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Wednesday, March 31, 2010

Revision: "Confessions Of An Honest Man" the first chapter




 

 

 

 

Confessions Of An Honest Man

A Novel by Art Rosch
Copyright 2010
All characters in this book are either fictional or in the public domain.

 

 

 

 

Confessions Of An Honest Man

A Novel by Art Rosch
Copyright 2014
All characters in this book are either fictional or in the public domain

 

 

         








Chapter One
Home Is Where The Heart Is Not
1956: University City, Missouri


            Shortly after Aaron Kantro's ninth birthday he had a revelation: he was smarter than everyone he knew.  It was true his grades were not good.  They were C plus type grades, arrived at with no effort and no interest with the exception of things that involved words.  Spelling, for instance.  He could spell words he had never heard, and often knew what they meant.  There was something in their construction that guided him.  He wasn't fool-proof.  Some words snared him and then he got impatient, and even a little angry.  He would find out what that word meant!
            One such word that trapped him like a fly on sticky paper was the word Hermaphrodite.  He couldn't decipher it without the dictionary.  He would never have encountered it had he not been exploring his father's forbidden bedside drawer, the one where the naughty magazines were kept.
            Hermaphrodite:  a person or creature having characteristics of both male and female gender.  Wow!  The word was an entire universe, a maze down which he strode bravely with imaginary sword in hand.  In order to crack the word's code he needed the good dictionary, the one at school.  But the school's dictionary was inadequate, it led him to a dead end.  Yes, something that was both male and female.  Many kinds of snails and fish partook of both genders but that didn't explain where the word came from!  It was Greek, that's all the book told him.  He took a bus downtown and referred to the dictionary at the St. Louis Public Library, the big one that could kill somebody if it fell on their head.

