Few pleasures can compare to children’s when they are allowed untrammeled playtime in nature’s kind and pretty places. We should all be so fortunate in Springtime, especially in the springtime of our lives.
By Babylon Creek
Babylon Creek
used to make the
children laugh as it ran
tickling fingers up
their summer-heated shins
and the older folk
chuckle shamefacedly
at its puns and the way
its hilarious licking made
them squirm like
dog-loved kids themselves
Traveling at Speed
When I was just a little tad
And full of zest and vim
I never thought the day would come
When eyesight could grow dim
And hair fall out, and memories
Impossible to keep,
Or that my middle would go soft
Or I would fall asleep
Just trying to sit through the news,
But couldn’t sleep at night,
Get creaky and arthritic
And develop underbite,
But, over and above these things,
No way would I have guessed
The day would pounce so suddenly,
So early. I’m depressed!
Whether it’s only on my mind as a continuation of its recent theatrical theme is debatable, but I do think a great deal about location. More likely, perhaps, because whatever minute remnant of my Viking heritage remains in me is expressed in waves of desire to go, to be at or in, other places. It needn’t be out of dissatisfaction with my present; I’m simply aware at one level or another of how much great magic is Out There everywhere, luring me.
In any case, one of those relatively few things that will often set my heart racing is the image of a setting for some new act on my part. It may be quite specific–the upper room, reached by improbable set of impractical stairs, in an old clapboard chapel where I used to sneak away to daydream in the dust-glittering beams of attic light, perhaps. Other times, it might be more general, like that vague yet insistent itch to be at some glorious outdoor place defined more by its unsullied native air, free of any human-made flaw and full instead of the intimate stirrings of the natural world. Sometimes my soul inclines toward places known, and others, to something that may not yet even exist.
Perhaps the latter is my cue to see that there are places I myself should be inventing and shaping. Mayhap there is a scene–is an entire tale–yet to be writ, precisely so that I can be the first actor on its stage. Do you suppose that this is how we must address Life to fully inhabit it?
Places, everyone!
Even when we’re young we pick up clues pretty swiftly regarding what sort of behavior and attitude is expected of us in our interactions with others. As a child, I learned ever so quickly that I am not the boss of anyone else and practically everyone else is the boss of me, and not much has ever changed in that department. Whether happily or unfortunately, depending entirely on your point of view, I also figured out as speedily as most kids do that as long as I behaved in the expected manner when anyone was watching I could get away with a fair amount of far more self-indulgent–if not subversive–ways. Sure does simplify my life!
Show of Proper Respect
The Mistress in her jewelry and finery and furs
Thinks everyone should bow and kiss the ground—that’s also hers—
And genuflect before her grand tiara and her mace,
So that is what we tend to do—at least do to her face.
All frivolous jocularity on the topic aside, however, getting trained by our elders and betters, in particular our mothers, is both more complicated and more happily meaningful for those of us who are blessed with great moms. Me, I’ve got two. The mother who gave birth to me and raised me from my days as an only mildly subversive little sprout into the silly but exceedingly happy big kid you see before you today is worthy of recognition as one of the great teachers not only for giving me a framework on which to hang my sense of right and wrong and general grasp of manners but also the education and freedom and knowledge of being unconditionally loved that enabled me to choose how to build on those foundations as I grew. My second Mom, brought to me courtesy of (her son) my beloved husband, gets credit for instilling the same curiosity and drive in her children and, in turn, for reinforcing in me through her example what it means to be a lively and lovely person who is good company, an active part of the household and community at every turn, and a tireless learner and adventurer who earns her place in those settings with remarkable grace. Whether I can live up to the standards set by either of my Moms remains to be seen, but they certainly give me the tools that should make it possible if anything can.
If it can’t, I guess I’ll have to fall back on my naturally ridiculous ways and just pretend to be better than I am for as long as I can keep up the front. Those of you who are looking for reliably good, sound company, go see Mom W and Mom S. And also my sisters and my sister-in-law, great mothers to their children, and all of those other mothers, who by birth, adoption, random acquisition and teaching, raise better people, who in turn make the world a better place altogether. All of whom I thank profusely not only on Mother’s Day but every day for being such great examples even for those of us who are a little too childish to be motherly examples ourselves. Go ahead, you can say it right in front of me. I’ve learned that much, at least!
A Little Antsy Now
If I could do just as I wished and not a nickel more,
I’d not sit still just listening to any tiresome bore,
But I’m in well-bred company (I’m told), so I must stay,
Attempting to pretend it’s deep engrossment I convey—
Meanwhile, my nostril starts to itch and twitch, and I suppose
No one will take much notice if I subtly pick my nose.
