Life is a Song; Turn it up, man!

Life is a song the Universe is constantly playing. The notes, the structure, the chords, can be heard and felt whenever we listen. Our lives, when they are in sync, contribute a part to the larger Song. A part that no one else's life can. The Song was going on before we arrived and will continue after we are gone, but what we contribute is our part.

We didn't write the Song/the Universe. Let's give God/Creator (or you can insert your answer here) credit as the composer. That being the case, if we just bust out a drum solo with our lives, that doesn't contribute to the greater Song, we can feel out of tune. Isolated. But I think most of us have been lucky enough, even if for a little while, to feel what it feels like when we are a part of the larger Song.

I have no idea what the Song is, where it's going, what it sounds like ultimately. I get snippets when I sit still at the sunrise. When I run. When I read or write or pray or meditate. When I love. I get snippets when I stand in the snow and rain on a lacrosse sideline, drenched and cold, and see my daughters make an incredible defensive play and lead a fast break, or score a goal. I hear the Song having coffee rocking in a blue-hued swing, watching blackbirds, grackles, rabbits and squirrels unfold their morning.

Our lives are a continuous song. We don't change what we've played, what is behind us, but we can be conscious of what we are playing now. Jim Harrison has been speaking (singing?) to me of late:

The song stays.
No new one carries us, bears
us so high, more swiftly.
And it has no place,
it changes as we change

Our song, our past, is a part of us, it is what gets the song/our lives to where we are. And there are times when it feels familiar, like it's our jam maybe, we can headbang, waltz, slow dance, kitchen dance, what have you, and we feel comfortable in knowing the tune. And there are times, speaking for myself, where the tune seems new, novel, unknown. I don't know where it's going. And that can be thrilling, exhilarating and downright terrifying at some points.

But maybe it's like Zeppelin always said, "the song remains the same." It keeps playing. And we can hear it and join in. Trust the song, trust the Universe, trust the Composer.

River at spring crest,
sky clear blue,
forest at June greenness,
delight of eye in brain fully flowering,
delight of air and light and breath.

What do you do with all that? When we can feel it; when we can hear it; we know we can be a part of it, with our lives?

"Hey man, is that Freedom Rock?"

"Yeah, man!"

"Well turn it up, man!"

I want to do what he/she does

I want to do what he does. Or she does. We start that from an early age. Firefighter. Baseball player. Skateboarder. Sometimes those models stick with us and we stay after them. Sometimes they change. Sometimes the reality sets in: I just don't have the sideburns or hair to be Eddie Murray.

As I got older, who those folks were shifted a bit. I remember reading Carl Sandburg when I was 15 and thinking, I want to be able to make someone feel/think like he just made me feel. That would be cool. In my 20s and beyond, that became Rilke, Tom Robbins, Gary Snyder. Jim Harrison.

The stillness of this earth
which we pass through
with the precise speed of our own dreams.

Harrison died this past week. He was 78. He died at his desk, writing. From the way he lived his life, it sounds like a blessing that it wasn't drawn out, to quote those who knew him, "he wasn't cut out for assisted living."

Strictly speaking, the writer's life is not for me. I have no interest spending my days behind a keyboard, indoors, deep in abstract thought or trying to inhabit the minds of characters that live in my head. No thank you. I would rather be outside, living life, and trying to communicate that in some way. And that is part of what Jim Harrison represents for me: living an interesting life.

He spent his life doing things he loved, outside. He did things that you read out, dream about, in some cases forget about. He lived a rich life. With his dogs:

Barring love I'll take my life in large doses alone--rivers, forests, fish, grouse, mountains. Dogs.

Harrison, Gary Snyder, Peter Matthiessen, Edward Abbey. Those guys are the last men standing when I look for my tribe of guys who did, or are doing, what I want to do.

Life and language. I can't get enough of either, though there are plenty of times when language fails, or I don't want it. Harrison got that too:

My heart must be open to the cosmos with no language unless we invent it moment by moment in order to breathe.

Being open to the Universe as a source for language. And as a guide for life. I have been digging the remembrances of Harrison the man, and Harrison the writer. Obviously those two aspects are one and the same. He was a part of his Michigan landscape, the region. He knew it, lived it, and could write about it like no one else. I have the Eastern Shore in my bones that way, I sometimes feel.

I like when you can use the term "rugged individualism," and not have it be hyperbole or false praise. Harrison is the poster child. And that's part of how he inspires me. He doesn't make me want to go to Michigan and do what he did. He makes me want to get out and find, strike up, live my own life. To get outside. To chase dreams.

My advice is, do not try to inhabit another's soul. You have your own.

A Proper Summer

I spent my summers outside; in or on the water, on a bike or a skateboard, or blazing trails and building forts in a marsh. They were proper summers. They are still some of my favorite memories. My best summer days now closely resemble those days of being off from school and having the childhood ease of the season.

My soul frequently bottle rockets with happiness watching the girls spend similar summer days. They've got familiar settings: Oxford, the park, the beach at the Strand, the ferry dock, the yacht club, swimming in pools; Ocean City and Assateague, body surfing the waves, people watching on the boardwalk, the rides at Jolly Roger. They've got the open schedule and lack of alarm clocks, stretching their arms in the morning and contemplating what to do, or what not to do.

Summer is on its own timetable. It has its own agenda. We do well when we don't try to overschedule.

