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Wednesday, June 10, 2015

A Letter to Benjamin - Buechner


Dear Benjamin,

When you were born this summer in Burlington, Vermont, your father decided to ask a few of us, rather than to give you something on the order of a silver rattle or teething ring, to write you a letter that you are to open on your twenty-first birthday, August 25, 2015, which happens to fall on a Tuesday. It sounded like a good idea when he suggested it, and it sounds like a good idea still, but you can't imagine how I've struggled over it. I am your grandfather, after all. I should have some extra special things to say, and so I like to think I have, but the problem is how to decide which ones to put in and which ones to leave out, where to start and where to stop. My vision of your birthday itself keeps getting in the way.

As I see it, your parents have taken a private room in a good restaurant somewhere. Everybody is wearing evening clothes. Dinner has been eaten. Toasts have been proposed over dessert and coffee. The historic letters have been brought out in a cardboard box. You decide it might be entertaining to read a few of them out loud. You happen to pick out mine. What words of wisdom will it contain? What grandfatherly advice about the future? What revelations about the ancestral past? The prospect paralyzes me. If I am lucky enough to be there in the flesh, age eighty-nine, I will twitch with apprehension as you open the envelope. If I am there as a ghost, I will be tempted to drift out of the open window like a wisp of cigar smoke. How much less painful to give you a silver rattle. But a promise is a promise. I will do the best I can. I will forget about trying to be wise and grandfatherly. I will simply tell you a few of the things that seem important to me as I start writing this on the morning of Saturday, the 21st of October, 1994.

So I will start out once again with Dear Benjamin because it contains two important truths. The first is that you are indeed Benjamin, and the second is that to me you are indeed dear even though I hardly know you yet because at this point, when you are barely two months old, there really isn't much of you to know. You are dear because a little of my blood is in your veins, and therefore, as the old song goes, even when my song is over and done with, some echo at least of the melody will linger on in you. And you are dear because so many of the people I have loved in my life are somehow or other present in the genetic bouillabaisse of who you are even though you will know about many of them, if you know about them at all, only as names or old photographs in an album. Dear Benjamin.

When I look at those photographs myself—the earliest go back as far as my great-great- (your great-great-great-great-!) grandparents, who were born in the opening years of the nineteenth century some two hundred years ago as I write—I wonder who on earth they were. I've picked up a scrap or two about a few of them.

My great-great-grandfather Isaac Golay on my mother's side, for instance. The picture I have shows him sitting in a chair with his left arm resting awkwardly on a table covered with a patterned shawl. He is wearing a frock coat that looks at least two sizes too big for him and has sleeves that come down over his knuckles. He is bald on top and seems to have brushed some of the side hair over his forehead a little to make him appear less so. He has impressive pouches under his eyes and is gazing out not quite directly at the camera with his brow slightly contracted and his lips drawn tight as though the photographer has just told him that if he so much as breathes for the next five minutes, the exposure will be completely ruined. He was a French Swiss who ran a jewelry business on the ground floor of his house in Geneva assisted by his wife, whose picture in a voluminous dress with a little bonnet tied under her chin is next to his in the album.

Her name was Rose Besancon Golay, she was of Huguenot descent, and the story is that she was more highly born than her husband and never let him forget it. Her photograph lends support to the theory. It shows her with clenched jaws looking at the camera out of the corner of her eyes with an expression of darkest suspicion. In response, perhaps, to the photographer's suggestion, she is trying to crank up a smile but has succeeded only in looking as mad as a wet French hen of Huguenot descent. Her chair is much grander than her husband's, as befits her station, and her left arm, like his, is resting on a table, except that on this one there are also two books, a very large one with another, much smaller, on top of it. You get the impression that if the photographer had been bold enough with that terrible glance upon h i m to suggest that she give her smile another try, she would have winged them both at him and in all likelihood would have scored a couple of bull's-eyes. But who knows what she and old Isaac were really like and what was going on inside them at the moment when the shutter snapped? All I can tell you is what little I picked up as the one member of my generation who was ever especially interested in such matters. And if this were a book instead of a birthday letter, who knows how long I would rattle on about them.

I would tell you, I'm sure, about my two grandmothers - about Naya, who spoke in shimmering paragraphs and was the one safe haven of my storm-tossed childhood, and about Grandma Buechner, who called a spade a spade and survived a series of family tragedies with a strength that I'm sure helped me survive them too although at the time I barely suspected it. I might tell you too about my great-great-grandfather Achazius Stehlin on my father's side, born in 1808, who gave up the idea of entering the priesthood for the law and became vice president of the short lived Republic of Baden after the revolution of 1848, which, when it failed, led to his being condemned to death and sent to prison which he managed to escape for France and subsequently Brooklyn, New York, where upstairs in the saloon he ran (which his granddaughter, who was my grandmother, carefully explained was not a saloon in the vulgar sense but more of a club) he started what may have been the first German theater in America. And I would probably say a word or two about my great-grandmother Elizabeth Eimbke Buechner, who, when her dying husband complained about the noise she was making in his room with the carpet sweeper, is reported to have made a reply that has been enshrined in family legend. "Heute ist Dienstag" is what she said, which means "Today is Tuesday," because Tuesday was her day for sweeping the carpet no matter what. Today happens to be Tuesday too. The sun is bright, and the sky is blue. Most of the autumn leaves have fallen, and the ones that are left on the trees are mostly rust-colored with here and there a feathering of lemon yellow. It is on the cool side, but our two dachshunds—Otto the Irrepressible and his uncle, Klaus the Long-suffering—seem perfectly comfortable dozing in the sun where the leaves lie thick and unraked. Last week as I drove along the unpaved West Pawlet road with the sun shining through them, they were as nearly golden as anything can be without being gold. They glistened and dazzled like the walls and vaulted ceiling of some great Arc de Triomphe so that I had no choice but to stop thinking about whatever I was thinking about and to think about them instead, less to think about them than just to lose myself in them. Did Achazius Stehlin, hot-footing it out of France one jump ahead of the posse, ever see leaves like that? Did Rose Besancon Golay ever catch a glimpse of them through the jewelry shop's grilled window, or did great-grandfather August Buechner at least hear them rustling maybe in between sweeps of the carpet sweeper? I like to believe so, but how can I ever know? I am appalled by how little I know even about my own grandfathers.

My grandfather Buechner died when I was ten, only a few days after the death of his oldest son, my father. He was a dapper old gentleman who loved fine clothes, fine food, good wine, and when his children were little loved taking them on walks through Central Park and showing them around museums. When his silk-importing business went under in 1929, he was more or less wiped out, and for the rest of his life the family had to live on his wife's inheritance, which wasn't easy for him and probably explains why in almost every memory I have of him he is holding a drink in his hand and not saying much. He and my grandmother lived for years in an apartment at 940 Park Avenue in New York, and once when I was spending the night there as a little boy, I found myself sleeping in a bed that for some reason had been made up without sheets, an event so unprecedented and confusing that, not knowing what else to do, I started to cry. My grandfather must have heard me as he passed by in the hall because all of a sudden there he was at my bedside in the dark asking me what the trouble was, and when I told him about the sheets, he said that once when he was about my age he had had to spend a night in a tree, where of course he had no sheets either. Since he had survived that experience no worse for wear, he said, he was sure that I would survive too. It gave me something else to think about anyway, and as far as I can remember that brief exchange was the nearest thing to a close encounter the two of us ever had. But if only I had gone further with it. If only I had asked him to tell me why he had spent the night in a tree. If only I had asked him to tell me more about himself. But I'm sure such questions never so much as crossed my mind at that age, and even if they had, I would never have dared ask them.

