To be so filled with life that it has to flush from your very pores. Cheeks ruddy and ever ready. I suppose we all think it will last forever — sure that our feet will keep the deal that youth has made. But maybe it’s the heart that takes over. (Or maybe it led all along.) Maybe it’s the heart that drags us from spring’s mud into summer’s bliss. Maybe it’s the heart that races through grass’s morning dew again and again, and lifts us up from green knees when we fall, ever promising to keep our cheeks flushed through autumn. Through winter.
Every time I paint a face, I feel the colors in my own, flowing through my hands. And the corners of my mouth rise up, smiling, so happy to be a part of youth’s reddening still.
What will you do today, to remain in the race of summer?
I don’t know how many times I sang the song, “I wish I had a river…” Joni Mitchell was a staple in our house, so when it was “coming on Christmas,” she was on repeat. How many wishes did I make for that river, a river so long that I could skate away on, before I even knew what it would mean?
It wasn’t a river where I learned to skate. In fact it was a pond. Noonan’s Pond. And by “learned” I mean, fell and broke my arm. (Maybe that’s where all lessons are learned, in the falling.) All of my summers were spent attempting to fly. From diving boards to bicycle wheels, I was certain that my feet could leave the ground. It was no different with the change in weather. When the lakes ponds and froze over, I was certain, it was simply another way to take flight.
I wore my full plastered arm, like a badge of courage. Every fifth grader celebrated the attempt. All knowing, valuing, what that breeze felt like underfoot.
The needles are already falling from our tree on this sacred eve. But it’s ok. I learned it long ago on the ice. I learn it daily, simply loving. All the rivers to cross. There will be so many stumbles and falls, and letting ins and letting gos…all breezes under our hearts, under our feet, this love teaches us daily, how to fly.
It’s so often the case. Looking back. Seeing that we did actually bear the unbearable.
On my walks I frequently listen to the podcast “How I built this” — delightful stories of success in business, arts and industry. All with their own challenges. (No story is complete without them.) I suppose just enough time has passed — I’ve noticed a large percentage of the stories began during Covid. People suddenly had the time and the urgency to create something. And it’s beautiful to hear the good that can come.
It was during Covid that she decided to learn how to play the ukulele. Not the obvious choice, but as they say, we all have to make our own kind of music. And she has it now, the thing I think we all look to do when going through something — make the proof that we did in fact survive — And didn’t just survive, but thrived! We awakened the “good that can come.” She not only woke it up, but put it to music.
The bird book is my ukulele, my “How I built this.” And the most glorious thing is when our stories merge. When her music seeps on to my page, into the bird song, I know that we are thriving. I know that together, no matter what, we can do anything.
I suppose the real heroes don’t need the “proof.” But still it’s nice to see. It’s nice to hear. All the good that can come.
It was no small feat to gather the animals and dolls each summer morning to go for my walk in Hugo’s field. I had just enough to fill my brother’s hand-me-down red wagon. But I didn’t place them directly inside, the bottom was too rusty. In my brother’s defense, he didn’t care for “babies,” but hauled tools to build his own scooter in the shed. He was not concerned with the orange residue that could easily ruin a baby’s dress or an animal’s fur coat. To protect their delicate nature, I placed my best blankets from Ben Franklin underneath them. And to protect the blankets, underneath I put sheets from last week’s Alexandria Echo Press.
When everything and everyone was situated, out of rust’s way, off we would go into Hugo’s field. I imagined they were afraid, (only imagining because I felt it myself), so I would sing to them, sing to me. And the music always cleared the path. Even in the overgrown wheat, we walked on, lifted by each note, careful only to clear the way, and not damage the growth (Hugo reminded me of this, and rarely in song.)
Yesterday, for the first time, I heard a choir singing my words. A poem I had written was made into a song. As they sang, I felt the tears of tenderness drop gently on my legs’ goosebumps. With the choral field, I was clear, out of rust’s way.
I don’t know how to save the world, I’m not sure anyone does. But maybe along the way, we could make the journey a little lighter. Chase away the daily fear, with blankets and a song. Never to damage, but continue the path. In my youthful optimism, I can hear the choir sing.
They signed up for the choir like everyone else at Central Junior High, but for three years, Gail Kiltie and David Alstead held the added responsibility of accompanying us on the piano. I never asked if they had wanted to. I hope at least our director, Mr. Lynch had, but I’m not sure.
Maybe we all just came to expect it. We often do that in our daily lives, so busy singing we just assume others will take care of it — be the foundation. We all have our roles to play. And I suppose, I hope, that we gravitate towards them, want them, but I also think it’s important every once in a while to stop and ask. To be sure. To give thanks for the support given. To let those around us know that the gifts they give us are indeed the music that we sing. To acknowledge them for laying the notes we climb. Notes we scamper upon with such joy, under the premise “well, it goes without saying…” But does it? Or does it just go unsaid. I don’t want to take that chance. So I say to Gail and David, thank you! I say to you who read, who comment, who join me in the words I plunk on my own sort of keyboard, thank you!
What a pleasure it is to share the music of this life. To take to heart that our pianos will not go unplayed. Our love will not go unsung.
I don’t suppose the spaces left from loved ones passed can ever be completely filled. But maybe it’s wrong to think they ever were. These relationships weren’t beautiful, memorable, longed for even still, because of their solid perfection. Perhaps they were always stardust, flittering, fluttering, changing shape, with room always left for dancing, beneath the flickering light.
It’s the way I choose to think of it, my mother’s space, not as a hole left behind, but a dance floor. And all that magic that sprinkles from her still, lights up the people around me, and they step in, tap me on the shoulder, and ask me to dance. They are my new daily connections. My new last calls. My shared laughter and secrets. Hopes and challenges. Not replacements, but keepers of the dance.
