Like all new years, 2019 dawns with limitless promise and if the past is any guide 2019, like 2018, will end with most of those promises unfulfilled. It is the few that will be filled that provide hope for our dreams.
Fear of the unknown causes so many problems, but their solutions also lie in the unknown. My one resolution for 2019 is to embrace the unknown, to hold it close, and to learn as many of its secrets as I can before it is whisked into the past, into the comfortable realm of experience.
For a lot of people, this season is not the jolly one that it is supposed to be. Songs and movies that give comfort and joy to many, pull a decidedly nasty trigger for others. It is no coincidence that suicide rates rise during the holidays.
The days are as short as they get in the northern hemisphere and the darkness at the end of each one gets longer. It gets so cold at this time of year that our bones shiver and teeth chatter. Nature throws some of her worst at us and the way our society responds – with parties and gifts and time off from work – has the opposite of its intended effect on many of the ones it is trying to comfort.
This is a season of reflection. I think of family and friends who have died or drifted away. Luck and institutional advantages have offered me a life filled with joys big and small, so most of my memories are happy ones that help me get through these short, cold days but some people would just as soon forget all the ghosts of Christmas past.
Christmas is the season of love, the kind of love that exists in its purest form in every religion, moral philosophy, and agency that works to get food to the hungry and justice to the abused. And when justice is not possible, that pure love gives compassion and hope.
You don’t need to have a picture-perfect holiday, or find the greatest gift, or pretend that you’re jolly at the holiday parties. You do need to know that there are people in the world, even if they don’t know you, who are thinking about you in the midst of their holiday hoopla, and are hoping that you make it through this season stronger for your fight against the Christmas trigger.
Five years ago today I started this blog as a new artistic project after I quit my band of 30 years. In the days since I started Words & Music I wrote a novel, became a poet, and composed most of my favorite original songs.
I have posted about 650 poems, stories, songs, reviews, and drawings, and have clocked about 150,000 views. I am grateful for every eyeball and every eardrum that looked and listened to something I posted here.
Blogging is a social media like any other, feeding on views, likes, and comments. There is a place for that kind of thing in art – a focus on having people look at or listen to your work – but it’s not a place I want to be right now. So I’m going to take a break from the blog to devote more attention to projects that feed on time and solitude.
The only thing I’m going to miss might be you.
There is a thing called the “ideal reader” who is the individual a writer keeps in mind while he writes, to turn our monologue into dialogue. I have a picture in my head of mine. She is so sweet. And she might be you. I hope she is.
For those on the hunt for a new job, several positions have recently become available in diverse fields of endeavour. So, spruce up your resume and submit to this blog for consideration of the following opportunities:Please note that we will only respond to applicants under serious consideration.
This Veteran’s Day I am thinking about the legacy of veterans that goes beyond wars and weapons, to the ideas that compel people to take up arms, and to the wisdom that is gained through experience, especially such transforming experience as war.
Germany, in the early 1930s, was a shithole country. Not that our current president would categorize it that way – most of its residents being white – but it had debts that it could not pay. It rang up those debts in the first World War and thought it might be better to commit further atrocities than to pay off those debts. It was correct. Germany was allowed to prosper after the second World War, regardless of its offenses against the human race, in part because of the Marshall Plan.
Unlike the behavior after previous wars, the Allies did not confiscate the land and property of the Axis powers, or subjugate their people. Instead, the United States government from 1948-1952 gave roughly $100 billion in today’s dollars to rebuild their economies.
On June 5, 1947, US Secretary of State George Marshall spoke these words to the graduating class of Harvard University:
The modern system of the division of labor upon which the exchange of products is based is in danger of breaking down. … Aside from the demoralizing effect on the world at large and the possibilities of disturbances arising as a result of the desperation of the people concerned, the consequences to the economy of the United States should be apparent to all. It is logical that the United States should do whatever it is able to do to assist in the return of normal economic health to the world, without which there can be no political stability and no assured peace. Our policy is not directed against any country, but against hunger, poverty, desperation and chaos. Any government that is willing to assist in recovery will find full co-operation on the part of the United States. Its purpose should be the revival of a working economy in the world so as to permit the emergence of political and social conditions in which free institutions can exist.
The plan had bipartisan support from the Republican Congress and Democratic White House.
From the early 16th Century until the end of World War II, Europe’s militaries conquered or subjugated almost every other country on Earth and fought continuously against each other. Other than the warfare that accompanied the collapse of Yugoslavia, and Russian invasions of Crimea and Ukraine, Europe has known peace for seven decades.
The changes in America were profound as well. Before the second World War most Americans were isolationist but as we learned the interconnected nature of human society in the 20th Century, we developed more globalist views. The realization that all the people of the world have more in common that opposition has brought peace and prosperity that the world never knew during millennia of nationalism. The wave of nationalist movements in the US and across the globe today pose a threat to the internationalist policies that we pioneered and whose value have been proven by experience.
We live in an age of short attention spans and sound bytes, which would seem to suggest shallow imaginations but it might signify something very different: an increased ability to absorb more information in less time. One example of this optimistic interpretation is the fact that we are living in a golden age of poetry. Nothing quite distills the human experience to its essence as well as poetry.
