily Greene and insisted on studying the violin with her. And pretty much, until today, I haven't looked back or regretted any of it. Suzuki has given a lovely structure and flow to our lives, and I mark my days by the CD we put on for the kids to listen to in the morning, and the check boxes on their weekly assignment sheets as we go through our practice items together every day (Suzuki says, "We only practice on the days we eat.") As I listened to the kids play, I felt listless and hot and despairing. Completely uninspired. My new songs are ok, but they are all over the place. There is no core to them, nothing that links them together in any way. I can't see our next CD. I have no idea in what direction to write.
The last kid to play was a 12 or 13-year-old boy. He put a chair down on the stage and sat down with his cello. The director of the institute, who doubles as the piano accompanist, left her post; the boy began playing a movement from the sixth of Bach's suites for unaccompanied cello: the Allemande in D. He played with his eyes closed, as though he were as much a listener as a player. After a minute, I poked Elle who was busy fanning her neighbor. "Listen to this," I whispered, and she did, sitting up in her pew for the rest of the eight-minute piece. The room held the music tenderly: the bruised sentiment of a man who had recently lost his wife. I was absorbed into the music, forgetting about my own artistic woes, forgetting about my big problem about how to get out of my bad mood, forgetting the heat, forgetting the glazed faces. I rode the current of the music. And when the boy pulled that last lovely D out of his cello, I rose to my feet and applauded, tears spanking my eyes.
The rest of the day I was more present for what I love about Suzuki and this camp in particular. Elle took a fiddle class with a remarkable teacher named Sarah the Fiddler who explained to the kids that the great thing about fiddling is that when you make a mistake you get to incorporate it into your playing and figure out why it works: which is basically my modus operandi. Then there was orchestra, where the amazing Tyson somehow gets a group of kids who sound like they are each playing the “Star Spangled Banner” at a different speed to pay attention enough to him to get them, by the end of the week, to sound coherent. And he does this without ever yelling. I knew the day was a success when I told Elle it was time to go, and she narrowed her eyes suspiciously. "Is every single other kid at this whole camp going home too?" I said yes. And only then did she say, "Well, OK" and followed me out the door.
Maybe this is what being an artist in midlife is all about: moving the different pots around. Maybe it’s about doing the thing that calls you in the moment, even if different things yell at different frequencies. As I wrote a few months ago, it’s become clear to me that my mission is not, after all, to write some memorable songs that will outlive me and be sung by kids 100 years from now on the back of school busses, or whatever it is they might be driving. My mission is to have a good life and to spread around some of whatever it is I’ve been taught so that others get some of the goods as well and get a chance to live as well and joyfully as I have lived. Process over product has been my motto of late. So this evening I played with my kids. We got wet, and I picked a bouquet of flowers from my garden. And instead of working on either of my books or trying to write a new song, I wrote this post. Tomorrow I will pack our cooler and violin and music stand and we’ll go back for another day of Suzuki, and let my own projects simmer on the stove.
I am navigating the world of ebooks, to self-publish my 2008 title How to Be an Adult. The first time around, I had a deal with a local publisher to format the book. This time I am trying to figure all that out myself. Also, I am trying to write songs, and learn the 3 songs I've written so far this year, in time for Falcon Ridge. And I want to publish songbooks to go with our CDs Rock All Day/Rock All Night, and with our CD The Full Catastrophe. For the latter, I have a vision to put together a collection of essays on motherhood culled from this very blog. And I am deep in revisions of The Big Idea, my novel about a family rock band.
And even writing this, I am having trouble breathing.
I know I would be a lot more sane if I simply picked one project at a time to focus on and stopped trying to rotate the hot pans on the stove. But to let any of these projects go feels like death to me.
Add to all this a work schedule and a family schedule that's kept me extremely happy and occupied to the tune of not having a day off since Memorial Day. So on Saturday, Tom sent me to Williamstown, my ancestral home and the birthplace of my band (we got our start at the Williamstown Theatre Festival) for about 22 hours. What did I do? Sat in air conditioning and worked on all my projects. I sang through my new songs, recorded them on GarageBand for Katryna; worked on laying out How to Be an Adult and uploading it to CreateSpace; typed in a new first scene for The Big Idea; walked to the Co-op to eat dinner from their salad bar; and in the morning I went for a run to the graveyard where my grandfather and his family are buried.