We’re not all good at the same thing. Some are meant to pull you in, and simply sway. Other’s tap their feet and keep the beat alive. Some dizzy you into laughter. Dance you into breathless. And hold out the ladle of punch. I am grateful for them all. All of you, who keep my dance floor filled, my heart in motion, in sway, in the right tempo, under the stardust.
With no maps at hand, nor the inclination to read one, we roadtripped across America song by song. Blind, sure, but never deaf.
When we graduated from radio to cassette tape to CD, our world opened up. Able to change the song, the album, the singer with ease, we could play my mother’s favorite game show, Name that Tune. Once she had mastered our “record” collection, I switched the game to Name that Singer. Frustrated when I went deep into the collection, like with Meatloaf for example, after a few incorrect guesses, she began to answer only Meatloaf. Miles of endless freeway could disappear with laughter. Even when it was a female singer that she didn’t know, she would guess Meatloaf, and states would echo with laughter in the rear view mirror.
And it didn’t end there. With no phones or GPS, we never knew when our next meal would be. We’d have to chance the exits, or settle for gas station cuisine. At times, when stomach growls sounded over the playlist my mother would say, “I’m starving, put on that Meatloaf song again.” And hunger turned to laughter once again.
I no longer have a CD player, and I live in France, so it’s rare that I hear those old songs. But now we have Spotify, and I can choose the genre, which took some effort because they don’t have a “Blind driving with mother section.” So yesterday it happened in the car. As “Paradise by the Dashboard light” began to play, between singing, I had to explain to Dominique both the song and the game. We had driven around the city twice to try to find parking to pick up his new passport. With summer tourists in our already impossible to park city, we were blind of spaces. Is that why the song appeared? Possibly. A little laughter from heaven? I choose to believe it.
I suppose it’s always a choice. How we decide to feel, what we choose to believe. When handed frustration, I will say, no, I had the Meatloaf.
Other than the birds in the trees, Bud Christianson was the first to demonstrate the pure joy of music. He wasn’t just teaching it, he was living it. He directed the band at Jefferson Senior High. The only faculty member to drop the mister, we called him Christy. It suited his swagger.
This was long before Fame, Glee, and frankly before most of us had cable television. But I, we, knew we were in the presence of something special. So it shouldn’t have come as a surprise when he told us before the spring concert that not only were we going to play our instruments, but we were going to sing. But we’re the band, we’re not the choir, some questioned. “But listen to that music,” he said, “how can we help but sing?! And stand up when you do!” His enthusiasm was infectious. It did feel good! So in between puffs on my clarinet, I stood, jumped beside my section (I would have flown if I could have) and I, we, sang with all of our hearts. There was no band. No choir. No audience. No separation whatsoever. Because the music!!!
Have we lost the ability to hear? To celebrate our differences? I’m not ready to let it go. I must stand. We must stand! Can’t you feel it? We have to be in this together. United. What do you have without the music?
We weren’t supposed to eavesdrop. And I could understand for the phone, the party line. No one wanted to hear the wringing of our sweaty hands around the mouthpiece, or our muffled giggles. But sometimes, we were just there, in the thick of the conversation. Running in through the screen door, jumping straight into the debate over the current episode of Days of Our Lives. Hearing words like affair and betrayal. Not knowing the meaning, nor the context, desperate to work them into the next conversation with cousins. My grandma, giving me, us, the “zip your lip” signal from across the kitchen.
So I knew the routine. But sometimes, my curiosity got the best of me, and I risked it. Surely something about church couldn’t be so bad. “What did she mean about the choir?” Now I knew my grandma, she went to church, but she wasn’t the minister. So why did the neighbor lady, sipping egg coffee from her stained cup, say it to my grandma? “Say what?” Grandma asked. “She said you were preaching to the choir?” “Oh, that’s just an expression,” she replied. “But what does it mean?” “It means ‘you’re telling me something I already know.’ You know, like the choir is always there hearing the message…and maybe the ones who need to hear it the most aren’t there.” “So why do we do it? Why do you do it?” I asked. She wiped her hands on her apron, picked up her ever present cup of coffee, brought it close to her lips, grasped it with the other hand — like it was the thought itself she was holding — lowered the cup a little and smiled, “because the choir keeps singing.” I smiled in return. I knew I had heard something special, with no constraint of the zip it sign. I ran out into the summer song. From what I could hear, all was well, would be well, on Reuben and Elsie’s farm.
Open windows on yellow buses made every team sound like a choir.
Before we were even allowed to ride team buses, or had the need to, they taught us how to sing in a round — a song where everyone sings the same part at different times. We were only 5 years old when Mr. Iverson came into our classroom and introduced us with this gift. It wasn’t long before together we were rowing boats gently down the stream, running after mice that couldn’t see, even welcoming our sleeping French brother Jacques.
As with so many things, it seemed as if they knew how much we would need this commonality. As we grew, we were given the freedom to make choices. Join groups. Follow ideas. And with this, perhaps without our knowledge or permission, we began to see all of our differences. And begin to make judgements. Maybe that’s inevitable. But maybe that’s why they gave us the songs. The collective music calmed our nerves as we traveled to the event. It also helped us in the commiseration or celebration afterwards. Because in the song, as it made its way around the bus, we were one.
Perhaps more than ever, we need to row our boats merrily, together. Because isn’t it true that we are all on the same team? Aren’t we all asked to go through the same things, only at different times? Fear, anger, confusion, joy, even love — it all makes the rounds. If we could only see that we were all in this together, maybe we’d hear the music once again.
Maybe it’s just a dream, but isn’t that what the song said life was supposed to be? We once sang it so loudly, so hopefully, “Merrily, Merrily, Merrily, Merrily…” Perhaps we could sing it again.
