it can’t be easy to be the lone tree in a big, big farmfield. the wind will batter you. the sun will parch you. the snow and ice will pile next to your trunk and bend your limbs down low. the rain will pummel you. you will be tested and you must be steadfast. your very presence may be questioned; it would be easier to plow straight lines than to plow around you.
but consider this: the birds will flock to you. any creatures needing shade or shelter will curl up under your canopy. you will exhale clean oxygen. and wildflowers and grasses will grow at your base. you will interrupt the horizon line with your very beautiful tree shape. you will give visual perspective to the vast fields.
and so you stand there – alone. ready to greet the next day and the next. despite it all.
you know it would be easier if there were other trees standing with you – perhaps a simple stand of trees or maybe a small woods or forest. you know it would be easier if there were even just one other bush or plant holding vigil with you in the big field. you know it would be easier if the west winds would not assail you, you with nothing to block their assault.
and even if the elements push on you, if the farmer ponders your value, if the aloneness feels void of hope, you keep standing.
because you know that you are a tree and that your truth matters and that your presence counts.
“all i can do is be me. whoever that is.”” (bob dylan)
it’s an imperative. composing, songwriting, producing, performing – they aren’t really choices. they are inherent – something inside that begs you to feel it. it is an ancient call for an answer that tugs and prods and taunts until you comply, baring your soul. it makes you vulnerable and demands courage and fortitude, sacrifice and a stalwart sense of purpose. it is not a straight path. It is fluid. it is failure and a phenom. it is devastation and ecstasy. it is necessary.
standing backstage – our son and the board clearly in view – i am whisked away to the place parents are taken when they see their children doing something they wildly love to do.
i have stood on a giant mountain – one of the highest skiable terrains in the united states – and felt this feeling as our daughter flew past on a snowboard, everything in her aligned in the freedom of expression that single piece of wood opened in her.
and now i have stood on a wood floor in a crowded nightclub – way past my bedtime – and felt the exhilaration of my son’s music – truly moving him, bringing forth who he is from a place deep in his heart.
and in both circumstances, i have been in awe. and in both circumstances, i have celebrated.
because though they have both been scrappy and deliberate, non-traditional, intentionally creating the ability to have the room to express – with any combination of full-time work, layered jobs, skimping and saving, lack of resources – in an ever-changing river, they have led with who they are. what is important to them – deep down – is their truth. their heartbeat. figuring it out as they go.
our son is an EDM artist – electronic dance music. his music is powerful and pulsing, driving you to dance. it is layered and complex and technical and, as a composer – even understanding a slice of the process – i stand back in wonder. we are both creating music and, even in its difference, it has the same goal.
“some people feel the rain. others just get wet.” (bob dylan)
he is feeling the rain. and his music invites everyone else to feel it as well. that’s the imperative. it’s what has compelled me to compose. it’s what compels me to write. it’s what compels david to paint. it’s what compels the potter to sculpt, the dancer to dance, the climber to climb, the actor to act, the skier to ski, the athlete to push, the chef to craft, the aerobatic pilot to soar on bluesky days, the creator to create. it takes some guts. but it’s necessary. for the world.
“dear artists. don’t hold back. that’s it…” (okuntakinte)
in most rehearsals, i would remind the choir that their smile could be heard. there is a major difference to the timbre of voice brought forward with or sans smile. the same is true with speaking; even when you are not seen, the difference in tone is distinguishable.
it’s the season of the christmas cantata – a major work of multiple pieces with various voicings, instrumental lines, accompaniment and narration – closer to an hour in length. i’m writing this on the sunday morning that was usually chosen as the day of performance – the second sunday in december. i can’t even begin to remember how many cantatas i’ve directed – and written and arranged – through my decades as a minister of music. just recently a facebook memory came up – it was my post thanking the choir and worship band at a church where we had just performed such a work. the creation of narrative and song is exhilarating – for both director and participants – and everything drives to the downbeat. there is a glow that emanates from such a group – these people who have diligently prepared a musical piece of larger extent – and the camaraderie that weaves its way through – it is joy.
it’s been a few years now since i have directed a cantata. i’m guessing it’s a few years since many of the people who participated have sung or played a cantata. not every minister of music or choir director is up to it and some choose other programming. while you are preparing weekly anthems for sharing in service you are concurrently rehearsing this large work, so it takes time and energy, a compositional spirit, an innate ability to discern cantatas of value, ingenuity, the ability to rearrange on the fly, the belief in showcasing your choir – as a choir – accommodating any ability level, the recognition that simplicity is potent, much flexibility and humor, meticulous planning and true dedication. it is knowing as a conductor – in the moment after the downbeat – that you will merely guide this integrated group of singers and musicians through this visceral experience of purity. yours is a backseat to the magic – this is not your microphone. it is an undertaking not for the meek.
