Sarah Slean — “Nothing But the Light”

so this is a schoolyard and no one survives
the terrible beauty of being alive
let it move you, let it come through
the stream is never-ending …

breathe … breathe …
eternity is written into time
there’s nothing but the light

Driving back home this evening I tuned into the excellent q, with Tom Power, a CBC program we get here on Vermont Public Radio, and heard an interview with Canadian singer-songwriter Sarah Slean. I’d not come across her before. The interview was a rebroadcast, originally airing in April when her latest album, Metaphysics, had just come out.

She tells an extraordinary story in it of finding herself alone on the train home one day, and deciding to fit in a meditation session. At a certain point the door to the compartment suddenly opened, someone sat down across from her, and she immediately experienced a sense of menace, a distinct chill in the air. She opened her eyes and saw a man who, indeed, seemed hostile, even scary. In part, she thought, because she’d been doing a practice, or perhaps purely instinctively, she didn’t freeze but immediately said hello to him, rather cheerfully. He was quite taken aback at this and she sensed him trying to work her out for awhile. For a time he slouched on the seat in silence. His coat opened slightly and she saw he was carrying a gun.

Eventually they began an intermittent conversation and then … he told her his life story. It was full of pain and a sense of hopelessness — dealing drugs, unable to contact his family, not knowing how to change anything. He cried, in front of this complete stranger. When it came time to part, they hugged and exchanged numbers and email addresses, and as it turned out corresponded for two years. She said his emails were always stream of consciousness, nothing spelled right, but she understood him.

Then one day, when she was in the midst of a great deal of turmoil in her life, doubting her life as a musician which she’d been pursuing at that point for almost two decades and seriously considering giving it up, the phone buzzed. She didn’t recognize the number but picked it up, and heard this fractured voice which turned out to belong to her companion on the train. He’d been gravely ill, nearly lost his life, and had had half his larynx removed. He had phoned to tell her that while he was in the hospital a nurse had brought him books of poetry, and he discovered a love for words. Now, he realized, he had a passion himself to write. Poetry had given him a new strength.

She concludes the story in an online interview this way: ““A guy with a literally broken voice had found his voice, and was excitedly telling a singer (who was at that moment, taking it all for granted) that he wanted to write… It completely blind-sided me – the beauty and power with which the universe can speak to us.” And shortly after that she wrote the song “Every Rhythm Is the Beat,” inspired by the encounter, which appears on the new album.

After getting back home I did some listening and came across this jewel from the same album, which I’ve already listened to half a dozen times. I think it’s one of those songs which can give hope to people in a dark place. Just the way her voice shapes so purely the words “breathe … breathe …” I hope it touches ya!

 

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“Keep Quiet” (2016)

Earlier this evening I watched a Hungarian documentary called “Keep Quiet.” It concerns a man named Csanád Szegedi, who was in on the far-right nationalist party Jobbik from the beginning, rising to become the number two man in it, cofounder of the Magyar Gárda (Hungarian Guard, a paramilitary organization now banned), and even an MEP. Until the day he discovered he was actually Jewish, and that his grandmother was a survivor of Auschwitz (the family had entirely hidden their background from him). Over the course of an astonishingly brief period of time — a couple of years — he fully embraces Orthodox Judaism and is now in the process of immigrating to Israel.

When he first discovered his ancestry and mentioned the fact to the party, Jobbik’s suggestion was that he remain, to counter the neo-Nazi supporters (look, how can we be anti-Semitic when this guy is part of our leadership?). But he did leave and began a long process of renunciation of his entire past identity. He talks for the first time with his grandmother and mother about their experiences, he begins studying with a prominent rabbi (who after some contemplation of the Talmud decides he must accept Szegedi and try to help him), and he visits Auschwitz with a survivor of the camp, in an almost unbearable-to-watch scene.

When he did leave, he got slammed from both sides: threats from Jobbik members who felt betrayed, rejection by many Jews who didn’t (and still don’t) believe his transformation was genuine. We see him speak to a Jewish conference and be confronted with angry questioners. We see him attempt to visit the large Jewish community of Montréal (a failed visit, as he is not allowed entry, is sent back to Budapest).

It’s a fascinating and powerful film, beautifully shot and assembled.

the 15th

I’ve been immersing myself in the Shostakovich quartets again lately. Some of the profoundest and most extraordinary music I know. I have four sets — the Borodin, Brodsky, Emerson, and Fitzwilliam — and keep meaning to write something up about their respective strengths.

