I’ve No Beef with Your Cultural Identity
Being a female or male Croatian
Is no more determined by your location
Than eye-color, height or weight, or sex is
By where you were born in the state of Texas—
But I will admit Texan regions do
Determine the skew of your barbecue,
And can also say, since it ain’t no tattle,
That many are mighty fond of cattle.
Restorative Dreaming
A pensive morning in quiet shade
Of this is inner contentment made
A sip of silence, a moment’s rest
In the garden corner I love the best
With butterflies skimming the border’s blooms
Voile curtains billowing out of rooms
A book of poems upon my lap
Read in short bursts between nap and nap
And the sound of a bicycle coming near
To bring the post of love-letters here
I’d rather recline in this reverent haze
Than waste on reality any days
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.
Listening in on rehearsals for the new Jake Heggie Ahab Symphony a companion to his opera Moby-Dick), I wrote. Tonight (24 April 2013), if you’re not able to attend in person, you can watch and listen to the live streamed performance of the world premiere at 8 pm CST at this link, featuring tenor Richard Croft, the University of North Texas Symphony Orchestra and Grand Chorus and conductor David Itkin: http://recording.music.unt.edu/live. In the meantime, from me:
Characteristic Frequencies
Light, to begin, as though it were the dawn,
And whispered voices breathed themselves awake,
And sentience would rise and fall and make
A storm, turn faint again, scarce moving on–
On lyric waves these messages were sent,
Foretelling danger and the pangs of grief,
Then, gentler, sing of comfort and relief,
Follow each graceful passage where it went–
This, while the song comes lapping up at me,
Comes pulling like the most insistent tide,
Whether the sound grows deep or thin and wide,
Draws me on deeper in this sonic sea–
Seek me no more, but let me run aground,
My soul sunk in these waves, and listening, drowned.
Defying ProbabilitiesThe most improbable outcome
Of delirious, fanciful dreams
Is not the impossible can’t-be
That perpetually it seems—
And I can prove this conundrum,
In my personal life, is true,
For it happens that though it’s wildly unreal,
I’m actually loved by you.
Daybreak ReturnsFrom the grasslands, from the marshes, from the margins of the moor
Rise up misty ghostly creatures in the pearly light of dawn,
Some mementos, revenants or sylph-like spirits past and gone
To the brink of ancient memory and up to its creaking door,
People whom we, fond, remember or with some frisson of heart,
Those who populate our past, storied as fabled gods and kings,
Filled with magic and wild treasure and a million pretty things
That we wish we might have honored as such value from the start—
So at daybreak they come whispering, returning, silver-grey
Without tarnish in their sterling, as they rise up in our sight
And return to us those memories had fallen into night,
Bringing back that love and loveliness of theirs to present day
Isn’t it intriguing how easily we have (supposed) conversations without actually interacting at all? I confess that I have refined these abominable skills as much as anyone: listening without hearing, talking without saying anything, being in a room full of people yet in my self-centeredness, remaining utterly alone. This, I fear, is a nearly universal art among the human denizens of earth, something we began to create and cultivate as soon as we first attempted to interact, no doubt. We may want to do better, to mean something and be of value in ourselves to the rest of the world, but it’s hard to rise above the urge to feel more important and focus on self for long enough to accomplish any such thing.
Our only hope, I suppose, is to do what little we can, each of us, in the tiny moments when we are sufficiently distracted from our narcissistic whims to stop staring, if only for the blink of an eye, at self and realize the beauty and value of the rest of the company. What was a faint whisper at the remotest edge of consciousness could indeed prove to be a word of great and precious wisdom from a true sage. That little wink of light over there on the far, far horizon might actually be a flash of beauty or the light of kindness or even the warming blaze of a loving heart somewhere not entirely out of my reach if I’d only open my heart to it. I’ve fallen short of reading these signs and responding in proper ways so many times over the years.
But perhaps it’s not too much to say I’ll try, and try again. I know in reality I am not at all alone.
A recent New York Times article reminded me that, no matter how I might classify myself as anything but an activist, I have always been one, of a sort. It’s true that I’ve always assiduously avoided conversation, let alone physical action, tied to politics, religion, social policy and pretty much any ‘hot topic’ you can name unless I sensed I was in the safest possible environment to do so–generally, amid a comfy flock of like-minded partisans. The article is chronicling the US uprising of a relatively new breed of American artists and their support systems dedicated to, as the title bluntly states, social activism; the author gives appropriate reference, of course, to the practice being a long-standing one in other parts of the world, but shares the view that it’s still rather fresh and new here on American turf.
