wonder

Divenire

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So I was in the studio and then I wasn’t and then I was trying to find the studio inside and to get to it I found a studio rhythm and this is indeed helping me to dwell in the reality of the studio inside and even though I have not got to painting yet I am in something, definitely.

And all the time, every possible day, I have been playing Einaudi’s Divenire on the piano that I have been given the keys to in the neighbours’ downstairs apartment.

In the studio week I finally linked, for the first time, the bits I knew with the mysterious bit in the middle, and suddenly I had a whole.

But it was a kind of scratchy, awkward, patched-together whole, because my fingers had not been accustomed to playing music for such a long time, nor my brain for concentrating so continuously on something so precise. The piece is nearly ten minutes long and it is a work to hold my attention in the exact present without having it distract somewhere else – and in fact usually this distraction does not totally affect the flow, but what does affect it is the jolt of realising that you are elsewhere and then trying to relocate yourself in the music, which usually causes a stumble.

So each day of the month since I left the studio I have been playing – of course as part of the studio rhythm – and then often recording myself to hear how the piece is feeling. It has taken time to ease out places of complexity and to smooth the trickier jumps of hand and the release the tension of areas which require more skill and concentration, which is all very well, but until the skill and concentration is mastered, there is anxiety that makes itself felt by the listener.

Over the month, I have become aware that somehow the piece was also taking me somewhere; in losing myself into it, I am finding a self, I am becoming – divenire – a self that I have not been for a long time, perhaps ever.

There are different elements in a journey of allowing music to form you; some are intellectual, some physical, some emotional, some deeper. There is an integration that has to happen which must be then somehow anointed with a grace from somewhere else. It is work and mystery.

Yesterday I had a very important insight: I had been working towards a recording that sounded accurate; each note in place, sounding beautiful. Yesterday it was sounding often beautiful, but still, there were occasional, sometimes jarring errors. But suddenly it came to me, listening, that I’d forgotten the fundamental fact of live performance; that there is a humanity in it that cannot and should not be eradicated, the eradication of which, in fact, would substitute a kind of overworked tension, and anyway would only likely be possible through mechanistic means.

But this insight had a follower, as if hidden behind its back. If it already was (almost) beautiful, and there would always be some humanity left in the beauty, then the moment I had been waiting for might be arriving sooner than I’d expected.

And then yes, this morning, I was there, in a beautiful completion of piece and self. Divenire.

And now I am waiting for what happens next.

la vie suspendue en l’air

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Je suis toujours là.

(Why do I want to express this time in French? It’s so particular; a form of linguistic escape, I feel, from the everyday. And sometimes you cannot live in the same linguistic air as certain politicians; a factor perhaps in my emigrating).

Je suis toujours là in this liminal space of mid-air suspension, a mid-air that is also a depth. And stripped by illness and everyone else’s holiday plans and still being a relatively recent inhabitant and not entirely speaking the language and the violent convulsions of the pandemic of everything pressing and usual and demanding. There is a certain quality of silence. And, it turns out that this silence is allowing some deep places of myself to make themselves known.

The day is almost excessively mundane – well, perhaps ordinary is a kinder word, as playing the piano and writing are hardly mundane for me. I’m hemmed in by my depleted energy levels. So there are only quiet activities going on. Yesterday: writing, lunch, listening to a friend, pondering aloud, reading, dinner, quiet conversation with a friend (quiet as I’ve almost lost my voice, alongside the other diminishments.)

But in that quiet space something is stirring. I am encountering my own deep substance, a being of myself that I have had so little chance to be in these last frenetic months. I have reached, it appears, a truth, a tenderness of self, a deep substance of my own being, a home of sorts, perhaps. It is a work of some experimentation to capture the texture of this encounter, the purity of it and its luminosity-with-substance quality. It is perhaps – suddenly it comes to me – the substance of the ‘eternity in the hearts of men’ that we cannot fathom, written about in Ecclesiastes.

So then my silence is making a space for this luminous goodness – the luminous uncanny I now remember I once called it – to intensify. I also know that in my personal history, these moments of imposed stillness are often of great import, places of gathering ahead of some unknown moment of vast renewal.