Today I spent the day at Elle's Suzuki Institute, which meant I followed her around and took notes, avoided my iPhone, stretched my back a lot and listened to countless kids aged 5-14 playing a huge range of the Classical music canon. It's been beastly hot in New England––and everywhere I imagine––and no one is in an especially good mood. As I made a commitment this year to shake my bad moods, this didn't sit well with me. But the more I tried to "snap out of it," the more unpleasant I found the entire experience. And I kept asking myself, "Why am I not feeling the magic I always feel when I'm here?" Because for the past 3 years, Suzuki Camp has been one of my favorite places to be. I am usually a sucker for the whole package: the play-ins, the awesome teachers from New York, Maine and Boston, the lunches on the lawn, the antics during group class, the camaraderie of both kids and parents. But today, I was just bored and uncomfortable and sick of “Perpetual Motion.”
I'm sick of my own work too, at times. And sick of myself and my inability to pour my everything into just one project. I wish I had a boss, or a life coach, or a really tough friend, or my sister to tell me "Drop this and this and this and focus on that." I wish sometimes that someone would make me choose.
In the middle of the day, after lunch, the whole campus troops over to an old church where kids have their recitals. Over the course of a week, every kid in the camp gets a turn by him- or herself on stage to play a solo. Elle is playing something called “Gavotte from Mignon” by a composer named A. Thomas. It's cool–– and sounds the littlest bit like the theme from NPR. But today she wasn’t playing, so the two of us sat with another family, turned our programs into fans, and took turns fanning each other while we listened to the 13 or so kids get up and take their turn. Some were good, some were beginners, most had that stereotypical Suzuki Glaze in their faces that made me doubt the method way back when I thought I had a choice about my life. That was before Elle grabbed me by the hand at age 3 and dragged me to our current teacher, Emily Greene and insisted on studying the violin with her. And pretty much, until today, I haven't looked back or regretted any of it. Suzuki has given a lovely structure and flow to our lives, and I mark my days by the CD we put on for the kids to listen to in the morning, and the check boxes on their weekly assignment sheets as we go through our practice items together every day (Suzuki says, "We only practice on the days we eat.") As I listened to the kids play, I felt listless and hot and despairing. Completely uninspired. My new songs are ok, but they are all over the place. There is no core to them, nothing that links them together in any way. I can't see our next CD. I have no idea in what direction to write.
The last kid to play was a 12 or 13-year-old boy. He put a chair down on the stage and sat down with his cello. The director of the institute, who doubles as the piano accompanist, left her post; the boy began playing a movement from the sixth of Bach's suites for unaccompanied cello: the Allemande in D. He played with his eyes closed, as though he were as much a listener as a player. After a minute, I poked Elle who was busy fanning her neighbor. "Listen to this," I whispered, and she did, sitting up in her pew for the rest of the eight-minute piece. The room held the music tenderly: the bruised sentiment of a man who had recently lost his wife. I was absorbed into the music, forgetting about my own artistic woes, forgetting about my big problem about how to get out of my bad mood, forgetting the heat, forgetting the glazed faces. I rode the current of the music. And when the boy pulled that last lovely D out of his cello, I rose to my feet and applauded, tears spanking my eyes.
The rest of the day I was more present for what I love about Suzuki and this camp in particular. Elle took a fiddle class with a remarkable teacher named Sarah the Fiddler who explained to the kids that the great thing about fiddling is that when you make a mistake you get to incorporate it into your playing and figure out why it works: which is basically my modus operandi. Then there was orchestra, where the amazing Tyson somehow gets a group of kids who sound like they are each playing the “Star Spangled Banner” at a different speed to pay attention enough to him to get them, by the end of the week, to sound coherent. And he does this without ever yelling. I knew the day was a success when I told Elle it was time to go, and she narrowed her eyes suspiciously. "Is every single other kid at this whole camp going home too?" I said yes. And only then did she say, "Well, OK" and followed me out the door.