I was twenty-one years old, your age, when my grandfather Kuhn died—he was eighty-one—but although I saw a lot of him over the years, I never got to know h i m very well either. He was a shy, private sort of man, bald as an egg with liver spots on his shiny scalp, and a scruffy gray mustache, and a little pink papilloma round as a jellybean over one eyebrow. He not only loved my grandmother, Naya, but enormously admired her wit and eloquence and always let her do most of the talking. I remember him sitting in the living room listening to the news of World War II on the radio with his straw hat on. He used to tell how when he was a young man he had eaten some black raspberries once in Somerset, Kentucky. He said they had made him so sick that he had never eaten black raspberries again, and for the rest of his life if he ever saw anybody else eating anything that struck him as questionable, he had only to intone Somerset, Kentucky, a couple of times in a baleful voice, and everybody knew exactly what he meant. I remember he hated to see my mother and her sister, Ruth, wearing jewelry for some reason, and when they were in a certain mood, they would tease him about it and to show their power over him would make him kiss their earrings. When my mother eloped with my father in 1922, he was so furious that he refused to see her for three or four years and had all the pictures of her put away and wouldn't allow anyone to mention her in his presence. He eventually relented, of course, and he and my father became friends although I can't remember ever seeing the two of them together or hearing him speak my father's name. Except once.

I must have been about fifteen or so and we were sitting on a screened porch in Tryon, North Carolina, when out of the blue he addressed me not as Buzzfuzz, which was what he had always called me before for some long forgotten reason, and not as Freddy, which was what just about everybody else called me, but as Fred, which was not so much my name as it had been my father's. The moment lasted no time at all, but I remember feeling that by using that name he was coming as close as he ever did to telling me that he was sorry—sorry that my father had died so young and sorry also for me. If only I had been able to press him further, but of course I wasn't and didn't, and since no such moment ever occurred between us again, he remained almost as shadowy a figure as my grandfather Buechner was.

But even if things had turned out otherwise, I wonder if it would have made any great difference. Even if my grandfathers had been less shadowy and I had been less timid, I wonder if I would ever have been able to learn from them what I would give so much to know now about who they were, both for its own sake and also for the sake of learning something more about who I am myself. Even if I were to stretch this letter out, God forbid, to a thousand pages, would I ever be able to convey my full story to you? I suspect the answer is no. I suspect that our stories in their fullness will always be hidden from each other and that all those whiskered old men and bonneted old women looking out at us from their photographs in the family album will always remain mysteries to us even if, like me, they happen to have written their memoirs. And yet I believe that all is not lost. Maybe we can never know each other's stories i n their fullness, but I believe we can know them in their depth for the reason that in their depth we all have the same story.

Whether we're rich or poor, male or female, a nineteenth-century Swiss jeweler like Isaac Golay in his oversized frock coat, or a twentieth-century American clergyman like me with a penchant for writing books, or a young squirt celebrating his twenty-first birthday in the twenty-first century like you, our stories are all stories of searching. We search for a good self to be and for good work to do. We search to become human in a world that tempts us always to be less than human or looks to us to be more. We search to love and to be loved. And in a world where it is often hard to believe in much of anything, we search to believe in something holy and beautiful and life-transcending that will give meaning and purpose to the lives we live.

I sense a growing restlessness among the birthday guests. One of them keeps rolling up and unrolling a napkin. Another is glancing around the table wondering if it would be seemly to ask the waiter for an after-dinner drink. So enough of all this. Let's have another drink all around, this time on me, and as I raise my glass—whether I'm there in the flesh to do it or only as a benevolent ghost—my birthday wish is that after wandering through many a street for many a long year to come, you may find your way at last to the fountain in the square.

With love from your grandfather.

Friday, June 05, 2015

If ye love me - a reflection


If ye love me
Keep my commandments

If you love the example that I am, do as I do. Seek to be a Christ to others in the same way I am a Christ for you.

And I will pray the father
And He shall give you another Comforter


By seeking to be a Christ, I will give you (or through our relationship, you will find) a ‘self’ to be. And this self will feel like... home.

That he may abide with you forever
Even the spirit of Truth

This true, integrated, self, will feed you, forever. As you live the truth of who you are in the world.

Friday, May 08, 2015

Six impossible things before breakfast

Alice laughed: "There's no use trying," she said; "one can't believe impossible things."

"I daresay you haven't had much practice," said the Queen. "When I was younger, I always did it for half an hour a day. Why, sometimes I've believed as many as six impossible things before breakfast."  

- Lewis Carroll from Alice in Wonderland

Mr Clive James - A man in search of a home.




It may not come to this, but if I should
Fail to survive this year of feebleness
Which irks me so and may have killed for good
Whatever gift I had for quick success -
For I could talk an hour alone on stage
And mostly make it up along the way,
But now when I compose a single page
Of double-spaced it takes me half the day -
If I, that is, should finally succumb
To these infirmities I'm slow to learn
The names of lest my brain be rendered numb
With boredom even as I toss and turn,
Then send my ashes home, where they can fall
In their own sweet time from the harbour wall.

Monday, April 27, 2015

Here we go riff



Alright bitches, try not to bop your head to this one.

Wednesday, April 08, 2015

Kate Rusby - My Young Man



That northern accent. And that brass...

Thursday, March 12, 2015

The search to be human

'Whether we're rich or poor, male or female, a nineteenth century Swiss jeweller like Isaac Golay in his oversized frock coat, or a twentieth century american clergyman like me with a penchant for writing books, or a young squirt celebrating his twenty-first birthday in the twenty-first century like you, our stories are all stories of searching. We search for a good self to be, and for good work to do. We search to become human in a world that tempts us always to be less than human or looks to us to be more. We search to love and to be loved. And in a world where it is often hard to believe in much of anything, we search to believe in something holy and beautiful and life-transcending that will give meaning and purpose to the lives we live.'

'Letter to Benjamin' - from The Longing for Home, Frederick Buechner.

Thursday, January 29, 2015

Hidden Orchestra - Night Walks on Vinyl

So this mix by Edinburgh jazz/electro/dj/god knows/fusion guys Hidden Orchestra is changing my life.

Go music Go!


 

Tuesday, January 20, 2015

Coldplay & Jon Hopkins - Escape/Light Through The Vines

All Coldplay did was add lyics to this already beautiful track by Jon Hopkins. I'd like to say they ruined it. But I think this Coldplay's dreamy melancholic mantra gives it an extra layer of depth. 'And, in the end, we lie awake, and dream of making escape.' Yum

Monday, January 19, 2015

Eric Whitacre - Sleep

If ever there were a reason to buy some good quality headphones, this surely is it. The harmonies in this piece are at times a little too rutteresque for my liking. But those basses are killing it, and the discord in the alto and trebles makes me catch my breath.