James Baldwin didn’t write a lot of poetry – only one book of his poems was published in his lifetime – but his prose captures the complexity of existence with the same density as poetry. He once said that “every poet is an optimist. But on the way to that optimism ‘you have to reach a certain level of despair to deal with your life at all.’ ”
In his novel If Beale Street Could Talk, Baldwin suggests that if we are absorbing information more rapidly than our ancestors, we might come to regret it:
It doesn’t do to look too hard into this mystery, which is as far from being simple as it is from being safe. We don’t know enough about ourselves. I think it’s better to know that you don’t know, that way you can grow with the mystery as the mystery grows in you. But, these days, of course, everybody knows everything, that’s why so many people are lost.
There have always been some people who processed information at a higher capacity than others. James Baldwin was one. Here is the information he imagined being absorbed by a young woman on the subway:
I looked around the subway car. It was a little like the drawings I had seen of slave ships. Of course, they hadn’t had newspapers on the slave ships, hadn’t needed them yet; but, as concerned space (and also, perhaps, as concerned intention) the principle was exactly the same. A heavy man, smelling of hot sauce and toothpaste, breathed heavily into my face. It wasn’t his fault that he had to breathe, or that my face was there. His body pressed up against me, too, very hard, but this did not mean that he was thinking of rape, or thinking of me at all. He was probably wondering only – and this, dimly – how he was going to get through another day on the job. And he certainly did not see me.
There are two main characters in If Beale Street Could Talk. One is Fonny, an artist of a different type than Baldwin. This description of the sculptor’s process shows how all of art, like all of love, is one thing:
Fonny is working on the wood. It is a soft, brown wood, it stands on his worktable. He has decided to do a bust of me. The wall is covered with sketches. I am not here.
His tools are on the table. He walks around the wood, terrified. He does not want to touch it. He knows that he must. But does not want to defile the wood. He stares and stares, almost weeping. He wishes that the wood would speak to him; he is waiting for the wood to speak. Until it speaks, he cannot move. I am imprisoned somewhere in the silence of that wood, and so is he.
He picks up the chisel, he puts it down. He lights a cigarette, sits down on his work stool, stares, picks up the chisel again.
He puts it down, goes into the kitchen to pour himself a beer, comes back with the beer, sits down on the stool again, stares at the wood. The wood stares back at him.
“You cunt,” says Fonny.
Hi picks up the chisel again, and approaches the waiting wood. He touches it very lightly with his hand, he caresses it. He listens. He puts the chisel, teasingly, against it. The chisel begins to move. Fonny begins.
The other main character is the narrator, Tish. It might be a bit of a stretch from writer to sculptor, but nothing like a man trying to imagine how it feels to be a pregnant woman. Baldwin’s portrayal might be as close as a man’s ever gotten to accuracy in this scene with Tish and her sister:
I realize, for the first time, that the bar is loud. And I look around me. It’s actually a terrible place and I realize that the people here can only suppose that Ernestine and I are tired whores, or a Lesbian couple, or both. Well. We are certainly in it now, and it may get worse. It will, certainly – and now something almost as hard to catch as a whisper in a crowded place, as light and as definite as a spider’s web, strikes below my ribs, stunning and astonishing my heart – get worse. But that light tap, that kick, that signal, announces to me that what can get worse can get better. Yes. It will get worse. But the baby, turning for the first time in its incredible veil of water, announces its presence and claims me; tells me, in that instant, that what can get worse can get better; and that what can get better can get worse. In the meantime – forever – it is entirely up to me. The baby cannot get here without me. And, while I may have known this, in one way, a little while ago, now the baby knows it, and tells me that while it will certainly be worse, once it leaves the water, what gets worse can also get better. It will be in the water for a while yet: but it is preparing itself for a transformation. And so must I.
James Baldwin must have spent a lot of his time writing this novel in contemplation of pregnancy and of the differences between women and men.
Only a man can see in the face of a woman the girl she was. It is a secret which can be revealed only to a particular man, and, then only at his insistence. But men have no secrets, except from women, and never grow up in the way that women do. It is very much harder, and it takes much longer, for a man to grow up, and he could never do it at all without women. This is a mystery which can terrify and immobilize a woman, and it is always the key to her deepest distress. She must watch and guide, but he must lead, and he will always appear to be giving far more of his attention to his comrades than he is giving to her. But that noisy, outward openness of men with each other enables them to deal with the silence and secrecy of women, that silence and secrecy which contains the truth of a man, and releases it.
James Baldwin’s greatest talent is insight. As skilled as he was at his craft, his words were slaves to his thoughts and they revealed him: thoughtful and kind. In this scene, published the year he turned 50, his young couple, in the throes of first love, share a mean with their friend Daniel:
Fonny: chews on the rib, and watches me: and, in complete silence, without moving a muscle, we are laughing with each other. We are laughing for many reasons. We are joined together somewhere where no one can reach us, touch us, joined. We are happy, even, that we have food enough for Daniel, who eats peacefully, not knowing that we are laughing, but sensing that something wonderful has happened to us, which means that wonderful things happen, and that maybe something wonderful will happen to him. It’s wonderful, anyway, to be able to help a person to have that feeling.