I’ll grant that the forms and formats may well have changed, and that there might be a larger collective sense among those who would embrace this title of being dedicated to the purpose more specifically than others, but I will step right out on my own tiny soapbox now and assert that, insofar as art is seen as a form of communication–and this might well include virtually all art except that created and performed in private and without any wish or expectation than anyone other than its maker will know it exists–it is inherently activist. The decision to create something I intend to be art and allow it to be known to others says a whole lot of things about me, the subject of my work, and my general worldview, and if I am allowing others to experience these in the art, assumes that they will respond through and with their own worldviews to it, effectively in a social interaction, whether we converse directly about it somehow or those who have interacted with my art turn around and respond to it in the continuation of their lives.
Who knew I was such a rabble-rouser? But truthfully, even by making those ‘meaningless’ little doodles that don’t turn into full-blown drawings or paintings, I am making something of a statement, am I not? I scribble, therefore I am. By doodling, I am not only using my energy to do that rather than anything else, I am also creating a portal through which my thoughts can emerge; if they turn, via this scrawling, into a concrete idea it may lead to the completion of an artwork expressing it more openly. This, in turn, suggests that I have a thing or two to say and I’m willing for others to hear it, see it, feel it–to interpret it and respond to it, even. I never think of myself as daring, but I think it’s fair to say that letting my inmost thoughts and imaginings be seen and analyzed by others through their own filters is at least a little brazen, if not occasionally foolhardy.
One of my late mentors, Lawry Gold, wrestled with the supposed divide between art and function, and he was anything but shy about being an outspoken activist, albeit a very kindhearted and generous one. He was a boldly countercultural person in a great many ways, and yet he seemed to me to reach the peak of his own overt rebelliousness when he began working on a body of art that was deliberately and unabashedly functional (beautifully art-covered, distinctively designed tables, lamps, clocks and the like) for sale through his gallery agents. This was something I know he enjoyed at least a little as cheery cheekiness to tweak artist snobs who were apparently so benighted they couldn’t accept the marriage of form and function thus, or so rich they could afford to sit around waiting for other equally rich people to buy their non-functional work, no matter what the state of the economy. Besides that these were among his most gorgeous and sophisticated works, to me they spoke of the recognition that art, besides taking so many different forms, speaks to us in many different ways, and that breadth and depth has great value.
At the same time, my friend never stopped making ‘non-functional’ art, because he of all people also had a tremendous desire to communicate, whether it was by visual storytelling in his often humorous, whimsically imaginative artworks or by making a more specific point with his illustrative and symbolic works. And he never hesitated to engage in the discourse that followed anyone’s viewing of his work. He and I had a joint exhibition of our artwork once, and as I was curating and installing the show I objected to one of his pieces that he wanted included, thinking it was not in keeping with all of the others we had selected, and he patiently steered me toward a clearer understanding that it was indeed very well suited; even though I never liked that piece as much as the others, I found that it carried an important part of the ‘conversation’ made up by the whole of the exhibition, and in fact that one interaction changed the way I curated many an exhibition of others’ work in the years that followed.
Ultimately, I see in the creation of art–of any form–an act that if it isn’t in open defiance of the social norms, allows or even invites the examination of and discourse on them. So even though much art is not made, like Lawry’s, to function in an obviously practical way, it all serves a purpose; ‘merely’ being beautiful or compelling may be purpose enough in adding layers of pleasure or relief or catharsis, but many works go far beyond that in opening new vistas to our contemplation, influencing our beliefs and even challenging us to change our behavior. All art is potentially advertisement or propaganda, for good or ill. And if that isn’t social activism, I think my encyclopedia needs some new illustrations.
Is all art crowd-sourced?
What shall I say when I am asked my opinion and I think it would be best not to give it? I feel a little like I should perform a circus act, give the impression of cheery appreciation while keeping the less charming truth to myself. Not a little, really–I think I’m actually quite the liar at heart when it comes to people asking for information I’m pretty sure they would not actually like to receive. There are indeed those who want an honest and purposeful breakdown of the situation in question, but they are in my experience rather few and far between. In real, day-to-day life, what people are generally seeking is reassurance and affirmation, encouragement and support, not really a critique, when they ask for opinions.
So excuse me if I put on my happy face and do a little tap-dance of diversionary niceness when asked. If it’s strictly entertainment you seek, I’m here for you and will do my little tricks as best I can, but I hope you won’t decide to ask me for any touchier information. The only thing I’ll willingly admit your pants make look big is my discomfiture on hearing the question.
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.
Art-Colored Glasses 