Thursday, January 15, 2015

Sunday, November 30, 2014

Mew - Silas the magic car

A couple of people have recently asked me where I get my music from.

Nowadays, it's relatively easy to hear new music. Music sites such as pandora and spotify make it possible to get unsolicited exposure to an eclectic mix of unknown artists with very little brain work. Type in an artist you like and you get fifty or so other artists that sound the same or similar. Chances are the playlist will throw up one you've never heard of that you'll love.

But, like people who prefer to bake their own bread, or grow their own lettuce, I feel there's something rewarding in putting in a bit of extra work to build up your music library. The truth is this: nothing quite beats that feeling of actively searching amongst the millions of tracks out there and finding a gem. Like searching among the millions of hearts and finding one that connects with your own, finding music that speaks to you can provide comfort that's unspeakable in its mysterious power to make things seem ok.

I listen to a lot of overseas radio and podcasts. Guy Garvey's Finest Hour usually gives me at least one new song a week that I can play on repeat 24/7 until it wears my ears out. French radio station TSF jazz is a station you can play for any dinner party. NPR in the states is also amazing.

I've recently been put in touch with another GREAT podcast. It's called 'freunde von freunden mix tapes' and it is an hour of different music put together by different Djs around the world, and published by german lifestyle magazine freunde von freunden (or FvF for the very hip).

I can't recommend it enough - it swings from Jazz to rock, to alternative pop, to soundscape and all whilst hopscotching over musical borders, introducing unknown bands and composers from Germany, Sweden, Russia, America and Asia.

Today, I was sitting in my back living room, making some coffee, and the below song by Mew came on. It sat in the room like an old friend, instantly comfortable and hauntingly comforting.

Of course, it's Danish.

Take a listen.


Monday, November 03, 2014

Wednesday, October 29, 2014

Why we try


What’s lost is nothing to what’s found. And all the death that ever was, set next to life, would scarcely fill a cup.

Tuesday, October 21, 2014

Wednesday, October 08, 2014

Alt J - Hunger on the Pine

This is yummy.

I have no idea what the film clip is about. The beginning is quite beautiful. The ending is confusing. But the guy can take an arrow to the throat.

Monday, September 08, 2014

Wednesday, August 27, 2014

Telling the truth - Buechner

Poor, bare, forked animal in his cassock, his preaching robe, or his business suit, with his heart in his mouth, if not yet his foot.

What can he say? What word can he speak with power enough to empower them!

But let him take heart. He is called not to be an actor or a magician in the pulpit. He is called to be himself!

He is called to tell the truth as he has experienced it. He is called to be human. (And that is calling enough for any of us.)

If he does not make real to them the human experience of what it's like to cry into the storm and receive no answer, to be sick at heart and find no healing, then he becomes the only one there who seems not to have had that experience, because most surely, under their bonnets and shawls and jackets, under their afros and pony tails, all the others there have had it, whether they talk about it or not.

As much as anything else it is their experience of the absence of God (meaning) that has brought them there, that has brought them there in search of God's (meaning's) presence.

And if the preacher does not speak of that, and to that, then he becomes like the captain of a ship, who's the only one aboard the ship who either does not know that the waves are twenty feet high and the decks awash, or will not face up to it so that anything else he tries to say by way of hope and comfort and empowering becomes suspect on the basis of that one crucial ignorance or disingenuous-ness or cowardice or reluctance to speak in love any truths but the ones that people love to hear.

Thursday, August 14, 2014

I Couldn't Agree With Me More - Episode 4



This week on I Couldn't Agree With Me More, Ray and Ray take guard on centre stump and face up to:
1. Brendan Theo - a tragic loss to rugby league
2. The Women's Rugby World Cup
3. Time for Schumacher to get back behind the wheel
4. ASADA - attacking Australia's heros
5. Ray Reviews - Fruit
6. This week in politics - erica betz, julian bishop and the turncoat

This Bitter Earth - Dinah Washington and Max Richter

Everything that needs to be said is already spoken for in the words and music of this haunting creation.



This - bitter earth
Well, What a fruit it bears
What good is love
That no one shares
And if my life - is like the dust
That hides the glow of a rose
What good am I
Heaven only knows

No, this bitter Earth
Yes, can be so cold
Today you're young
Too soon - you're old
But while a voice
Within me cries
I'm sure someone
may answer my call
And this bitter earth
May not be so bitter after all

Tuesday, August 12, 2014

My Birthday

It was very nice to be together.

Mum made my favourite carrot cake, adorned with the blue toy bike and white ‘happy birthday’ sign that’s sat upon every birthday cake I’ve ever had, and kept saying things like, ‘you stay there and talk Fiona, I’ll get the tea’.

Dad read out his latest musing about the importance of time spent together as the single blue candle flickered down to the wick.

Fiona was fresh out of a course at tafe that she’s doing to become a counsellor.  Perhaps most importantly, her presence allowed me to sit and watch and listen, and that’s my preferred position.

And with the allotted slices of carrot cake eaten, it was Fiona who turned up the volume on Midnight Train to Georgia so that we could dance and sing along to Gladys Knight and the Pips.

Every bit of it a familiar tradition. It was in its familiarity that we sat, and watched each other.

Long Distance I and II by Tony Harrison


Long distance I

Your bed's got two wrong sides. You life's all grouse.
I let your phone-call take its dismal course:
Ah can't stand it no more, this empty house!
Carrots choke us wi'out your mam's white sauce!


Them sweets you brought me, you can have 'em back.
Ah'm diabetic now. Got all the facts.

(The diabetes comes hard on the track
of two coronaries and cataracts.)

Ah've allus liked things sweet! But now ah push
food down mi throat! Ah'd sooner do wi'out.
And t'only reason now for beer 's to flush
(so t'dietician said) mi kidneys out.


When I come round, they'll be laid out, the sweets,
Lifesavers, my father's New World treats,
still in the big brown bag, and only bought
rushing through JFK as a last thought.

Long distance II  

Though my mother was already two years dead
Dad kept her slippers warming by the gas,
put hot water bottles her side of the bed
and still went to renew her transport pass.

You couldn't just drop in. You had to phone.
He'd put you off an hour to give him time
to clear away her things and look alone
as though his still raw love were such a crime.

He couldn't risk my blight of disbelief
though sure that very soon he'd hear her key
scrape in the rusted lock and end his grief.
He knew she'd just popped out to get the tea.

I believe life ends with death, and that is all.
You haven't both gone shopping; just the same,
in my new black leather phone book there's your name
and the disconnected number I still call.

Monday, August 11, 2014

I Couldn't Agree With Me More - Episode 3



This week on I Couldn't Agree With Me More, Ray and Ray tackle:

1. The Tah Tahs
2. Anthony Mini-Cello retires
3. Alan Border and those Brisbane Heat
4. AFL - The Coward Elbow
5. Israel and Gaza solved!
6. Ray Regrets - The Cyclist
7. This Week in Politics - Scotty Morrison and Pyne-O-Clean
8. Ray Reads - Nelson Mandela's (very) Long (and frankly a bit boring) Walk to Freedom

Damien Jurado - Rachel & Cali

yum


Thursday, July 31, 2014

I Couldn't Agree With Me More - Episode 2

Episode 2 of 'I Couldn't Agree With Me More' now up.

