Creativity, Mindfulness, Music, People Watching

Beat Through

Unlike the other members of the band who splice the set together with self-deprecating anecdotes, the dude on piano and bodhran is a potty white-haired fellow who never speaks or cracks a joke. I have him pegged as the invisible base that holds up on 4/4 solid legs the tone and flourish that the fiddlers and singers — the real artists — splash across score.

The last song swells to its finish, the crowd cheers, the other musicians walk off. They leave him there lost in something as he messes with his drum. He looks up and glances around like he just noticed everyone else is gone. After a few confused and awkward seconds, he starts to tap a stick against the skin of the drum. It takes a few seconds for the audience to realize that something entirely new is happening.

The next 6 minutes are this with 6 years of mastery added:

 

The 2015 Martin O’Neill plays on stage alone, handling the drum with such precision that he’s making a melody from it. It’s skittering over scales, almost singing on top of its own rip-cracking beat. Then it shushes down, down before curving around what feels like a moan.

My heart is galloping but can’t keep up.

The beat topples all my assumptions.

A little skin stretched over a frame, balanced on one knee and worked with two expert hands, somehow produces how many thousand tones?

It’s humbling to find out yet again what a poor guide my judgment can be,  how very little I know about anything at all.

It’s exhilarating to let this new flavor fill my blood, to know how much more is waiting to split wide my husk of certainty.

 

People Watching, Things I Can

66. Things I Can Cross: Campus at the Edge of Could

They sit on the grass in a loose circle. Rain has steamed the patches that remain to a fecund spill of harlequin and jade. The one with long hair and glasses is a swaying stem, her pod at the edge of splitting open. “He had a whole philosophy about the virtues,” she says. Her hands flit out to catch the round putty of this idea then stretch it out, out.

On these summer days when dusk falls near bedtime, the lunch hour employs a more forgiving clock. Two men in dusty coveralls striped with orange reflective tape sprawl on a bench next to chain link. A temporary enclosure wraps around campus like silver Christmas ribbon, knotted somewhere hidden, impossible to pull free. You’d have to find the shears. Behind them, a sign strapped to wire: Do Not Move Fence. Someone has not only tried but succeeded. The lousy lot of us — students and faculty and staff, our shared absence of virtue rendering us indistinguishable from one another — has such an excess of time on our hands (or perhaps a paucity of imagination when it comes to selecting a target for our disaffection) that we need reminding how to treat a fence.

The younger one is white, filmed with dust, his red goatee threaded to rust. He holds a phone — or the amalgam that now passes for a phone — aloft. A noise crackles from it. His buddy’s hair fans in every direction. He is black, though in this case the speciousness of the designation is even more palpable than usual. Dry soil has powdered them to an identical tone.

Race, of course, is about everything else that churns under the surface we imagine solid. It is thrumming here. In the way they speak, sit, gaze. The one on the left splays his legs and drapes his arms, one over a knee, the other along the back of the bench. The one on the right leans forward, stiff, holding the phone-like object. Whiteness and blackness is in this posture, this way of taking — or pretending not to take — the measure of passing students.

The crackling is a voice, a distant Barack Obama. The president’s unmistakable cadence, the falling and punctuated pauses, is carrying across a field of cameramen and wind, piped through the pinhole speaker next to the tiny screen now aloft in the younger man’s grip.

Has something happened? While I was in my lunchtime yoga activating the parasympathetic nervous system with happy baby, did another plate shift? Another city block catch fire? Another of my neighbors fall in the dark hush of a redacted narrative?

I look around at the others. The grass-bound circle of literary acolytes is now far behind me. Women perch on metal chairs outside the student center which houses a new Panera. This is the most popular lunch spot on campus despite a growing national suspicion of Bread’s intentions. A beauty in a creamsicle dress and platform heels turns heads like a stadium wave, collapsing construction worker and student into one undifferentiated hunger. The only ones oblivious to her liquid progress are two younger men striding past. They clutch the straps of their backpacks, heads bent at such an angle they almost meet at the temple. The one speaking rushes out words and stumbles over them. They hadn’t run it with the new numbers — that must be why — that’s why it turned out like that. Neither breaks stride as the sundress swirls across their path.