Maybe this is what being an artist in midlife is all about: moving the different pots around. Maybe it’s about doing the thing that calls you in the moment, even if different things yell at different frequencies. As I wrote a few months ago, it’s become clear to me that my mission is not, after all, to write some memorable songs that will outlive me and be sung by kids 100 years from now on the back of school busses, or whatever it is they might be driving. My mission is to have a good life and to spread around some of whatever it is I’ve been taught so that others get some of the goods as well and get a chance to live as well and joyfully as I have lived. Process over product has been my motto of late. So this evening I played with my kids. We got wet, and I picked a bouquet of flowers from my garden. And instead of working on either of my books or trying to write a new song, I wrote this post. Tomorrow I will pack our cooler and violin and music stand and we’ll go back for another day of Suzuki, and let my own projects simmer on the stove.
Tuesday, June 04, 2013
The Day the Music Thrived
Nerissa, Emma and Sophie on Bill Newman's radio show WHMP to promote The Day the Music Thrived
This concert is happening.
THE DAY THE MUSIC THRIVED
TO SHOWCASE ART, MUSIC, THEATER & SONG TALENTS FROM NORTHAMPTON PUBLIC SCHOOLS
SUNDAY, JUNE 9 ~ 3:00-4:30 PM ~ FIRST CHURCHES, NORTHAMPTON
On March 20, nearly 200 Northampton High School students left classes and marched to downtown Northampton to protest proposed budget cuts to arts and elective courses set to take effect in September. The energy was positive, the message was clear: arts are a vital part of the Northampton public school education and cuts to the programs will negatively impact many students.
On Sunday, June 9, students from Northampton’s public elementary, middle and high schools, alongside NPS staff and faculty and parent performers, will “Sing Out!” to showcase the wealth of music, art, and theater talents at the schools, at “The Day The Music Thrived” concert and celebration. This all-ages, family friendly event at The First Churches on Main Street, from 3:00-4:30 pm, will feature performances by The Nields full band, the JFK Jazz Band, The Northamptones, NHS cast of “Alice In Wonderland,” Jackson Street Staff Ukulele Band, and an Kids & Parents all-sing of “If You Want to Sing.” Families are welcome to come early at 1:45 for the Warm-Up Jam with the Expandable Brass Band, just bring an instrument and join the fun. The event will also remind people to vote Yes on the Override, to reverse the cuts that would affect arts and other staffing and services across the Northampton Public Schools. Suggested family donation is $10-$20 at the door. For more information, visit www.YesNorthampton.org.
Event listing:
THE DAY THE MUSIC THRIVED
A celebration of art, music, theater and song in the Northampton Public Schools.
Vote YES ON THE OVERRIDE to preserve it all!
Sunday, June 9
3 – 4:30 pm
The First Churches (129 Main St., Northampton, MA)
Performances by:
The Nields – full band!
JFK Jazz Band
The Northamptones
NHS cast of “Alice In Wonderland”
Jackson Street Staff Ukulele Band
Kids & Parents all-sing “If You Want to Sing”
and more!
1:45 Warm up family jam with The Expandable Brass Band – bring your instrument!
All Ages ~ Families Welcome
$10-$20 suggested donation
Proceeds to benefit Yes! Northampton’s campaign in support of the June 25 Override. A yes vote on the Override ballot will keep art, music, theater, song, and so much more strong in the Northampton Public Schools, and will preserve city services across Northampton.
www.yesnorthampton.org
.jpg)
Sunday, May 12, 2013
Reach, Grasp, Happiness Project and My Labyrinth

I want to build a labyrinth.
This is possibly the weirdest result of reading Gretchen Rubin’s The Happiness Project, a book which (in case you’ve been living on Mars for the past four years) champions happiness as a goal and exhorts its readers to make their own Happiness Projects by thinking about their lives in terms of what feels good, what feels bad and what feels right.