This week, Ray and Ray get stuck into:

1. The Empire Games
2. The Lawn Bowls
3. Trouble In Tigerland
4. Shithouse Rugby Union
5. Coward Punching Eddie
6. Ray Reads - Les Mise-Rab-Les
7. Ray Regrets - Mudgee Country Women's Society


Monday, July 28, 2014

Gonzales - Gentle Threat

Just...

Lights off. 

Silence.

And this:


Wednesday, July 16, 2014

How cultures around the world think of parenting



Interesting ideas on parenting from different cultures.…

I like the dutch: Ii you teach your children to read before they get to school, they won’t have any friends.

Thanks Holland. 

Kabhi Kabhie

This is strangely haunting.

The songs is from a 1976 Bollywood movie called Kabhi Kabhie. In the film, a poet, Amit, presents his first book of verse titled ‘Kabhi Kabhie’ to his beloved Pooja as a wedding gift after she tells him that her parents have decided to marry her off to an industrialist's son. Ironically, Amit turns out to be Pooja's husband-to-be's favourite poet and he recites this song to her on their wedding night, oblivious to the fact that its writer is the man who still holds his bride's heart.

This song is about unrequited love and I think you can hear that in the performances of Lata Mangeshkar and Mukesh. The people you see in the video below are the actors from the film. In Bollywood, it's commmon for songs in films to be dubbed by what are known as 'playback singers'. Lata Mangeshkar and Mukesh are two of Bollywood's most well known playback singers. I can't help but feel that subject of the song, unrequited love, is appropriate for these singers who's voices are allowed to sweep through India's cinemas and lounge rooms, but who's faces remain unseen.

Schmulz-ometer - 11/10
Haunt-ometer - 9/10




kabhii kabhii mere dil me.n khayaal aata haiSometimes the thought crosses my mind
ki jaise tujhko banaaya gaya hai mere li'ethat you've been made just for me.
tuu ab se pahale sitaaro.n me.n bas rahii thii kahii.n Before this, you were dwelling somewhere in the stars;
tujhe zamiin pe bulaaya gaya hai mere li'e...you were summoned to earth just for me...
kabhii kabhii mere dil me.n khayaal aata hai...Sometimes the thought crosses my mind
ki yeh badan ye nigaahe.n merii amaanat hai.n... that this body and these eyes are kept in trust for me...
ye gesuu'o.n kii ghanii chha.nv hai.n merii khaatirthat the dark shadows of your hair are for my sake alone,
ye ho.nTH aur ye baahe.n merii amaanat hai.n...that these lips and these arms are charged to my care...
kabhii kabhii mere dil me.n khayaal aata haiSometimes the thought crosses my mind
ki jaise bajtii hai shahanaa'iyaa.n sii raaho.n me.n...just as the shehnaii sounds on the roads...
suhaag raat hai ghuu.nghaT uTHaa rahaa huu.n mai.n...that it is my wedding night, and I am lifting your veil...
simaT rahii hai tuu sharmaake merii baaho.n me.n...You're shrinking for shame, blushing in my arms...
kabhii kabhii mere dil me.n khayaal aata haiSometimes the thought crosses my mind
ki jaise tuu mujhe chaahegii umra bhar yuu.n hiithat you'll love me like this our whole lives through,
uTHegii merii taraf pyaar kii nazar yuu.n hiithat you'll always lift a loving gaze to me like this.
mai.n jaanta huu.n ki tuu gair hai magar yuu.n hiiI know you're a stranger, but even so,
kabhii kabhii mere dil me.n khayaal aata hai...sometimes the thought crosses my mind,

Thursday, July 03, 2014

Bon Iver - I hate you

For years now I have tried to express it.

I've written it down on scraps of paper since I was 16.  I've tried to talk it out with my father on the back porch of our house in South Turramurra.  I've submitted pieces to various magazines searching for it.

The push and pull of it. Catching glimpses of understanding from the wind, and feeling - just for a moment - warmed.  Only for the next gust to bring with it more questions, and the cold confusion returns.

Well. Bon Iver just wrote it all out of him. In 4 minutes, and 197 words.




ever since i heard the howling wind
i didn’t need to go where a bible went
but then you know your gifts seemed heaven sent
just lead me to a choler, dad, thats the thing

i don’t know how you house the sin
but you’re free now
i was never sure how much of you i could let in
am i free now
won’t you settle down baby here your love has been
heavenly father
it’s defiantly lava
why you don’t carry other names

heard about a day where it dropped the Know
to go another day as we learn to close
cause I’m a known coward in a coward wind
but you’re free now
you turn around now and you count to 10
to see you go now
well i know now honey that i can’t pretend
heavenly father
is whose brought to his autumn
and love is left in end

i just been up here for god damn years
can you see now?
filling up hulls with god damn fears
i am free now
i know about it darling i been standing here
heavenly father
is all that he offers
a safety in the end

Tuesday, June 24, 2014

Friday, June 20, 2014

Number one dads releases new album

Big Scary frontman Tom Iansek will release his second solo album, About Face, in August.
About Face is the followup 2011’s Man Of Leisure– which Iansek released under the name Dads.

The album’s lead single ‘Return To’ is a collaboration with singer Tom Snowdon of Melbourne indie crew Lowlakes.

Put it in your brain. Yum.


Thursday, June 19, 2014

If ye love me - Thomas Thallis

Even if...

Even if this is all Tallis did with his life. Even if this was all we had to judge him by. From a lifetime; these 2 mesmeric minutes of bliss. I would not but conclude that it was, all of it, worthwhile.



If ye love me
Keep my commandments
And I will pray the father
And He shall give you another Comforter
That he may abide with you forever
Even the spirit of Truth

Monday, June 16, 2014

Stillways - Steve Bisley


Death.

There were other fires in other years. People died in them.

One family, new to the district, were overcome and incinerated in their house. They were found all in one room in a charred huddle. The mother and baby had melted together to be forever as one. The father, at the top of the pyre, had tried to protect them all with a wide embrace that would last for eternity. We all went to look, to lean what sadness meant.

Tuesday, May 27, 2014

The Milk Carton Kids - Michigan

That chorus...


Keinen Zentimeter - Clueso

German pop - what the? Yeah, I know, I know. Give it a listen though. It is tres 90s and damn catchy.

Sing along, you know the words: Ich will keinen zentimeter mehr zwischene uns...



Procedure for Disposal - Clive James

It may not come to this, but if I should
Fail to survive this year of feebleness
Which irks me so and may have killed for good
Whatever gift I had for quick success -
For I could talk an hour alone on stage
And mostly make it up along the way,
But now when I compose a single page
Of double-spaced it takes me half the day -
If I, that is, should finally succumb
To these infirmities I'm slow to learn
The names of lest my brain be rendered numb
With boredom even as I toss and turn,
Then send my ashes home, where they can fall
In their own sweet time from the harbour wall.

Wednesday, April 02, 2014

Richard Hawley - Baby you're my light

I definitely want to play this at my wedding. Pete on lead guitar. Andrew on bass. Hugh on egg shaker. Fie on Cello. Luke on drums. It's all planned. But who plays slide guitar?