The light in summer is very young and wholly unsupervised.
No one has made it sit down to breakfast.
It's the first one up, the first one out.
- Robert Hass

Summer is a pause. For the girls, it's the end of a school year, but not the beginning of a new one. It's something in between. Eventually we lose that. A proper summer is as free from schedules and clocks as Jim Harrison strives for:

I hope to define my life, whatever is left, by migrations, south and north with the birds and far from the metallic fever of clocks, the self starting at the clock saying, "I must do this." I can't tell the time on the tongue of the river in the cool morning air, the smell of the ferment of greenery, the dust off the canyon's rock walls, the swallows swooping above the scent of raw water.

I like summer as a clean slate for the girls. The freedom of summer vanishes soon enough. Don't rush it. Breathe in the honeysuckle, the salt air, the Old Bay. Float, swim, paddle. Make your own way.

Lost and Revealed

"Lost" was one of my favorite shows. A metaphysical mystery/thriller that revealed a little more each episode, but even as it revealed, it kept you off balance.

Lost is not however, one of my favorite places to be in life. I look for a familiar landmark, true north, a compass, a map, a guide, but then I realize I am a bit like Alice, unsure where it is I am trying to go.

Our heart wanders lost in the dark woods.
Our dream wrestles in the castle of doubt.
But there's music in us. Hope is pushed down
but the angel flies up again taking us with her.
- Jack Gilbert

Jack Gilbert and Dante share an address in the dark woods. I am starting to know them by sight and smell. I'm listening for the music, the kind that comes only from being in the woods.

In my teens I loathed peace symbols. Pacifism felt boring, stale. I don't know if I've ever drawn a peace symbol. But I spent years drawing anarchy symbols. They described the shape of my restless soul. Lately I have been binge watching "Sons of Anarchy," and rekindling my unrealistic, romantic love affair with anarchy. To hear Emma Goldman quoted,

Anarchism stands for the liberation of the human mind from the dominion of religion and liberation of the human body from the coercion of property; liberation from the shackles and restraint of government. It stands for a social order based on the free grouping of individuals...

I am not deluded enough to think that anarchy is a way most people, myself included, would choose to live, any more than thinking chaos would be a fun way to be stuck in a shopping mall. But there is something to letting a natural order take shape, rather than feeling lost in a society that rarely seems to find worth in the things I've come to value. It's a dilemma.

Lost. That's the shape of trying to figure out love, vocation, passion, time, family, art, nature. It's the shape of being between. In flux. Maybe it's just a more honest description of how we always are, when not deluded into thinking we have things figured out. It's easy to think of these lost feeling times as a sort of existential intermission. But that discounts these days, this time. And it assumes that the next act is written already, somewhere to be found. There is just as good a chance it is yet to be written, still to be determined. Unless it is already written on the soul.

I've been reading around of late in Pablo Neruda's "Residence on Earth," and Jim Harrison's "The Shape of the Journey." Both books were written over decades or more. Harrison's is a new and collected poems. In "The Theory and Practice of Rivers" he discerns:

It is not so much that I got
there from here, which is everyone's
story: but the shape
of the voyage, how it pushed
outward in every direction
until it stopped:
roots of plants and trees,
certain coral heads,
photos of splintered lightning,
blood vessels,
the shapes of creeks and rivers.

Maybe that is why life is hard to pin down. Maybe that is why it is hard to know the soul. Because the shapes we understand are circles, squares, trapezoids if we want to get funky. But life might be more accurately shaped like creeks or rivers, which have always been some of my favorite shapes. I am reminded of their unique shapes when I am on a paddleboard or cruising or floating in a boat. Or sipping a beer or reading or writing or watching sunset from the shoreline.

Maybe the shape of our life isn't one we can predict, or map, maybe it is a shape that gets revealed, made clear, little by little. Season one of "Sons of Anarchy" ends with Jacks Teller walking through a graveyard over to his father's grave. The song that is playing is a spiritual old blues song, which is a favorite of mine, written by Blind Willie Johnson. It's called "John the Revelator." Maybe it's fitting, or telling, that it's written, sung, revealed by a man who was blind.

Butterfield's Lullaby

I lose it when I hear Taps. It has to be performed by a single, live bugler, unaccompanied. It is the most poignant, somber, reflective song I have ever heard. If you can hear it and not be stopped in place, you may want to make sure you have a soul installed.

It's kind of like that for all the Honor Guard ceremonies for me. It is deeply resonant stuff. A good friend's father served in the Army in the Korean War and the Honor Guard came down to the Oxford Fire Company for the funeral and folded and presented his sons with an American flag. I had very little composure left. It rips me open. I think that is the point.

Author Jim Harrison, who has been compared to Hemingway, said about the literary Big Papa that his work was a "woodstove that didn't give off much heat." I have had that feeling about a number of works of art deemed classics; sometimes I just don't connect directly to them.

Taps was written in 1862, at Berkeley Plantation on the James River, after the Seven Days Battles. Union General Daniel Butterfield scribbled the notes on the back of an envelope and Oliver Wilcox Norton was the first to play it. The Confederates heard it and adopted it as well. The adage goes that it was one of the first things the two sides agreed on.

I'd go so far to call Taps a classic. It is one classic that strikes my soul vertically, connecting me to both the ground and the sky.

I don't have anything to add to the many voices and words written about September 11. But sitting down to watch the Ravens on Saturday, when the NFL tribute went out to Pennsylvania and the bugler played Taps, I remembered. Not just 9/11, but loss, sacrifice, Skeets Abell's life and funeral, mortality, and the fact that fucked up shit happens, over which we have little or no influence. And that there are times that we/I need to stop, reflect and remember. Taps is a universal doorway for that.