Like the author, who was a classmate of mine, I don’t want to change much about my life. I’m pretty happy. I don’t want to move to a new city, I don’t want to switch careers, I love my husband and children. I just want to be more present to it all, to appreciate my life more fully, to be honest about who I really am and what I really like. One of Ms. Rubin’s Personal Commandments is to “Be Gretchen,” and she argues that the road to happiness is in finding what’s truly happy-making for yourself, and not worry whether or not it might impress others. Though I'd like to think of myself as "Easy People," the truth is I'm a major striver. I know for myself that what makes me happy is to feel that I am reaching a little beyond my grasp, and maybe possibly getting close.
Ah, but a man's reach should exceed his grasp,
Or what's a heaven for?-Robert Browning
And so I particularly love Gretchen’s nod to Ben Franklin, he of the famous Virtue Charts. Setting about to perfect himself, he drew these up and gave himself check marks at the end of every day. He never achieved perfection, but he said by reaching, he became a better and happier man from the attempt.
My problem is, my reach exceeds my grasp in every aspect of my life, and instead of smiling and enjoying the Grasp, I frown and squint and focus on what’s just out of reach. Here’s what’s just out of reach:
My idea of where I should be in my career.
My idea of what my waistline should look like (“A waist is a terrible thing to mind.”)
My idea of how uncluttered my house should be
My idea of how all my friendships should be (much more correspondence, much more time for hanging out)
My idea of how happy I should be making everyone
My idea of how big my royalty check should be
My idea of how often I should be blogging
My idea of how beautiful and well-kept my gardens should be
My idea of how rigorous my yoga practice should be
And on and on and on.
But back to the labyrinth.
We have a generous lot for our small city—a little over half an acre. There’s a corner in the back that our catty-corner neighbor wants to buy, and in truth, we ought to sell it to him. We’ve let it go to brambles, whereas he would adopt it gratefully into his yard, a yard that seems to have a bite taken out of it—that bite being our unruly corner. But we said no because...our reach exceeds our grasp. And we can’t stand the idea of letting part of our plot go. (This attitude contributes to the stacks on stacks of unread books in our attic, the piles of paper, the storage boxes of unused clothes, the crates of LPs in our attic, basement and barn. But that’s for another post.)
Anyway, this corner of our lot, brambly though it is, has a certain charm. It’s wedged at the nexus of our two neighbors’ properties (perfect for spying), it’s a bit sunny, and there are two gorgeous cherry trees breaking into the clouds. Last year, we had some tree work done, and the fellers left the remains of the trees as neatly stacked logs, stumps cut down to stool size, and a giant pile of wood chips. I saw these raw materials and got an idea. I’d build a labyrinth with them. My writers could come to this back corner, walk the labyrinth with their muses, and end up in an Adirondack chair under one of the cherry trees where they could sit and write.
Then I realized how much hauling of wood was involved and I decided to farm out the project. I priced it with a couple of landscapers. One suggested pea gravel. One suggested a backhoe. One suggested I plant wild mountain thyme, which of course I thought was a great idea, until she priced it. Plus there’d be weeding. It was all too much. I turned my back on that untamed corner of the lot and went inside to do my inside things: write songs, play guitar, write my books and blog posts, tend to my family.
I’m working, as you know, on doing less, on striving to be that Easy Person (or Easier, anyway). It’s killing me, but I really am doing less. To wit: Jay and I rode bikes to Elle’s pick up, and instead of spending the rest of the afternoon at the Y, we hung out at the playground where I made a new friend. Then we bike-ambled home through the park, doing an extra loop or two, breathing in the flowering trees. Ah, but a woman should bike with her kids and smell the flowers, or what’s a May for? We got home, and for once I didn’t have everything written out in a little chart to follow. So I took my bike back to the barn and ventured around the corner to appraise the dreaded brambles. I noticed a stack of old pallets that had once served as a makeshift wall for our gigantic compost heap. I was seized with a desire to build, the way my kids descend on a pile of Legos. I dragged them one at a time over to the brambles and lay them down, making a rough bridge. But there were rusty nails in the crates, and so I pulled them up, using them as a fence to give the area some definition. I propped them up with the logs and the tree stumps.