Bumpkin’s Comfort
I am not wholly ignorant
Of what a fool I am
But if you’d keep me happy
Just give me a slice of ham
A piece of cheese a bit of bread
Some butter, if you will
And I’ll continue happy fool
Slumped up here by the still
The Kicking of Buckets, and How It is Done
In case a brown recluse spider should come to call on you and with her magical spells weave for you mystic sleep—
In the event that any sharks should smell your yummy blood and render you a permanent fixture of the deep—
Lest some great venerable tree should fall full upon your pointy head and leave you feeling just a little flat—
Or a once-dormant volcano barf its hot majestic load of smoking lava directly onto the brim of your jaunty hat—
Should any untoward or fearsome thing befall you or a tragedy untimely bump you off, I’d feel so sad and even a little guilty somehow
That in my concern for you and to prevent your facing any such future griefs, I feel it’s best that I help you to kick the bucket Now.
Now that everyone seems to have the technology to make cheap watches (which I must designate in my heart mere instruments for marking time, not timepieces), I get to wondering whether the beauty of true clockworks will always be preserved or will only serve as curiosities and fodder for art. That precision we take so nonchalantly to be ours is a museum of measurement and the poetry of a mechanism we should keenly regret to lose if we value something more than the rigid math of time, the seamless meeting of Doing and Deadline.
The first time I heard Early Music performed in period-appropriate style I experienced, not surprisingly I suppose, a full mixture of amusement, bemusement, mild horror and deep curiosity. It was in a performance of Claudio Monteverdi’s seminal opera Orfeo at the English National Opera; I was a mere college stripling who had probably not even heard the phrase Early Music at the time let alone known what it might mean, and ‘performance practice’ was in something of a time of transition. Anthony Rolfe Johnson sang the title role with, if I remember properly, a rather nice overall sound, but a straight-tone and senza vibrato style and a strangely stuttering kind of ornamentation that might well have been an authentic recollection of the opera’s original character and an accurate and historically informed version of the way it would have been presented by its composer and first performers. I, having never been taught such things, merely heard sounds quite foreign not only to my ear but to my concept of skilled and artful performance, let alone prettiness. I do remember thinking that either this was all far over my head (entirely possible) or it was a pointless and poor imitation of what the ENO imagined the average amateurish opera company of Monteverdi’s day must have been capable of doing (less likely), or poor Mr. Johnson, who later went on to receive his OBE, just plain wasn’t up to the job despite a naturally pleasant voice.
Years later, I may not be much smarter than the young squirt of those days, but I’m far more experienced and have heard worlds more music, both the great and the terrible and, of course, a massive quantity in between. And I’ve been taught a thing or two about the fine points of what is beautiful and magical when it comes to singing or playing with any amount of vibrato–or none–and the many elements that combine to create tone and color and variety and character in a performance. I’ve learned some useful stuff that changes how I perceive both the level of virtuosity in playing or singing and its aesthetic appeal, two aspects that do not always coincide in my ear, mind and heart but when they do, that combine to create a kind of joy that is virtually unattainable in any other way.
When my husband conducted a production of Orfeo over a quarter century after the first one I’d heard, I had a whole different understanding and appreciation for what the many performers were doing and why the stage director would expect them to do so both from a visual standpoint–training them, along with other coaches, in appropriate ways of moving and posing and gesturing as well as in those of vocal ornamentation, since she is a superb and well-trained Early Music singer herself–and an historically suited musical one. Just as there are countless styles and types of music known to us nowadays, which you can multiply by the number of individual teachers, performers and audience members to get a rough sense of the variety you’ll encounter, there were historical strictures and structures and stylistic trends and ideas that shaped earlier generations (centuries) of music and musicians and listeners, and while some have perhaps remained relatively unchanged since their inception, many more evolved over the ages. Our expectations of music have certainly changed, and our guesses as to how it was first conceived and perceived are only as good as the lines of scholarly inquiry and oral tradition can attempt to make them.
In all, it makes rich fodder indeed for both the ear and the imagination, and I for one am mightily pleased that I have had the opportunity to live a life immersed in all kinds of music and to learn along the way. I still like much of what I heard, whether ignorantly or not, in my younger days, and much of what I like now I learned to love along the way. While my form may be far from historically accurate or artistically impressive, I will still happily bow and curtsey to all the musicians who have shared their gifts with me in my life, and to all of those who work and are inspired to play more, to sing onward.
Trouble, as we all know, is highly contagious. I was reminded of this recently both by a television character and by a couple of real-life incidents involving real live people (who shall here remain nameless), and all of them, real and fictional, have a number of similarities, the chief one being their apparent unshakable belief that their suffering is greater than anyone else’s, is incurable, and is probably the fault of everyone else too.