to say that i miss cantata-day would be understating. the gift of music is to make resonant that which is hard to see, that which is not tangible. the gift of music is to evoke powerful imagery and to open emotions tucked away. the gift of music is to bring forward beauty and the magnificence of producing something together. the gift of music is to offer just that – the gift of music. impactful, moving, music has the ability to change souls.
we pass the leaf on the trail – so very obviously lips curled in a smile. i think about all the times i have urged a singer to smile, all the times i have listened to the difference between smiling and not smiling – like the difference between the keys of d minor and e minor. vast.
and right now – as i write this – i wonder how many choirs are gathered on chancels, singing their hearts out, smiling inside and out.
chestnut against the white, you could see every nuance. every curve of the leaf, each vein, tiny sooty mold spots, drops of melted snow, it was still – landing from above and poised on its side. it was an oak leaf. no doubt about it. the starkness made the leaf’s characteristics clear, identification easier. the austerity made the image striking.
hiking in the snow is rewarding that way. all the background noise is gone. what is left are images of greater clarity, vulnerable honesty. i’m considering this as we continue down the trail – upon some of which we are lucky enough to be first to make tracks.
in a world of great complexity, it is much harder to see people with such certainty. peeling back the layers to such an overt degree meets resistance. people wish to reflect forward a certain image de soi. transparency fears enacted, one tries to create that which one wants others to see. it’s a natural phenomenon among thinkers – that which sets humankind aside from leaves.
when the leaf is viewed against the snow, we are able to see all of it. we cannot grasp all the intricacies of its actual living time on tree, but its remaining outerness is pure and we can – with some study – discern – from observation – what it is and much of what it has undergone.
in a world of opaque-ness – in these days of heightened division – i’m guessing it is important to study, to discern, to observe, to attempt to be cautious.
just as trees reflected in a puddle are not actually trees – they are merely a reflection – people are capable of the same puddling behavior. with caution we should give attention to the words others say or meme-post or quip in conversation. with caution we should discern the source from which they have carried these words. with caution we should give consideration to spreading these forward, always measuring against truth and intention that which we quote, post, argue, even pontificate. though i suspect leaves are pretty much pure as the driven snow into which they have fallen, people – unfortunately – aren’t. and there is much background noise from which others may cherry-pick the image de soi que les autres voient – self image others see – their perception.
each day now i am surprised by agenda-riddled life in so many arenas. i wonder if the leaf stops to consider all before falling into the snow. does it realize it will be easily seen? in the process of nature, it doesn’t have a choice.
it is an oak leaf in the snow.
how seen – truly seen – as who and what we are – are we?
the ornamental grasses weren’t there – out the window – when the studio was the nursery. instead, there were hedges – ancient hedges lining the front of the house, thick hedges lining the driveway, dense hedges in front of the old brick wall. it looked completely different all hedged in.
i’d sit in the rocking chair in the nursery with my babies and watch the seasons go by out the window. rocking them to sleep, reading a book, nursing, we spent many, many hours in that rocking chair. and i spent many hours with sleeping infants in my arms gazing out the window, pondering the season out there and the season inside. somewhere there is a recording of my song rocking chair seasons, but i’m not sure where.
it is evident from the grasses what season we are in. looking out any front window – or back, for that matter – there are grasses answering to the dance of the calendar. they sprout out of the ground in later spring and then rise skyward. stunning in the breeze, they are tall and willowy in hot summer sun. and then, the plumes. gorgeous and feathery. and now, the grasses are golden orange, a showy nod to the cool of autumn. even later they will stand in the snow, catching the winter winds. all just out the window. a timeline of life.
the rocking chair is now downstairs in the basement – one of two in david’s studio. the crib and the changing table and all the babystuff is no longer in my studio, though just outside the door hang tiny shoes on a doorknob which were my girl’s and my boy’s when they were little.
sometimes i stand by the window in the studio – at the same angle that the rocking chair sat – and look out. it is easy to get lost in the memories that flood in.
the seasons have changed. they are all-grown-up and living creative and independent lives, strong humans in this world.
i’m still right here – and always will be for them, waving my plume in the air, rooting for them at every turn, in every season.
and i look at the grasses in their perennial transition as time passes and realize it is all the same.
and all the wishes in the whole wide world gather together. and they wait in the queen anne’s lace, sipping fine champagne and eating bonbons. they wait for their moments, individually and together. every-every queen anne’s lace pod. they wait for the tipping point.
and one day – in the middle of saunas and steambaths, luxurious manis and pedis, chamber orchestras playing taylor swift, candles and lavender pillows, crystal glassware topped off with port – the sun and the moon having risen and fallen many, many times – the wishes release into the world on new morning rays and seeds go every-everywhere.
and they drift and soar and look down from the jetstream at all the people.
in these days – in any days – i could sit and – for long periods of time – stare at a dancing flame. much like cumulus clouds lazily floating by in a brilliant sky, my imagination drinks in the possibilities…every moment a different shape. constant flux.
“i do not understand the mystery of grace – only that it meets us where we are and does not leave us where it found us.” (anne lamott)
no given moment – as i have learned – is static. no given moment – as i have learned – is untouched. every everything is moving and swirling and spinning and the unexpected is right around the corner. just exactly when you think nothing is going to ever change. it’s fluid flame.
enthralled with it (my astrological element is fire) i took out my camera and started shooting flame photos, one after the other. it took less than a minute. it’s sometimes hard to remember that, in the overall arc of time, change is the only constant. one needs only watch the flame to get a sense of the evanescence of it all.
these moments – in the dark cool of a late summer night – the sounds of a few tenacious cicadas on the wind and squirrels scrambling along the wires and branches – watching the fire column interpretive dance – were glimmers. they visually reminded me of change taking place – that i can feel, that i can intuit, that i cannot even imagine.
and for a few minutes – precious minutes in these days – i gave over to the flame, grace and the mystery.
it is likely the heron’s. we have seen a couple together out there – gliding through the marshland, standing regally by the side of the pond, walking sedately. we hiked past the downy feather, that had likely fallen from where down is hidden beneath the heron’s outer feathers, and i went back, the talcum powder white capturing my attention on the trail. sometimes i pick up feathers – to keep them, beautiful signs of divine and freedom and flight. i left this one on the trail, tucked between the pine and the cone, its texture begging notice.
under the outer layer of my straight hair is an unruly curly layer. the days i do not blow-dry my hair, i am banana-curled, little-orphan-annie-curled, a combo-platter-no-real-sense curled. i personally have found it annoying. most women desire hair which they do not have – a different kind of hair – a different color – a different texture, thickness, bounce, volume. it is the way of this society.
instyle magazine did an entire month of articles on women and their hair. i read the initial article from 2018 and, frankly, found it somewhat entertaining. the most common uniting hair complaint is frizz, which, i must say, i have complained about a time or two. d has trouble understanding frizz as he is a non-frizz-haired guy (incidentally, with better hair than me – which doesn’t seem quite hair-fair). regardless, hair has become a tool of empowering for women, especially in this nation.
according to what i read, we can be flushed with excitement or nervous as all get-out, challenged beyond our perceived limits or drudging our way through the day – but, if our hair looks good, we feel good, no matter.
i wonder if the heron – in its elegant wisdom and intuition – has concerned itself with its feathers. or has it just simply concerned itself with its basic needs, its instinctual movements and rituals, its patterns and place in nature. is it thinking about its frizzy down feathers? i suspect not. compare that with the reported 81% of human women who feel more confident if their hair looks great.
according to the majority of human women – none of the hair products out there reeeeally work. everything promises to de-frizz, de-curl, celebrate the curl, straighten, give volume, grant sheen, untangle, combat thinning, retain moisture, eliminate split ends, make it bounce, make it stay still, give a hairstyle hold. but nope, none of it really works.
if you add perimenopause, menopause and post-menopause to the hair equation, you are faced with a variety pack of even more hair concerns. for me, that means that – despite all my deliberate blowdrying intentions for straightening my hair, the instant a hotter-than-hot hot flash swings by, i am frizzed. drippy hot, frizzed and curled – definitely not a jennifer aniston hair look.
“in order to cool their body temperature, great blue herons will partially extend and droop their wings and open their mouths while fluttering their throat muscles. much like dogs panting, this helps cool their body through evaporation. this behavior is called gular fluttering.”(nps.gov) the innate wisdom of the heron – gular fluttering. who knew?
so…if you see me – curly hair askew sneaking out from under a few straightened hairs trying to hold on to their straight – fluttering my throat muscles (is this synonymous with talking too much in humans???) – you will know i am post-yet-another-hot-flash and am channeling my internal great blue heron. please don’t comment on my hair.
with gordon lightfoot crooning in my ear, i stroked the pussywillows on the trail. i can’t remember seeing these on trail before. i know i would have noticed – their softness begs touch.