Then I attacked the woodchips with a kid-sized snow shovel. Shovelful by shovelful, I shook them out, lining the path with a seemingly never-ending supply of bricks I found scattered around the property, and the limbs of the felled trees. I varied the path with some leftover slate from our new mudroom floor, and some leftover tiles from our kitchen walls, and soon there was a walkway around the Adirondack chair, a rough circular pattern, hardly a labyrinth at all; more like a moat around the island of chair.

“Process not product” is my motto of late, and the labyrinth is hardly a thing of beauty (not to mention, as I did mention, not a labyrinth). What interested me was the feeling in me the hauling aroused. I felt like a kid, breathlessly pacing our property for bricks and sticks and logs and stumps, for rocks and slate and woodchips. I felt overtaken with a frenzy of creation, the desire—who knew it could be so strong?—of making order out of chaos. And when I took a break to sit in that chair in the center and admire my handiwork, I felt like Alexander the Great surveying my vast empire. And just for a second or two, I was there in full appreciation of my grasp.
This is the sweet spot, isn’t it? This is why I run writing workshops where writers work on first draft material. I am obsessed with that creative spark, as I am obsessed with the raw materials that go into those first drafts. The irony is not lost on me that my great creation (labyrinth) would not have been possible had we not been such pathetic cluttery slobs who had left all sorts of debris around the property. In a way, my fervor contributed to a great clutter clearing: there is nary an extra brick or stone anywhere save in the northeast corner of our lot now. But had there been no mess, there would be no work of art. As artists, of course, we need both the mess AND the inclination to order it.

Thursday, December 27, 2012
Thoughts on Sandy Hook and the Incarnation
I haven't written on this page since December took me down the dark rabbit hole of holiday prep, end-of-year festivities, and of course the terrible news. I have written many posts in my mind, starting with the line, "Dear Gun Owners, Please help me to understand where you are coming from." I have never been quite so shaken by something I learned about from what we call "the news." My reaction to what happened at Sandy Hook on December 14 is much more like my reactions to my own, personal devastating news: my miscarriage, my break-ups, the deaths of friends and relatives. I can't stop crying, coming back to the horrible reality of a nightmare coming true: losing a child in the most violent way imaginable. Wondering what kind of state those children were in when they were killed. Thinking about teachers like Victoria Soto who hid her kids in cupboards and closets and told the killer that they were in the gym. At her funeral, her sister read a letter. "In it, it said they had to sit down with three small children, explaining to them that monsters sadly do exist out there. But they felt relief that because of my sister, they were able to tell them that superheroes also are very real."
A meme on Facebook was going around to comfort us via Mr. Rogers:"When I was a boy and I would see scary things in the news, my mother would say to me, "Look for the helpers. You will always find people who are helping." To this day, especially in times of "disaster," I remember my mother's words and I am always comforted by realizing that there are still so many helpers – so many caring people in this world."
How do we be helpers? By not forgetting. By not losing sight of the tragedy in the warm wash of our own holiday celebrations, not letting 2013 turn the page on 2012. For me, and for many others this means getting political. I'm not afraid to fight this fight. When I was a child, I remember learning about wars, especially World War II. At the time, I understood that there might be a cause worth dying for. I took in the sacrifice of those soldiers and wondered if there might ever be a cause worth dying for in my lifetime. Would I be brave enough for the fight? I still don't know the answer to that, but hearing about what Victoria Soto did, for the first time I thought, I hope I would make that same choice. Maybe it's automatic; maybe if it's in us, it's in us to just leap into the fray. Maybe it's a choice; I don't know. I just know that she died so that 20 some kids could live on, and forty some parents would be spared the funerals, the never-ending gaping hole. (Though I am equally sure that every family with a child at Sandy Hook is going through some kind of anguish, even if their child was spared.)