My life is pretty fantastically good, when you get right down to it, so to people who don’t know me very well it might appear that I have no business criticizing anyone else’s way of handling sorrow and pain. But that’s just it: even the most wonderful of lives is touched by trials now and then, and struggle or strife isn’t fairly measurable in the moment. My paper cut seems as dire as your childbirth pangs when I’ve just gotten paint thinner on my hand. I know this to be logically ridiculous in the extreme, but don’t tell me the paper cut doesn’t hurt like boy-howdy at that moment. That would be tantamount to me telling you that since your labor pains will probably be over in short shrift, they don’t compare in any way to another’s battle-for-life with esophageal cancer, so you should just get over yourself. Whatever agony each of us is undergoing is more than enough and not to be belittled. And frankly, since each of us has a history that is tinged here and there with darkness, we do all have a sense, however small, of what it means to accept our griefs and cope with, live with, and go forward with them still present. Real sorrows never truly go away.
And for all of us who can feel empathy, or even more than that, can feel sympathy without having experienced the fulness of another’s troubles, life after infancy (when memory, like the lifespan thus far, is short) can be a perpetual bombardment of such troubles even when they’re not entirely our own.
I, of all people, will readily grant you that some people are far better equipped than others to find ways to survive pain and suffering and to continue living a full life without resorting to out-and-out acting. But that’s just it, isn’t it: barring full mental incapacity, don’t we owe it to ourselves, anyway, to try every possible avenue of becoming whole and happy (and of course I don’t mean that superficial kind of happiness that is either fully false or simply stupid); don’t we? When my personal apocalyptic horsemen appeared at the intersection of a group of the classic stressors (job-related problems, health challenges and the sudden death of a close friend converging on me at the same time) and plunged me into clinical depression, I was fortunate to not only have some of the significant tools (support from family and friends, a great doctor and a good therapist, and ultimately, medication that worked for me) for doing battle with those monsters but also the sense that there was no other acceptable option but to try to do that battle.
I won’t lie; there were times–and will probably be more of them over the years–when I did have to take the tack of that ‘fake it till you make it’ mode, when I simply wanted to quit and lie down and just hope it would all miraculously fix itself, or when I was as sulky and whiny and crotchety and pessimistic and tedious as unhappy people can be. We humans are good at all of that stuff, better than at being sunny and charming. But finally, even in my worst state I knew that was no way to live, and that the important people around me would suffer at least as much as I did, if not more. Thanks to the aforementioned helpers, I am here to tell the tale. More importantly, I don’t dwell in that darkness, even though there’s not much I could prevent or even fix about the troubles that led to such a state of existence. Things just happen. It’s how I deal with them that’ll likely make or break me.
That television character–and the many real-life imitators I referenced–stays so focused on how traumatized and maltreated she feels (albeit by genuinely distressing events and problems) that they become her one-note existence. She has a hard heart because it seems less trouble to close it to others than to be vulnerable to further hurt, but of course the actual effect is that she treats everyone around her like dirt, riding roughshod over their feelings and regarding any trauma or maltreatment they may suffer, often at her hands, as inferior or nonexistent. In turn, after being stomped on repeatedly by her seeming egotism, narrow-mindedness and refusal to set her hurt aside, the people around her disperse as speedily as that unlucky drop of water hitting a sizzling skillet explodes into mist. Those who tolerate her constant vituperation, impatience with their perceived stupidity or lack of sympathy, and her seeming wish to continue forever wallowing in her fury and self-pity, those characters ultimately become uninteresting or even unsympathetic themselves to me; after the ninety-ninth offense anyone sits back and takes without a fight, they tend to my eye to look like either enablers or equally fixed in victim mode.
I think we all have the power to steal others’ health and happiness, at least as much as the reasonably healthy among us should make every effort to take charge of our own. Doesn’t mean perfection is expected, but c’mon, people, if there’s really no going forward with life, perhaps a retreat to a very quiet hermitage would be more apropos than imposing our worst on the rest of the world. Yeah, I said it: get over yourself, Kathryn. Even if it might occasionally require brief periods of kindly deceit, times of returning to fighting off the dark singlehandedly, and the ordinary moments of being a jerk. It’ll mean equal demand on me for repentance, amends-making, and getting back on the wagon. There’s too much life left ahead, I hope, to spend it mired in a grim and terrible past, let alone impose it on others.
The upside of all this is that there is a possibility of turning this kind of thievery to good. Very simply, if I have to I can borrow my equilibrium and contentment from others. Put myself in proximity to saner, happier people than me until I can manufacture my own, and quietly absorb what I can of their good graces. I, at least, don’t want to be the one who steals the joy of anyone else; that only becomes the reason for new sorrows all ’round. Happiness and health can be contagious, too, if we let them. And so we all should, my friends. So we should.
The World in a Nutshell
All of the world’s in perpetual motion,
A loop of swift action, a constant commotion
That moves us in nervous centrifugal rings
To do and to act on a million odd things,
And so caffeinated we cannot hold still,
Or the moment of fixity surely might kill
Our fast-racing heartbeat, as used as it is
To zipping and zapping around in a whiz—
And all of us hope we will one day find quiet
And respite from all of our everyday riot,
But I am suspicious that it won’t occur
Until the last second of living, no Sir!