Sunday, March 02, 2014

Thursday, February 20, 2014

To Cover or not to Cover

Sometimes covers are better than originals. Sometimes they completely ruin them. Sometimes they're not bad, but the strip the original of the magic it was written with.

Any thoughts on which one this is?



Wednesday, February 12, 2014

The National - About Today

I went and saw The National on Saturday night. They were performing at the Sydney Opera House forecourt as part of the Opera House's contemporary music program Music At The House. (check out their website - they have a cool graphic designer)

It was a pretty special night, with the Opera House and the Bridge lit up in lapis lazuli blue, the Sydney sandstone a warm yellow and the gentle eucalypts a swaying calm green in the warm summer breeze.   

I've seen The National before, and while this was not their best gig ever, they were solid.  This song was the highlight for me. Mainly because of the Aaron Dessner's gentle guitar riff and the simplicity of the lyrics.

Hey, are you awake
Yeah I'm right here
Well can I ask you
About today

How close am I
To losing you


Images by Vincent Moon, JM Goett, Gaspar Claus
Edit by Vincent Moon
Produced by Beggars Banquet

Paris, Guinguette Pirate, december 2005

Tuesday, January 28, 2014

laura veirs - the sleeper in the valley




And amazing song by Laura Viers - so gentle, so delicately layered. The words a translated from a well-known French poem by Arthur Rimbaud called Le Dormeur du Val:

C'est un trou de verdure où chante une rivière,
Accrochant follement aux herbes des haillons
D'argent ; où le soleil, de la montagne fière,
Luit : c'est un petit val qui mousse de rayons.

Un soldat jeune, bouche ouverte, tête nue,
Et la nuque baignant dans le frais cresson bleu,
Dort ; il est étendu dans l'herbe, sous la nue,
Pâle dans son lit vert où la lumière pleut.

Les pieds dans les glaïeuls, il dort. Souriant comme
Sourirait un enfant malade, il fait un somme :
Nature, berce-le chaudement : il a froid.

Les parfums ne font pas frissonner sa narine ;
Il dort dans le soleil, la main sur sa poitrine,
Tranquille. Il a deux trous rouges au côté droit.


Veir's English translation is not wholly loyal to the original, but it is just as moving:

In a green hollow where the river sings,
Tiny valley, bluebells ring.

There's a young soldier under the clouds,
His mouth is open, and the light rains down.

And the light rains down,
And the crows come round,
To the two red holes in his right side, oh
In his right side, oh.

Sleeping in the sun, hand on his breast
The nape of his neck bathed in
Blue watercress
He's just a kid and he never knew,
He would would be a sleeper in the valley so soon.

So soon, So soon,
And the crows, they swoon,
At the two red holes in his right side, oh

So soon, so soon,
And the crows, they swoon,
At the two red holes in his right side, oh
In his right side, oh.


As a side note - Rimbaud wrote this poem at the tender age of 17. By the time he turned 18, Rimbaud had moved to Paris where he'd lived a absynthe-fuelled existence with fellow french poet Paul Verlaine; lived in abject squalor in London, relying on the free heating, lighting, pens and ink of the British Museum to write; and survived being shot in the wrist by Verlaine in Brussels.  All of Rimbaud's poetry was written as a teenager and he gave up creative writing completely before he turned 20.  He travelled extensively for the remainder of his life, working as a stone quarry forman in Cyprus, and member of the Dutch Colonial Army in Indonesia and as an exporter of coffee and weapons from Yemen, before dying of cancer at the age of 37.

Thursday, January 16, 2014

Elbow back at it - Fly Boy Blue and Lunette



Elbow have released two songs off their new album, The Take Off and Landing of Everything.

I have posted this song primarily just for the way he sings the following phrase:

But there isn't words yet for the comfort I get from the gentle lunette of the top of the nape of your neck that I wake to.  And where are the words for the leap in my chest.

Yummy.

Sunday, December 22, 2013

Little Aches and Pains (Paul Kelly)

This is my first go at sharing some of my covers online. This is a cover of a beautiful song by Paul Kelly called Little Aches and Pains. Hope you likey.

Saturday, November 30, 2013

Shrinking Women

On Beauty and Being Just

Two quotes from Elaine Scarry in her book 'On Beauty and Being Just'.  With thanks to Kate Brennan


~~~~~~~~~~~~~~

The beautiful, almost without any effort of our own, acquaints us with the mental event of conviction, and so pleasurable a mental state is this that ever afterward one is willing to labor, struggle, wrestle with the world to locate enduring sources of conviction— to locate what is true. 

~~~~~~~~~~~~~~

Homer sings of the beauty of particular things. Odysseus, washed up on shore, covered with brine, having nearly drowned, comes upon a human community and one person in particular, Nausicaa, whose beauty simply astonishes him. He has never any- where seen a face so lovely; he has never anywhere seen any thing so lovely. “No, wait,” he says, oddly interrupting himself. Some- thing has suddenly entered his mind. Here are the lines:
But if you’re one of the mortals living here on earth, three times blest are your father, your queenly mother, three times over your brothers too. How often their hearts must warm with joy to see you striding into the dances— such a bloom of beauty. . . . I have never laid eyes on anyone like you, neither man nor woman . . . I look at you and a sense of wonder takes me.
Wait, once I saw the like—in Delos, beside Apollo’s altar—
the young slip of a palm-tree springing into the light. There I’d sailed, you see, with a great army in my wake, out on the long campaign that doomed my life to hardship. That vision! Just as I stood there gazing, rapt, for hours . . . no shaft like that had ever risen up from the earth— so now I marvel at you, my lady: rapt, enthralled,
too struck with awe to grasp you by the knees
though pain has ground me down.
 
Odysseus’s speech makes visible the structure of perception at the moment one stands in the presence of beauty. The beautiful thing seems—is—incomparable, unprecedented; and that sense of be- ing without precedent conveys a sense of the “newness” or “new- bornness” of the entire world. Nausicaa’s childlike form, playing ball on the beach with her playmates, reinforces this sense. But now something odd and delicately funny happens. Usually when the “unprecedented” suddenly comes before one, and when one has made a proclamation about the state of affairs—“There is no one like you, nothing like this, anywhere”—the mind, despite the conÅ dently announced mimesis of carrying out a search, does not actually enter into any such search, for it is too exclusively Å lled with the beautiful object that stands in its presence. It is the very way the beautiful thing Å lls the mind and breaks all frames that gives the “never before in the history of the world” feeling.

Odysseus startles us by actually searching for and Å nding a pre- cedent; then startles us again by managing through that precedent to magnify, rather than diminish, his statement of regard for Nau- sicaa, letting the “young slip of a palm-tree springing into the light” clarify and verify her beauty. The passage continually re- starts and refreshes itself. Three key features of beauty return in the new, but chronologically prior, object of beauty. 

Thursday, November 28, 2013

This small photo strip...


Kota Kinabalu, Sabah, Malaysia

I have been meaning to post these photos for a while now. A few quick snaps from a trip to Malaysia from earlier this year. Two orphaned orang-utans in rehab and some night market shots.




Washington - NYC - Salt Lake City

Hey y'all,

Some quick shots from a recent work trip to the States. Managed to catch up with some good friends in Washington and NYC - (Antonia - thanks for taking me out on U street. Lucie La Gentille - Merci de m'avoir hebergé et mercy à Camille aussi d'avoir supporté mes renflements!).