I'm doing easy things for now. I sang at a vigil on the solstice sponsored by MotherWoman. I sang songs from our latest CD The Full Catastrophe that seemed apropos: "Your House Is Strong," "Which Side Are You On?" and "I Choose This Era." The last is a song I wrote a week before Elle was born. It's about the ambivalence of giving birth in this crazy time of climate change, violence, the erosion of everything we used to count on, like the simple goodness of the sun. I am writing letters to my congresspeople asking for a renewal of the assault weapon ban. I am talking to my kids about the importance of including everyone in their "clubs"--Elle's new term which I fear might equate to cliques. I hear Elle tell Jay, "Do you know what bullets are? Bullets kill people!" when he "shoots" her.
I thought about my friend Edward who grew up in the inner city in Washington DC and recalled a story he told. When he was fifteen, he got into a fight with another kid. Edward came home and told his twin brother, who handed him his gun. "Go shoot him," said his brother. But even though it's commonplace for kids in the inner city to resolve typical boyhood altercations with a gun death, Edward did not.
And most gun owners don't become killers, either. That's important for a lefty, pro-gun-control advocate (since 1980) like me to remember. Still, I don't buy the NRA's tired line, "Guns don't kill people; people kill people." Yes, but mostly the people who kill people do so with guns.
The day it happened, I collapsed on my dining room floor and screamed at God, "What were you thinking???" I don't know where that came from. I didn't think I believed in that kind of God. I guess my own understanding of my beliefs isn't so clear. It's the old Harold Kushner question: if God is both all-powerful and all-loving, how can massacres of first graders possibly happen?
I really don't know. I usually have some equanimity in my not-knowing."Let the mystery be," as Iris DeMent would say. But on Dec. 14, I wanted answers.
I talked with my minster friends, Peter Ives and Matilda Cantwell (who wrote this lovely and helpful piece on the tragedy). I went to my beloved West Cummington Church and prayed, cried, held hands, sang. I sat in the dawn as I usually do, watching the sun struggle up over the horizon and bathe the world in pinks and blues, shed golden light on the trees. It's darkest before the dawn. I think back to 1980, the year I became politicized on the topic of gun control. It was in the shadow of the murder of John Lennon, and part of my reaction was to learn everything I could about the second amendment, which guarantees us the right to bear arms in the context of maintaining "a well-regulated Militia." ("A well-regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.") (Does this mean that we can each own a drone? Where do we draw the line?) Since then, we have watched the debate move sharply to the right. No one was talking abut assault weapons in 1980. We were just talking about handguns. What happened?
We have to take this debate back. I know Obama has other fish to fry. I know it's not popular. We have to make it popular in the truest sense: of the people. We have to put money into ads where we ask the American people if they really intended to make this Faustian bargain: free easy access to guns with the understanding that this will mean the deaths of our children and other innocents in periodic massacres. Really? REALLY?
In the 1980s, mothers banded together to change the conversation about drunk driving and formed M.A.D.D. Drunk driving deaths are down 24% since 1980 when two moms who had lost their children started this remarkable organization. What I know is that as I was growing up, none of my friends would even think about getting behind the wheel after having more than one drink. For my parents' generation, this was not the case. Moms (and dads) need to band together again to stop the craziness that is gun violence in our country. There's M.A.G.V, but I couldn't find a website for this organization; there's the Coalition to Stop Gun Violence (http://www.csgv.org/) which looks more promising.
I live by the light of a God whose plan seems to have included the murder of God's child. Out of the carnage came a new understanding: death is not the end. We live on--at the very least--in the hearts and minds of those we love; and our teaching, if it tastes of the truth, gets passed on and on. The incarnation, which Christians just celebrated during Advent, is about God entering the human experience, finding us in the filthiest of conditions (in the story, a stable; in reality, our worst pain, at our most vulnerable). If we can say yes to God, we partner with the divine. I keep remembering the heavy heavy weight of free will, of having to make up our own minds to love, to have faith, to believe in each other, even when we so dramatically fail each other. But this is the whole message of Incarnation. God joins with us: us in our guise as filthy stable; us in our guise as perfect newborn baby. We have this connection, and it's up to us to tune in, use it, or not. It's up to us to be God's hands in a broken world, to heal as Jesus did, one leper at a time, one schizophrenic at a time, one alienated individual at a time. It's up to us to comfort the afflicted and afflict the comfortable. And to point out the helpers to our children, so that they know what direction to go in.