Je suis toujours là suspendue en l’air.

And in only a few short days I have moved from wrestling to treasuring, feeling this moment as something precious to protect and defend from whatever might disturb it before it is ready.

So then here I am, writing, playing music, attending to the ordinary, trying to be humble to my humanity while eternity does its work within me.

feeding perseverance

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Today there was a certain new joy in persevering with the rhythm that will sustain the studio inside.

Alongside other chores, yesterday I had two calls with old friends, and although in a way both of them were need and I was helping (listening, which I am not always good at), the quality of the (re)connection – (‘re’, because we have been so little in contact in the ferocious wildness of the last two years) was very deep. They’ve both known me a long time, and although there is a certain element of them knowing a me that I no longer am, there is also a knowing of a me that I deeply am and will always carry with me, that newer friends will never truly know.

Then I cycled to the seaside on my bike, taking with the picnic food that my mother always makes for my family’s seaside trips, simplicity itself yet with the soul of a thousand small memories.

It is not totally the case that I have cleverly made a joy happen; it’s partly the sheer fact that after persevering with so many chores and so much work, some of them are now done. There is a loosening into the necessary tasks of the day. I am at liberty to untangle thing more, to create more freedom. I note to myself the importance of not accidentally accumulating more.

Nonetheless, I am aware of a kind of deeper nourishment. My soul is resting. My perseverance can come from a deeper place, from the deep heart rather than from a certain kind of drier (yet for a time necessary) intention.

In the middle of my life I found myself in a beautiful garden. I’ve longed for one, and although I expected it to be in a more conventional house and of a more private nature, the one I have tumbled into is a continuing wonder; a collective small garden converted from a tiny park, in the middle of the city, with small allotment boxes with the growings of strangers who are becoming known, and a communal, collectively tended vegetable garden from which I can at will pick spinach, herbs, beans, potatoes.

I feed my perseverance by putting myself in the path of beauty and trying not to neglect the wondrousness of existence, by a collaboration.

light

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There is something so light in this week in the studio. Perhaps it’s because of that, that it is only a week, even though I long for something more permanent.

I am accustomed to large-scale, intense, no-end-in-sight-for-months-or-years projects. I have deeply integrated the virtue of difficulty, its capacity to draw out a wildness, a unique depth of self that is rare and to be treasured in our how-long-can-I-distract-your-attention-from-anything-important world.

And then here I am, tumbling into this week, breathless and weary from my other work (in business, since you ask) and I find myself in something so sweet and beautiful and light. I somehow feel no pressure. I have elegantly disembarked from my responsibilities. I had no time to weight the week with intentions. I am existing, pure and free.

It’s such a pleasure and so unusual as a grown woman to encounter such an interlude. And it has, I must admit, taken some diligence and hope to protect it.

But I wander about, peaceful, playing, and I can feel a luminous uncanny that I have not sensed for a long time, magnifying within me.

the year of the poem, a pondering

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The looping that I have noticed is in particular taking me back to the year two thousand and sixteen, ‘the year of poem‘ (strangely I did not feel like writing digits, I am aware it looks a little odd). With some fanfare I christened this year with a title of such vast aplomb it appears that I sank under the weight of it.

The ‘year of the poem’ plummeted from its giddying heights to a swift confrontation with reality, as I quickly realised. The ‘poetry diary‘ stayed buried in a box, poems remained unwritten, even the ‘editing poetry course‘ became an ordinary memory with startling rapidity.

No more ‘year of the poem’ musings were mused.

But now looking back, the year of the poem was speedily despatched, not because the poem element was too small, but because it was too big.

Somehow, a pre-existing poetic dimension took hold of my whole entire life.

And, of course, being frail, not really realising, consumed by other things, practicalities, transitions, this elemental condition was not fully grasped.

Dizzying though it may sound, preposterous though it feels to write, what happened to me in the year two thousand and sixteen is that my weary, care-worn ways of being were shed, like an age of reason skin, and I leaned into trust, to relinquishing control and holding on to faith as a human experiment. And slowly but surely, the very substance of my being mutated into wonder.

What does it mean?

I’m still not entirely sure.