It was a fly-by visit. But it was great to get out of Australia for a little while and remember that there's a big old world out there and that, everywhere, there's someone getting on with the business of living.

Things learned on this trip:
  1. It's scary how similar Washington feels to Canberra. It's a public service town with interesting work that attracts a certain type of person. There's a desolation to the streets after 8pm that reminded me of home. People ride bikes everywhere and people say things like, "I like New York as a place to go on weekends, but I'm not sure I could live there you know? I mean... I canoe on weekends now!" 
  2. Tap beer in Salt Lake City is legally required to be less than 4% alcohol. It's like a town with only light beer on tap. The horror. 
  3. Americans come in for a fair amount of external criticism. Stereotypes abound that they are stupid, vain, lacking culture, fat, lacking in any sort of global perspective and shallow. As with all stereotypes, if you spend more than five minutes with someone, they turn out not to be true. Although I did have a few interesting experiences, (like when someone asked me if I was irish (what?), there were many times where I thought that we (Australians) might do well to learn from the American stereotype. For example, I met a  man who literally exploded with excitement at how cool he thought Washington was and how lucky Washingtonites were to live in a city with so many great culinary delights. I tried hard to imagine an Australian showing a foreigner around Sydney Harbour and being as excited about the beauty of Sydney. I doubt it would happen. Instead I think an Australian would probably wait for the foreigner to say, "this is  amazing" and then reply, "yeah… it's alright I guess", which is a little sad.  I mean, why not be excited? Being apathetic might mean you never risk being vulnerable, but there was something endearing about this overly-excited American man. He loved his city. Sure, there may be better places in the world, but he loved it nonetheless. He put his opinion out there and was proud. 
  4. New York - I don't get it. Everywhere is a line, nothing is discovered for the first time, everyone has done it before you, people work long hours, apartments are expensive and small, there's a constant sense of needing to prove your better than everyone else you meet, and yet, when it came time to go, I was not ready. 
  5. Australian print media is shithouse. I worry about the breadth and depth of news that is available to the average Australian. Every morning I read the paper: The Wall Street Journal, THe Washington Post or the New York Times. It wasn't just the selection of stories that was broader - raining from stories on the nuclear weapons deal with Iran to in depth analysis of the anniversary of the Gettysburg address - the writing was vastly superior too. On arrival back in Australia I did a quick check of the front page of the Daily Telegraph. The headlines read: Dr Harry's tragic loss; Dannii v Kylie - Talent Show Sister Act; Mauled - Australia Zoo Attack; and a small story titled Grins of the Father, about a Bishop who smiled during the royal commission hearing into child sex abuse. Over on page 18, the world news section included two stories about how a bikini removal caused a car crash in New York, and a story on a Parisian couple who had carried out a suicide love-pact.


< WASHINGTON >







< NYC >





< SALT LAKE CITY >




Sunday, November 10, 2013

Eleanor Dunlop - Disguise

Heard this song on the radio this afternoon and could have sworn it was Juanita Stein from Waikiki. Surreal similarity in the voices.

Thursday, October 24, 2013

Arcade Fire - Here Comes the Night Time

We learn two things in this video:

  1. Arcade Fire are totally fine with taking the piss out of themselves.
  2. Michael Cera is just as funny in Spanish as he is in English. 

Monday, October 21, 2013

Friday, October 04, 2013

Choral Music Friday

Just to get you all pumped for the weekend, it's time to get into some choral music! What's that? I know! Oh yeah baby!

Here are a few of my favourite pieces. I've tried to seek out the best standard of singing for each piece. Unfortunately the standard of video doesn't always correlate.

If you're new to choral music and have an overwhelming desire to click back to facebook right now, just let's take a risk together. How to explain why listening to a good choir is exciting?

Imagine a sound guy at the mixing desk at your local pub. The band are rocking away on stay. The guitarist has his amp up as loud as it will go. The drumming is smashing away up the back. The bassist is thumbing away trying not to be seen. And the singer is gyrating into the microphone stand as he screams away into the mic. Individually, they are playing a different gig to the one you hear. That's because what you hear is what the sound guy lets you hear. That's because it is the sound guy's job to make sure all the 'levels' are correct. He can make the drums cut through, or make them 'sit underneath' the bass so that the it comes out of the speakers as a unit that gets your feet moving. He can make the vocals louder so that they're not drowned out by that distorted guitar. He can even monitor the levels during a song to make sure any vigorous playing doesn't stick out too much. The point is, one person has control over what you hear.

With a choir, what you hear is dependent on 30 people, reacting in real-time to create a unified sound. Each member has to be listening and singing in unison, not only with the other people in their part (ie soprano, alto, tenor, bass), but also as part of the whole. It's a constant process of 'mixing' by each chorister. As you can imagine, when thirty people are trying to do this at the same time, there's a lot of scope for error. One person out of time, one person giving slightly more emphasis to a note or a word in the wrong place, and what you hear will sound impure. It's like a human pyramid. When one member goes down, the whole thing falls over.

So when you hear a choir sing and it sounds like one living organism, rather than a collection of parts, you can be sure of two things: it is superior singing and it has probably taken about 5 years to get the choir to sing like that.

Take a moment to listen out for the way some of these choirs treat the words in these pieces. For example, listen for the word 'drown' in the first video 'weep o mine eyes'. Can you hear the way they accentuate the 'd' and fall away from the rest of the word, so that the '-rown' is swallowed by the acoustics. Does it not sound exactly like someone slipping below the surface of the water?

Similarly, listen to the way the choir plays with tempo in the second video, a version of Ubi Caritas by King's College Cambridge. Listen to the way they slow down ever so slightly to savour the resolutions of the phrases, particularly the one 'et ex corde diligamus nos sincero' (May we love each other with a sincere heart'). It's not so much a change in tempo as the choir allowing the music to breath. hm-hmmmm.








Monday, September 30, 2013

'...for the world is filled with wonders.'

I often wonder why so much of children's literature contains messages encouraging the reader to maintain faith in the impossible. I'm thinking of Alice in Wonderland (believing in five impossible things before breakfast), The Chronicles of Narnia (believing in the magic from before the dawn of time), Peter Pan (believing in fairies), just to name a few. Perhaps the adults that write these books are trying to remind adults of the things they used to believe in, and how easy it used to be, before the veil the separates the child in all of us from our adult selves came down.

In L. Frank Baum's Rinkitink in Oz there is a wonderful exchange between King Kitticut, the ruler of the Island of Pingaree, and his son Prince Inga. King Kitticut has decided to confide in his son and reveal to his heir the great secret of his rule:
THIS BAG HE proceeded to open, showing Inga that it contained three great pearls, each one as big around as a marble. One had a blue tint and one was of a delicate rose color, but the third was pure white. 
"These three pearls," said the King, speaking in a solemn, impressive voice, "are the most wonderful the world has ever known. They were gifts to one of my ancestors from the Mermaid Queen, a powerful fairy whom he once had the good fortune to rescue from her enemies. In gratitude for this favor she presented him with these pearls. Each of the three possesses an astonishing power, and whoever is their owner may count himself a fortunate man. This one having the blue tint will give to the person who carries it a strength so great that no power can resist him. The one with the pink glow will protect its owner from all dangers that may threaten him, no matter from what source they may come. The third pearl -- this one of pure white -- can speak, and its words are always wise and helpful." 
"What is this, my father!" exclaimed the Prince, amazed; "do you tell me that a pearl can speak? It sounds impossible." 
"Your doubt is due to your ignorance of fairy powers," returned the King, gravely. "Listen, my son, and you will know that I speak the truth." 
He held the white pearl to Inga's ear and the Prince heard a small voice say distinctly: 
"Your father is right. Never question the truth of what you fail to understand, for the world is filled with wonders."
It is good wisdom. 