Tuesday, December 11, 2012
Windows Onto Each Other's Lives
View of the new church from the Parish House
Last Sunday, the church that burned to the ground on Jan 17, 2010, rose from the ash and opened its doors to its faithful congregation: we, from many different backgrounds and faiths, who have come to know this little sanctuary in the hills as home. Since the fire, we've been worshiping in the Parish House, a quirky former UU church-turned-Ladies-Auxiliary-Club down the hill which houses a kitchen, bathroom, small office for our minister, Stephen Philbrick, and medium-sized, modest front room where--up until the burning--was the place our children held "kids church." When this became our temporary home, we arranged chairs in rows; another church had donated a shabby but perfectly serviceable pulpit; still other churches had donated hymnals, and Penny Schultz, our miraculous music director, had printed up supplements. Really, we had everything we needed, even a baby grand piano, and a view of the spot where the church had once been in a window behind the pulpit, the spot in most churches where a cross or crucifix would be hanging. As the months went by, we congregants got to watch the "new old church" being rebuilt, growing taller and more familiar with each passing Sunday. We'd worked hard as a congregation to figure out what we wanted, what we needed, what made the most sense. We'd agreed that the new church should look as much as possible like the old church on the outside. We'd agreed that the new church should have a bathroom. (The new church has two. In the old church, we stepped out the back door with our baggies of toilet paper and squatted.) We agreed that the minister didn't need a raised dias. We agreed that the windows--those huge, abundant windows out of which one could stare, half-listening to the sermon, half watching the snow, or new leaves, or atomic blue sky--needed to be the same.
The morning of Dec. 2, we gathered at the Parish House and practiced for the last time our three part a cappella version of "Amazing Grace." Jim brought his baritone sax, Kim her trumpet, Chris Haynes his accordion, Colin banged a tambourine and I strummed along as we all sang "When the Saints" and marched up the hill to the new old church. We paused on the threshold and Penny led us in "Amazing Grace." And then we entered for the first time, the place we had thought we'd lost forever. The place was packed, with the walls lined with folks who couldn't find seats.
Jim, Kim and Chris rehearsing in the Parish House
Marching up to the new old church; Parish House in background
The day before, I'd been in another packed church, this one in Washington DC, at St. Albans Chapel, on the grounds of the National Cathedral. My childhood friend Lavinia Lemon Pitzer had died in mid November of pneumonia, incurable because of an auto-immune disorder only discovered three days before her death. She'd left behind three teen-aged children, her husband Andy, her parents and step-parents, her sister, brother-in-law, nephews, and a league of stunned and striken friends. Vinnie was warm, engaged, thoughtful, loving, funny, sharp and now gone. My parents knew her parents, and so the three of us attended together. I had flown down that morning, rising at 4:20am to catch my plane. We arrived at the funeral fifteen minutes early to find that there was no room left in the chapel, but we could stand in the narthex and listen. I had a moment of frustration--I flew all this way to stand and listen?-- immediately replaced by the thought, "But whose place would I have taken if I'd arrived fifteen minutes earlier?" I had said maybe five words to Vinnie since 1981 when she brought me to Idaho to attend her beloved Van Der Meer's tennis camp in Sun Valley. Here, because Vinnie was 15 and I was only 14, I was separated from the one person I knew and stuck in the "little girl's" dorm while Vinnie went off with the big girls. Fortunately, I'd brought my guitar and two sheets of legal paper with lyrics and chords to two Bob Dylan songs, written out for me by my father. I'd also brought my Beatles songbook. And even though I'd loved the tennis, what I remember most is playing my guitar for the "little girls" who were aged 9-13, finding my place as their troubadour. And so finding myself.