“pussywillows, cat-tails, soft winds and roses rain pools in the woodland, water to my knees shivering, quivering, the warm breath of spring pussywillows, cat-tails, soft winds and roses”
smooth silvery-grey under our fingertips, we each took time to touch, to marvel at the beauty. and gordon lightfoot sang on in my mind.
as a writer, composer, lyricist, there are decisions one must make along the way. we place ourselves in a vulnerable spot, not for our own purpose or indulgence, but, instead, in the hope of resonating with someone who needs the words or music or lyrics we write, in the hope of reaching someone else walking in similar shoes, in the hope of assuring someone out there who needs to know they are not alone. and so, at the risk of thus vulnerably over-sharing, i offer this:
but some things are triggers. and, as the verses and guitar continued, this particular gordon lightfoot song is one of them. my #metoo was at the hands of a musician, a serial predator who walks freely even today. he played guitar and charmed his way into the never-to-forget-lives of many susceptible young women. a man who softly sang gordon lightfoot and james taylor, who wrote love songs, new lyrics for gorgeous SATB hymns, and taught guitar surely was to be trusted, right? wrong.
i can appreciate these beautiful pussywillows, another harbinger of spring and new life. but i stop a moment and give nod to my much earlier self. in a watershed, i recognize the parallel of this earliest time working in the church and my latest work. bookends.
“riding on the roadside the dust gets in your eyes”
it’s not the dust that brings tears to my eyes, it’s not the spring air laden with newness of pollen, the turning of season. it’s the raw bookended time in places i trusted as safe. i cannot help now but examine it all up close, process it, grieve the loss of innocence, the devaluing of women, abhor the loss of respectful truth and the reign of agenda. the bookends hold upright the time in-between, all the books of life, times and experiences and mistakes and successes, the laying down of any attempt to process, to make right, of any ramifications for the wrongdoer. the bookend of late was a stunning surprise. i am astonished at its destruction, now, no longer a teenager. i find it all shockingly galling.
“slanted rays and colored days, stark blue horizons”
the horizon is much like the horizon all those decades ago. it’s surprising to return to that feeling. i want to leave, to run, just like that other time, that other bookend. my physical life, however, is not at stake this time. it is me, my loss of community, my loss of position, stolen integrity. i cannot wrap my head around the slanted rays, the starkness.
“treasuring, remembering, the promise of spring pussywillows, cat-tails, soft winds and roses”
treasuring, remembering. promises. but roses…the flower of love…it is hard to hear lyric of roses…my hope is to only hear gordon lightfoot in my mind’s eye and to forget the echoing bookends.
“shivering, quivering, the warm breath of spring”
to remember – spring is beginning to spring. the catkins of the willows are soft, cattails seed in the wind, warm circles us on the trail.
it sounds like you should grill it and have it with rice pilaf, some sort of midwestern whitefish.
it’s not.
crunch’s stripahs, back then, in the day, were striped bass, so these tiny blooms would not truly bear his nickname.
it’s these “invasive” flowers that are decorating our yard these days, paving the way for the dandy dandelions. they are actually quite beautiful. “puschkinia” in plural, which sounds like an americanized-botched-spelling plural of a mini version of those ridiculously yummy sweet-filled polish paczki donuts. everything sounds like something.
for me, peering for spring in the front yard, they are a sure sign of hope. early arrivers these early stardrift, they signal that maybe-just-maybe the snow is over and maybe-just-maybe warm sun will take over where cold march days left off. they are harbingers of open windows and adirondack chair time and basil sharing space with cherry tomato plants and flipflops. so much anticipation in tiny flowers.
these days are unseasonably warm. we are not sure why the jet stream seems to be blessing us with this gift but we are elated to walk in degrees that are in the sixties and even seventies. spring in wisconsin has never – in my experience – been a season of warmth. i remember too many soccer and baseball seasons huddled under blankets tucked into my bagchair. but this one is different.
next week is supposed to be back in the fifties. but even those temperatures are happy for us. maybe-just-maybe i’ll get a glimpse of forsythia one of these days, a sure sign of spring on growing-up long island.
reverse threading 