I recently watched the below sermon by Frederick Buechner, delivered some thirteen years ago now, when Buechner was 74. I encourage you to take twenty minutes out of your lives to watch it. And if you do decide to watch it, maybe you could write down your reflections on it. 

I’ve included some of mine below. I am loathe to pigeon hole them as ‘Christian reflections’ because I feel like what Buechner says in this video is so much bigger than just the Christian story. It’s so much more universal than that. It's as if to speak of it through a Christian lens is to marginalise the message somehow, to make it too easy to shoot down. And for that reason, I wish I could take Jesus out of the book, so to speak. To free the story from the connotations of religion so that it can rightly be what it is, a story about us, rather than 'the story' out of 'The Bible’.  But I also understand that to the objective observer, these thoughts below must seem very biblical. 

So how do I separate them from the heaviness of the church?  Or from the heaviness of religion? Not mention them at all here or anywhere?  Trust me, I've thought about doing that. But then I thought, this blog is meant to be about sharing in a fragile hope of connection - that the same bird might echo through both of us. And then I thought, maybe I don't need to understand why I'm writing this here for now. Maybe I should simply accept the wisdom of King Kitticut's pure white pearl. 'Never question the truth of what you fail to understand, for the world is filled with wonders.' And maybe understanding that is enough for now. 




So here is what I thought about after watching Buechner's sermon. 

'Truth as seen by the heart' 

That is the phrase that has stuck with me. It seems to me the very centre of faith.  The faith I have (maybe not a churchly faith perhaps but I believe a faith nonetheless) is one that believes in the 'holiness' of the world that I see with my heart and the hidden 'holiness' at the centre of every person in it as they go about their daily business of seraching for someone to be, someone to love and work to do. 

The holiness of Jerry the disabled program-seller at Eastwood Rugby Club, who turns up with such excitement each Saturday, immaculately dressed in his gifted blue and white pin stripe suit – his prize possession. I wonder what he does with his weeks: the in-between times. There’s holiness in his story.  

Or the holiness of my Mum and her steady struggle to create moments of value around her, despite her parents never having really seen the true value in her and as a result her becoming deaf and blind to her own value. There’s holiness in that struggle.  

And even the holiness at the centre of the struggle of the people that call up to agree with Alan Jones or Andrew Bolt, and in doing so, perpetuate such inhuman ugliness. What makes a person that way? There's something to understand there. Something about their fear maybe?

The thing is, this faith that I have is almost always in spite of the shadows and doubts and unholiness that I see with my eyes.  It’s in spite of what I see. It is a faith in things unseen. It is I believe, as Shakespeare writes, the dream that we wake from, only to cry to dream again. 

In his book, The Sacred Journey, Buechner reminisces about a phone call he received just as he was sitting down to a dinner one night with his mother. It was a from a friend in distress. His friend's family had been involved in a serious car accident and he asks Buechner to come and sit with him at the airport until his plane leaves to go see them. 
Buechner writes:
THERE ARE MANY people in this world — I suspect they may even be in the majority — who in face of such a cry for help as that would have seen right away that, humanly speaking, there was no alternative but to say that they would be at the airport as soon as a taxi would take them
there. I have known many such people in my day and can explain them only on the grounds that they are strong, compassionate, and at least in that sense, Christian by instinct. My instinct, on the other hand, was to be nothing so much as afraid. I was afraid of my friend's fear and of his tears. I was afraid of his faith that I could somehow be a comfort and help to him and afraid that I was not friend enough to be able to be. Dating perhaps from that November morning of my childhood when I opened the door of Jamie's and my bedroom on a tragic and terrifying world that I had no resources for dealing with, I was afraid of opening the door into his pain or anybody's pain. So although I knew as well as anybody that I had no choice but to say that I would come, what I said instead, Heaven help me, was that I would come if I possibly could but there were things I had to take care of first and would he phone me back in about ten minutes.
 
Buechner's mother's reaction was also to shut out this cry for help, although for different reasons:
THE WHOLE THING was absurd, she said. My friend was a grown man. He had no business carrying on like a hysterical child. What earthly good could I do anyway? It was outrageous to think of spoiling an evening together that we had both been looking forward to for days.
Buechner recalls that everything his mother said was precisely what at some level of his being he had already been saying to himself, and that was of course what made it so appalling. It was only when he heard it on someone else's lips that he heard it for what it was, and as much out of revulsion at himself as out of pity for his friend, he resolved that as soon as he called again, he would tell him that he would come immediately.
 
This decision turns out to be one of the watershed moments in Buechner's life:
MY MOTHER'S APARTMENT by candlelight was haven and home and shelter from everything in the world that seemed dangerous and a threat to my peace. And my friend's broken voice on the phone was a voice calling me out into that dangerous world not simply for his sake, as I suddenly saw it, but also for my sake. The shattering revelation of that moment was that true peace, the high and bidding peace that passeth all understanding, is to be had not in retreat from the battle, but only in the thick of the battle. To journey for the sake of saving our own lives is little by little to cease to live in any sense that really matters, even to ourselves, because it is only by journeying for the world's sake—even when the world bores and sickens and scares you half to death—that little by little we start to come alive. It was not a conclusion that I came to in time. It was a conclusion from beyond time that came to me. God knows I have never been any good at following the road it pointed me to, but at least, by grace, I glimpsed the road and saw that it is the only one worth traveling. 

I think 'The Battle' that Buechner calls us to necessarily takes place in the shadows of our faith. It takes place in the moments of doubts. In those waking, crying moments. The time we are let down by a friend. Or by our work. Or by the world! Or, and this is by far the most common for me, the time we let ourselves down. That is where the battle takes place. Because it's in these moments that our faith in things unseen is challenged. And it's in these moments that we have to choose either to fight for the truth of that faith, even when every worldly thing points to our being wrong, or accept that wrongness as the actual reality of our existence.

For me, the ultimate answer to our doubt in those moments - those moments where we might start to believe in the wrongness of things - lies in the other phrase that stood out for me in Buechner’s sermon: 'To see with the heart, is to know that, in the long run, his kind of life is the only kind of life worth living. It's a simple as that.'

I love this phrase, 'in the long run'.  It implies a span of time over which mistakes can be made. It implies a span of time throughout which we have, at different points and for different lengths of time, doubted whether his kind of life really is the only kind of life worth living! And finally it implies an inevitability to the truth of the conclusion that yes, while we will doubt, we will all eventually end up at the same point, at the same conclusion: because ultimately, it’s the only conclusion we can any of us come to.

It’s an endless longing… for home.

‘Blessed are those that have not seen, and yet believe.’
 