I ran into Vinnie a few times with her family in the Adirondacks, but we had little to say to each other. I’d always thought we lived in different worlds. At the funeral, packed so closely I could see the face lift scars on the women in their tailored suits and perfectly coiffed blond bobs, I was struck by the difference. This was North West Washington, a slice of the Chevy Chase club lifestyle. I had fled this culture right around the time I went to Idaho, spending that summer’s early mornings lying on my back in my bed, realizing I had a decision to make. I could try to play the game Vinnie played so beautifully: get along with my classmates who seemed to have a play book I never received, who went away for mysterious ski weekends, who went to dance classes at Miss Shippen’s, who knew instinctively when to pull up their knee socks and when to let them bunch down over their ankles. I could try to get my hair to behave, to like the boy I was supposed to be “going with,” to smoke and drink at the scantily chaperoned parties. But I had another notion: maybe I was not one of them. Maybe I was never going to fit in. Maybe this insane obsession I had with music, especially the music of the Beatles and Bob Dylan was a calling and not just a curiosity. Maybe I was an artist, meant to be a little apart. Maybe I had to find my own drum to march to.
Maybe so, but I am tired of this story, this explanation to myself of my difficult school-aged years. Do others have to be wrong in order for me to be right? Why couldn’t I have reached across that difference when I saw Vinnie in the Adirondacks? Why couldn’t I have made more of an effort to see how we were the same? Like me, she loved her children, her husband, her parents, her choices. Why couldn’t I celebrate that with her? Why see the chasm? Is there even a chasm? If I lived in a culture where everyone got a facelift at 50, I’d line up for mine. I just happen to live in Western Massachusetts where we judge each other by our carbon footprint rather than our wattles.
Back home in Massachusetts by 11pm, Bradley International Airport seemed shabby compared to what is now called “Reagan” in Crystal City, but which I stubbornly continue to call “National Airport.” There was a part of me that wondered if the trip was worth it. Speaking of carbon footprint, I’d spent a lot of fossil fuel and cash making the trip to DC in one day, and I’d spent a lot of emotional capital, not to mention life force to be at the funeral of someone I hadn’t been close to since the early Reagan era. I made my way home gingerly over the black ice on I-91, hung over each of my sleeping children and breathed in the scent of their bedtime skin; then crawled into bed next to my husband. And then, the next morning, at the new old church: yes, I cried as I entered, cried as I took in the sight of Steve standing in back of the same shabby borrowed pulpit (is a new one being made?) and in front of another window in place of cross or crucifix. This window shows the sky, the bare branches of late fall. And as I sat in the place we always chose at the old church—the front pew to the preacher’s left—it hit me. This was not the old church. The quilt Annie Kner sewed, our healing quilt, was gone. The place I’d gotten married seven years ago—unrecognizable. The very architecture of this new church was profoundly different on the inside. Lovely, yes. But not the same. We’d lost the old church. I hadn’t realized it as it was rising up before us from the distance of the Parish House window. I got to think, “The church burned down, but see, we’re getting it back! There it goes, good as new!” This was good; this was new. But I saw for the first time that something precious to me was lost forever. Now, face to face, there was no denying the loss.
Steve Philbrick, our minister
The interior of the old church
My father in front of the old church
So I cried a little more, this time for what was passed. And I realized why I’d gone to Washington for Vinnie’s funeral. There is a value is putting your face right up to death, destruction, loss. Some of us don’t get it otherwise; we just continue to live in our delusions that this one exquisite moment, this one exquisite child, this one exquisite note can be replicated some time in the future, so no need to look up from our tiny screens now. I won’t get another chance to catch up with Vinnie in the Adirondacks. Way more importantly, three kids have lost their mother. Our church—the church we knew—is completely transformed, transfigured, glowing white as Christ appeared to his disciples. And we have to let ourselves be wrung dry by life, by grief, by what is happening now and what is too precious to lose as it’s passing by.
Dancing for joy in the new old church
Elle's drawing during our first service in the new church
Subscribe to:
Posts (Atom)