The president’s voice pings off leaf, satchel, water bottle, sunglasses. If something has happened, the light would scour this plaza instead of skidding as it does off bared calf and shoulder. The fountain would pound instead of froth, the faces furrow, the gazes tunnel into the things we call phones, seeking an answer or maybe a map in those digital libraries that far out-Alexandria Alexandria itself.

When it happens, whatever it is, so much we think is solid in this place will tumble like rockfall into the ravine through which we course. Momentum we imagined our earned and maybe even natural pace will back up behind that unthinkable-but-now-here flash of history. In that instant, downstream will transform into the bewildered trickle of a future uncertain how to fill the space it occupied when it was so lush, when it was able to slake the thirst not only of its own banks but of everything in us that came there to drink.

 

People Watching, Things I Can

57. Things I Can Smooth: The Lines

She perches on the powder-blue cushion that pads her brass vanity chair. Lifting her chin, she smooths a dab of cold cream into the barchan expanse of her throat. The tray on the counter is mirrors and filigree. It holds the fluted light, reflecting back a tessellation of silver lipstick tubes. They stand alongside brow combs and kohl pencils, upright in frames whorled with beads and rhinestones.

Fanning out on the glinting surface are brushes thin as needles and broad as petals, brushes as coarse as thistle and fine as down, virgin brushes and brushes worn to nubs. For the baser applications, tissues the color of an Easter sky pop from the top of a crocheted box. Cotton balls in a nesting tower press their breathy faces against the glass.

At her back, a wooden cabinet with worn brass handles opens to stacks of folded washcloths and bath towels. The linen fits in a perfect geometry between containers holding a disco-flash plastic spectrum: Pert and Gee Your Hair Smells Terrific, Aqua Net and Johnson’s Detangling Spray. There, too, extra bars of scented soap, boxes of band-aids for every joint and laceration, hair nets and pink sponge curlers and shower caps and amber tonics with squat-lettered labels fading into oily glass.

Up around the ceiling and down to the chrome fixtures and hidden pipes drifts a perfume of clay dust and crushed flower, spun cotton and wood stain.

From a round box, she lifts a fluffed ball the size of a kitten. Powder whooshes just inside the low lace neckline of her satin slip. She plucks from a bouquet of combs and hairbrushes a pick to fluff her thinning auburn curls.

On the side of the makeup case she carries in her purse is a tiny mirror. She chooses a tube from among the silver array and twists it awake, tracing color across her mouth before dropping the lipstick in the case and snapping it shut. In the small rectangle of glass, her lips peel back. She frees a blue tissue and dabs a coral smudge from her teeth.

 

Growing Up, People Watching

Ready or Not

The net is tight across her middle. You can’t say belly. She has none. Copper helmet, slick to the scalp. Eyes rimmed in kohl shift to window glass, black flashing with staccato light. Does she want to go back?
 
Do I?
 
Into the cavern. A wheezing pause stories below light. The smell of popcorn steps in first. Hiding under its cloak, something else creeps aboard. Like sugar on the rancid spill. A not-right presence. No one looks straight at anyone else.
 
Everything is hidden here, even the sock puppets we pull out and put on in plain view. My hands speak! Listen, look! Yet another voice narrates the scene. Back there, under the chatter, another telling. The strings are never invisible, not completely. We are not alone. The sense of what can’t quite be seen lifts the hairs at the back of the neck.
 
Is there a chill in here?
 
Bike grease streaked in the shape of a chain splits the canvas of her calf. It was not an accident. No one would question it there. Anyway, he fumed out an apology. He called himself a jerk. He called her worse. The thread dripping from her ears should be filigree. Should be wisteria. Should be a path back to the hanging gardens of Babylon.
 
It is only a pipe for mainlining her tin of music. Whatever sound floods out thought, it lacks beat enough to tap hers. She looks all around. Darting. She looks at her hands. Folding. Is it daylight still out there? Who can tell?
 
One day, she will be his child again. It will be the first time she rides the train alone again. The bright beginning, the first step over the gap. She will be someone’s future. Like all of us, she was fetal once.
 
In her plastic seat, she sits erect but folds herself just enough to appear reluctant to be born.