Gosh.

Louis CK - Jizanthepus



This is amazing.

I don't know how you are this offensive and then come out somehow having made some really pertinent universal human observation.

For all its chaos, it's perfectly measured, with the punchline sneaking right up on you just as you've about had enough. You can see in his eyes as he takes a drink of water that he knows he's right on the brink. Then he saves it with this:

'You gotta protect your kids. A lot of people talk the talk, "I would throw myself under a bus." Oh yeah?! Would you fuck another kid's dad and confuse him sexually and yourself sexually in the process, and use homophobia that you hate against another person just because some kid shoved your kid for a second?'

Saturday, September 28, 2013

Saturday morning in South Turramurra

I'm writing from my parent's house in South Turramurra. It's a long weekend in Canberra, so I thought I'd come up and take advantage of the house being empty.

I went to the shops to buy breakfast this morning. The walk is about 4 minutes in total, through bushland and across a field where growing up I spent hours kicking a football, imagining myself into any number of scenarios which involved me winning whatever game it was I was playing in my head with the final kick of the game. 

There was an old lady on her daily walk to get a coffee this morning. She moved slowly along the path in front of me, stopping at the foot of the steps of the asian bakery where I was getting breakfast, unable to go any further with her stick. She just stood there at the base of the steps, the very outer limit of the world her body now let her travel to, and thus, I suspect, the very outer limit of her world, and waited.  Dutifully, the shop assistant came out from behind the counter and walked down the steps to her.  Without saying anything, the old lady held open her purse. The shop assistant reached in and took out $3.60 and showed it to the woman as if to verify it was the correct amount. But the woman didn't look and the shop assistant disappeared back up the steps and behind the coffee machine. 

I watched the old lady as kids and dogs and parents bound in and out of the shop about her. They bought bread, and cheese and bacon rolls and milk and coffee scrolls and sweet smelling custard tea cakes with cinnamon icing. And the coffee machine whirred as the kids squealed with stories of netball and swimming lessons and the parents squealed with stories of driving to netball and watching swimming lessons. A small girl, about 5 years old, was scared of a dog and had to be coaxed by her grandmother to walk past it and into the shop, only for the dog to cower in the corner at all the attention and the owner to explain that in fact it was the dog that was scared of people. 

An old man dressed smartly in tailored shorts with his tshirt tucked in at the belt, his hair proudly combed the way old men's hair is and his face still glistening with water from the morning's fresh shave, stepped backwards from the counter, bumping into a small boy who was standing behind him. 'Sorry mate!' beamed the man, his face all kindness, as the boy cowered away into the safety of his mother's skirt. And as he moved to the back of the shop to wait for his order to be ready, I thought I saw a flicker of something alive in the old man's face. As if, at the very least, something in that honest interaction with the boy had made this morning's shave worthwhile. 

And in the midst of all this, or out of it, the old lady stood there, like a rock weathering the storm taking place around her. She was a rock, and yet at the same time, standing there, her right arm quivering as she balanced it on her stick, and dependent on the shop assistant even for so menial a task as counting out the money from her purse, she was also the most fragile thing there.

What does any of it mean? 

Buechner says that if God speaks, it is into and out of the thick of our lives. And when he speaks, he speaks incarnate words. Words made flesh through the lives of people. 

I'm not yet sure how I feel about the word God, but words made flesh is something I identify with. Not least because it seems possible to see those words in flesh if you listen for them. Sometimes I wish I could stop listening. But it is all so palpable. 

As I write this, I'm sitting in the backyard enjoying the sunshine. It's 29 degrees. The wind is rustling the leaves of the trees above me. Jacqueline Du Pres just started playing Elgar's cello concerto. The sounds of that cello. Gosh! What Elgar must have felt when he wrote that down!  I've been swooped by a magpie. Again. That makes twice. Time to retreat inside. 

Wednesday, September 25, 2013

Ani Difranco - School Night

Woah - do not know how I have never heard this song before. The lyrics are... well.... amazing (and below).  Get your ears around it.  This is approaching late night red wine looking out over the roofs of paris territory.



she went over to his apartment
clutching her decision
and he said, did you come here to tell me goodbye?
so she built a skyscraper of procrastination
and then she leaned out the twenty-fifth floor window
of her reply
and she felt like an actress
just reading her lines
when she finally said
yes. it's really goodbye this time
and far below was the blacktop
and the tiny toy cars
and it all fell so fast
and it all fell so far

and she said:
you are a miracle but that is not all
you are also a stiff drink and i am on call
you are a party and i am a school night
and i'm lookin' for my door key
but you are my porch light

and you'll never know, dear
just how much i loved you
you'll probably think this was
just my big excuse
but i stand committed
to a love that came before you
and the fact that i adore you
is but one of my truths

what of the mother
whose house is in flames
and both of her children
are in their beds crying
and she loves them both
with the whole of her heart
but she knows she can only
carry one at a time?
she's choking on the smoke
of unthinkable choices
she is haunted by the voices
of so many desires
she's bent over from the business
of begging forgiveness
while frantically running around
putting out fires

but then what kind of scale
compares the weight of two beauties
the gravity of duties
or the ground speed of joy?
tell me what kind of gauge
can quantify elation?
what kind of equation
could i possibly employ?
and you'll never know, dear
just how much i loved you
you probably think this was
just my big excuse
but i stand committed
to a love that came before you
and the fact that i adore you
is just one of my truths

so i
i'm goin' home
to please the one i so love pleasing
and i don't expect
he'll have much sympathy for my grieving
but i guess that this is the price
that we pay for the privilege
of living for even a day
in a world with so many things
worth believing
in

Jon Hopkins - Breathe This Air

The Trouble with Templeton - You Are New

Saw these guys the other night in Canberra. They nailed a set in front a crowd of small but vocal fans. Having read a couple of reviews of their album Rookie, it's clear that this sort of sweet-voiced-guitar-ballad-music is seen as the past, with synth-infused jingly-jangly-shouty-chorused-bop-pop the present.

As one of my friends once said about singersongwriters, 'get a fucking drum kit'.

That said, this song is sweet and anthemic.

And it has a drum kit.

So fuck you.
 

Friday, September 20, 2013

The sweet birds' return

I recently read another of Frederick Buechner’s books, called The Yellow Leaves. This is the forward that the  82 year old Buechner launches the book with. I thought it was rather beautiful. Full of longing and acceptance. Side by side.
~~~~~~~~~~~~~~~~~~~~~~~

"The time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those bough which shake against the cold,
Bare ruined choirs where late the sweet birds sang
-          William Shakespeare

I can still write sentences and paragraphs, but for some five or six years now I haven’t been able to write books. Maybe after more than thirty of them the well has at last run dry. Maybe, age eighty, I no longer have the right kind of energy. Maybe the time has simply come to stop. Whatever the reason, at least for the moment the sweet birds no longer sing.

On the other hand, during this unproductive time I started a number of things which for one reason or another I decided to leave unfinished but which, on rereading, I decided maybe had enough life in them to warrant inclusion in a volume like this. A story, some reminiscences, a handful of poems about my family, a scene form a novel – they are the yell leaves that hang upon these boughs that are not so bare and ruined but that they still dream from time to time of the sweet birds’ return."