Honestly, I love them all. But there are a handful which I love even a little more than the rest, and tonight it has to be the fifteenth that I cue up, written in his final year. Wendy Lesser, in her really excellent book Music for Silenced Voices: Shostakovich and His Fifteen Quartets, says that she has personally witnessed audiences walking out during this piece. (The first movement, roughly 12 minutes long, is meant to be played so deliberately, according to the composer himself, “that flies drop dead in mid-air, and the audience start leaving the hall from sheer boredom.”) !  In reality it is so sublime. My favorite recording here, of those I’ve heard, is the Fitzwilliam, but it is unavailable on YouTube, so here’s a live recording from the Emersons:

“Strangers in Their Own Land” — Arlie Russell Hochschild

Arlie Hochschild is Professor Emerita at UC Berkeley and one of the most distinguished sociologists of her generation, and her most recent book, Strangers in Their Own Land: Anger and Mourning on the American Right, has received much acclaim over the past year. Rightly so. I have just finished it and can add my voice to all those who have found it a remarkably fine and illuminating study.

Between the years 2011 and 2016 Hoschshild made ten trips to southwestern Louisiana — an area dominated by the petrochemical industry — in order to try and better understand what she calls the Great Paradox: how is it that the residents of the most polluted, toxic areas of the country tend to be members of the Tea Party movement, which vigorously supports the dismantling of environmental regulations? How have they come to oppose the federal government so comprehensively, to deem it so inherently corrupt, when their own states tend to benefit disproportionately from its expenditures? Why do they continue so unquestioningly to trust the very industries whose chemicals, indeed whose environmental disasters, have made them sick and rendered entire towns and regions uninhabitable?

Going further, Hochschild wanted to see if she could manage to, as she puts it, scale the “empathy wall,” the barrier which keeps coastal liberals like herself from being able to meet her counterparts on “the Right” halfway and see the world through their eyes. To this end she interviewed many dozens of Tea Party supporters in Louisiana and followed them around as they lived their lives. She went to church with them, ate dinner at their homes, accompanied them to political meetings and crawfish festivals, drove around to see their childhood homes and other places important to their life experiences. They became her friends, and Strangers in Their Own Land among other things proves to be a hearteningly successful exercise in sustained empathy and openness.

The book is in four parts. The first of these paints the bleak picture of environmental devastation in the region. Hochschild vividly describes several of the catastrophic accidents (not all of them, in fact, even accidents) which have landed Louisiana at the bottom of most measures of ecological and human health — the section on the Bayou Corne sinkhole is particularly chilling. And we’re introduced to a number of people who have suffered enormously, in any number of ways, from the state of things. Yet it is these very individuals who form the core of support for anti-government, anti-regulatory activist groups like the Tea Party. Thus: the “Great Paradox.”

Part Two examines the sociocultural landscape to see how, respectively, industry, state government, the churches, and the media help shape political attitudes in the region. But it is in Part Three where the book really begins to shine. All along Hochschild knew that her questions could only be better understood if she found a way into the feelings of others, their emotional landscape, their “deep story” (in her words). The chapter bearing that title, and the four profiles which follow it, become the heart of the book. To anyone utterly baffled by the electoral success of Trump, I highly recommend these chapters, which show rather than merely tell of a number of the significant connections leading to his political support.

Finally, Part Four then pans out to look at the South in a broader historical perspective, visits a Trump rally (the book was completed during the primary season), and ends with the author’s most recent visits to the friends she made in the region, the subjects of her book. A valuable section of her appendix counters a dozen beliefs concerning government and the environment accepted as gospel in the region she visited but unsupported by research.

One of the most toxic developments of our time is surely the extent to which political disagreements have become so routinely moralized, so that the other “side” is not only mistaken about one thing or another, but demonized for being so, their motivations assumed as a matter of course to be dark. But manichaeism sucks all the space out of a room, rendering any dialogue impossible. We need to counter this practice determinedly. In Hochschild’s portraits we see extremely hard-working, self-sacrificing, long-enduring, generous human beings grappling with their trials, their suffering, their perplexities, just like everyone else. Apart from in the final appendix, the author almost entirely abstains from adding any of her own political commentary: she lets her subjects speak for themselves, and her readers can also judge for themselves the merits of their conclusions on public policy or the nature of a healthy society. This is a great strength of a very significant, and timely, study.

Vermont galvanized

From the current issue of Seven Days:

“Since the January 20 inauguration, Sen. Patrick Leahy’s (D-Vt.) office reports that he’s received 50,127 calls, emails and letters on issues ranging from Trump’s cabinet picks to his Supreme Court nominee to his business conflicts.

“Sen. Bernie Sanders’ (I-Vt.) office reports an 897 percent increase in call volume from 2016 to 2017 so far, and a 1,808 percent increase in phone calls since 2015.

“‘To offer some perspective on the January 2017 data, we had 1.5 calls every minute for eight consecutive hours for every day we were open,’ writes Josh Miller-Lewis, Sanders’ deputy communications director, in a recent email. ‘There was not one minute when the phones were silent for the entire month of January.’

“Congressman Peter Welch (D-Vt.) says that his constituent contacts have jumped at least sevenfold since last year.”

make Denmark second…

Trump is getting seriously trolled… After some folks in The Netherlands put together a comedic video response to his “America First” inaugural refrain, other European nations have been following suit, and there are currently seven with videos up. The hope is that they will all contribute eventually. You can follow the developments here.

My current favorite I think is Denmark’s: