Wednesday, October 15, 2014

Project 6: British Ballads

For my project this week I tried to incorporate both stories contained in "Down by the Sally Garden." I felt the two verses did not fully cohere, laced together by mood, repetition of form, and in recorded versions by musical accompaniment, rather than by meaning. In an attempt to mirror this, I decided to bifurcate the two halves in my story. My weaving together of the two halves was more thematic than intended, but in tying a larger narrative about life to one about first attempts at love I noticed some implicit connections between the two. I hope those translated.


One late May, before I was old enough for Sleep-aways and summer school, Grandma and I camped on her cement patio and poached the caps from the second wave of blossoms on her Magnolia, hours prematurely. She could tell when one was ready to bloom, recognizing the ripples and white stretch marks in browning caps. With more gentle fingers, she demonstrated how to properly cap-pluck—a quick screwing of pinched thumbs and pointers and a gentle tug up, like unravelling a curled hose—and her flower popped open, like the spray in slow motion stills of pipette dropped, disturbed water. My first attempts were brusque. “Take it slow,” Grandma urged.  Still, the buds tugged with the shell, and severed from their bases, or from the branch entirely. Grandma assured this would all be redeemed; eventually I’d coax a cap gently enough for the pink flowers to unfurl, still attached. I did not get there that afternoon. She strung the husked, clamped flowers from the failed attempts with old dental floss and made a necklace with a day long life-span, never seen by me again. Necklaces and flowers demanded girls, so she wore it. In the afternoon, the strung flowers crippled, and Grandma needed to refresh her false-teeth. She led me inside. Her house smelled of potpourri. We ate deli-bought mashed potatoes, on her couch.
The first first-date I ever went on, I remembered the delicate moments when Grandma guided me with her hands, and suggested this activity. The girl was over first-kisses at RomComs, a veteran of sunset smooching, an apostate of wineless pasta dinners and symmetric end-bitten ciabatta rolls. This was sweet and unique. It had been a dry April, but the Swayze Park Bradford Pear buds were plump, ripe. At the first group of trees, I pointed out appropriate buds. Her strokes were terse, and the first few ripped from the tree. I had lots of success. The flowers did not spring open like those on Magnolias, but they smudged out with the push of a thumb. I was too afraid to broach our distance and teach her the proper method, with my fingers piloting hers. She grew restless and laid a hand on my shoulder. She told me some people joked the buds smelled inappropriate, and her lips peeled into a slight smile. I pretended to agree. I pecked her cheek at her door. She giggled, and I blushed.  We made out the next Sunday when I was prepared with Listerine. She told me to reign in my tongue.
We held pasty hands in public and trite secrets spilled from my sore lips during on-top-of-the-blankets cuddling, my upper back perched on my futon armrest, my hands locked-in and fingers revived. Certain secrets that betrayed callowness were off-limits: that she was my first kiss went unspoken, voice-recordings pre-voice-drop were sheathed, the source of my first date unrevealed. Most everything else was unguarded and escaped. “I have scars on my upper right thigh from play sword-fighting with a fireplace poker.” “I always hung up without reciprocating Grandma’s love yous.” “Sometimes, when you dig your head into the crease between my shoulder and chest, and tickle me with your breath, I think I may grow to love you someday.” She would exhale to alert me she was listening, spiraling a sympathetic finger, from below, on my scapula. Usually I slipped into her hairline crease, wondering at her roots, anticipating a verbal response. After a few breaths, she would find words. “How old were you?” “She knew you loved her—some things are implicit.” Sometimes she was more pointed. “Take it slow.”  She repeated herself my first time. The semester sped to an end.
We were together seven weeks; summer came, she was respectful but bored, friends had me know relationships were unwieldy to carry on Saturdays at beaches across the country…we centrifuged away from each other, and did not care to stop spinning. I spent my summer weekends loading pickups of kitsch lingering in Grandma’s basement, like pear skins stuck on blender-blades. We gutted the place in a few weeks.
I had my first driving lesson on her gravel driveway. The car wobbled in a ditch, by some transplanted magnolias, and boxes shifted in the back of a pickup. I floored the break and one box titled forward, its contents oozing out in waves. Dad told me to leave it be, and he shifted into the driver’s seat and led us on the highway fast-lane to the dump. It was my job to throw things out. Thirty-gallon bags, boxes brimming with desk-lamps and tissue boxes and brochures. The contents of the empty box, disappointing unfounded expectations: packets of tree-shaped air-freshener, a flattened wreath, an alphabet-bead necklace spelling “love” from my sister, dental floss.  







Wednesday, October 8, 2014

Project 5: Banks of the Ohio

I found our conversation in class about the palatability of murder ballads to be particularly interesting. On one hand, the sound of "Banks of the Ohio" is pretty--almost whimsical--but on the other, the lyrics are vile and elicit a visceral negative response. The juxtaposition of imagery of violence and love is jarring, but is (for better or worse--likely worse) a juxtaposition that underlies not just this song but much of our language concerning love. The love is war metaphor is fairly well-rehearsed, but more fundamentally, the implicit metaphors we use to describe love seem to be somewhat violent: one pursues a love interest, one conquers another's love. Within this context, the song's theme is less surprising. Surely, what makes it seem so unpalatable is it's vividness in describing the murder and its casual conflation of love with entitlement and violence. My main struggle in my assignment this week was trying to access a mental state capable of writing something so heinous, to try and understand just from whom a song of this sort could come.

With the above in mind, I still don't feel I have authority in answering whether music of this sort should be sung. I do not understand how the genre of murder ballads developed, but the idea of community members proverbially joining hands around songs of this sort to sing is discomforting. Conversely, songs of this sort do spur impassioned discussion. Whether this alone is a merit in the songs is unclear to me.