And there, THERE, he learned not only the words Hermaphrodite and Androgynous but he learned about the Greek gods Hermes and Aphrodite, who had a child named Hermaphroditos.  By some magic process about which he was not clear, the divine child merged with a nymph (which was always female) named Salmacis and became a single person who was both sexes, both male and female.
            In spite of his mother's continual hammering at his self-esteem, Aaron knew he was smart.  He wasn't Straight A-do-your-homework and pay attention to every word a teacher said SMART.  That was a KIND of smart, maybe, sort of a machine kind of smart but there were different kinds of smart, he realized, and he had a special kind of smart.
            No matter that his mother called him stupid and lazy fifty times a day.  No matter.  He didn't believe her, not any more. 
            Aaron was a little boy; small, thin and pale.  When lined up for scouts or gym he stood pigeon-toed, looking angry and scared.  His shoulders bunched high against his ears and his hands fisted tightly at his sides. 
          At school he could not physically compete with boys his own age, so he had been put back a year in gym class.  This was a bottomless well of humiliation.  He lacked strength and coordination.  He wasn’t even obnoxious or funny.  Without these ingredients for childhood charisma, his place in the playground pecking order was at the bottom.  Last.
            Sure, he was smart.  He learned very quickly that being smart was not an asset and showing that he was smart was downright dangerous.  Still, being smart was all he had; it was his only defense against a world seemingly arrayed against smart little children with lousy grades.
           He was every kid’s favorite victim.  They enjoyed goading him into a rage because of the comical results.  He had a  ferocious temper that would spring him into frenzies in which he wanted to maim his tormentors.  When he released his rage the result was a pathetic windmilling of his arms.  He was so small and light that he was easily deflected.  He couldn't hurt anyone.  Therefore, he couldn't scare anyone.  The idea of using a stick or a bat just wasn't in him.  Somehow it offended his dignity.  Using a weapon was sneaky, and Aaron wasn't sneaky by nature.  He was only sneaky with regard to his mother and her irrational Blockade, her refusal to allow him to be himself.   He called it a Blockade because it felt like  his mother was suffocating him, depriving him of all he needed to get any fun from his life.  He was like Great Britain in 1940 when the U-boats cut off all the supplies of food and steel.
       There were dark shadows under Aaron’s eyes, shadows signalling that The Blockade was having an effect, that he was in trouble, that he was scared.  No boy of nine should look the way Aaron looked.                          
           His reclusive and thoughtful demeanor earned him a nickname.  He was called “The Professor”.  It was not a happy nickname.  It wasn’t like “Slugger”, “Speedy” or “A.J”.  One of Aaron’s teachers started using it as a term of affection.  The kids adopted it as their expression of contempt.  When they drawled “Here comes the Professor” they used a throaty mocking tone that had become the currency of sarcasm and insult.
          Aaron escaped into fantasies.  At school, he spent most of his time looking out the window with unfocused eyes.  Through the day he dreamed heroic myths.  He had an obsession with Vikings and Norse mythology.  He day-dreamed himself as the captain of a crew of sea raiders. The rails of his ships were lined with circular shields.  As the sleek dragon-headed craft etched their tracks in the sands of the beach, the men took their shields and charged castle walls, wearing helmets adorned with ox horns.  Inside the castle was a pretty blonde princess who waited to be rescued by Aaron The Strong. 
          He always delayed going home.  His mother was at home.  He was completely terrified of his mother.
          Aaron’s school was two blocks from the modest house on Parkway Court.  Aaron explored alternate routes.  He walked around Greenwood Park, up to the railroad tracks, then across the bridge.  He slid down the embankment and took the foot bridge that led through backyards onto Ruth Street.  Another backyard path led to the bottom of his street, which was called a "court", where the houses formed a closed semi-circle.  Number 8024 was halfway up the eastern side of Parkway Court, which was one of a twenty four street subdivision.  None of the houses were more than five years old.  A sapling was planted in front of each house.  It would be twenty years before they would provide shade.
          Hunger usually ended Aaron’s meandering.  If he was lucky, his brother and sisters would be home.  He could grab a snack and then slide like a ghost through his siblings' fights with each other and get into the room he shared with his little brother.  Avoiding his mother’s attention was the highest priority.  Little currents of fear raced along his nerves when he thought of Esther Kantro.
          Aaron had a friend named Jeffrey Rubin, who lived five houses up the street.  When he went to Jeffrey's house the atmosphere was so different that he could barely understand it.  Jeffrey’s mom cracked bad jokes, made cookies and hugged her wriggling son as he pretended to try to escape.  Things weren't tight and quiet at Jeffrey's house, things moved along in a way that was...well...things were fun. 
          Jeffrey's mom was very physical, a hugger, a smoocher, sweeping kids into the air with her husky arms.  When Mrs. Rubin hugged and kissed Aaron, he didn’t try to escape.  He shrank from her a little bit.  Mrs. Rubin’s affection gave him an odd feeling, as though he was touching dry ice.  He liked it but didn’t know how to hold it.  When he had to leave, to go home, he felt a wrenching sadness.  Sometimes, as he left the Rubin's house, he started to cry and had to press his chin into his bony chest, press it hard, hiding his eyes from the world until the urge to cry stopped and he could walk to his own house.  Leaving the Rubins' got so hard that he became reluctant to go there at all.  The attraction wasn't really Jeffrey, who was kind of stupid.  The attraction was a home that wasn't one continuous scream of terror.
          Aaron’s mother frequently said, as if to excuse her rages, "I love you the only way I can."  He didn’t understand what that meant.  He was sure his mother did not love him.  When she said she loved him “the only way-I can”, that must mean there was something wrong with him. 
          Aaron was certain of his father’s love.  He wanted to see his dad, wanted dad to be at home all the time, wanted his dad to talk to him, ask him questions about what he was thinking.  He wanted his dad to understand that he wasn’t stupid, he was just…just too mad to think, maybe.  He wanted his dad to tell him things were okay.  He wasn’t afraid of his dad.  Maybe love was just not being afraid.  When his father was home, Esther was a different person.  She didn't shake him or scream at him, she didn't squeeze his arms until fingernail marks showed. 
          More than anything, Aaron wanted his father to be at home.
          It was a secret, this fighting that took place when his father was away. 
          Esther made threats.  “I’ll kill you if your father hears of this”, she said one day.  She was twisting a wet dish towel in her rough red hands.  Aaron saw his neck between those hands.  He was seeing the thought in Esther’s mind. 
          While Aaron tried to banish this image, his mother entered her continuing tirade. It was a conversation she had with her anger disguised as a conversation she was having with her son.  In some abstract way Aaron knew that his mother wasn't really speaking to HIM, she was speaking to invisible monsters in the air.  “How did the toaster get knocked to the floor?  It’s broken!  How did that happen?  How? HOW?  Your dad better not find out about this!  I’m so mad I could kill you!  Dad has enough on his mind.  He works all day and half the night, and he doesn’t need stories about your behavior.  Running around the house flying like an airplane, knocking things down right and left.  You’ll give your father a heart attack!”  Her voice rose in pitch and volume.  “He’ll drop dead and it’ll be your fault!  Is that what you want?  Is it?”
          The word "kill" was as common as pennies in the currency of the Kantro's domestic language.  Killing, murder, suicide, death death death....the siblings screamed at each other, "I'll kill you," and "no you won't, I'll kill you first!"
.            Sometimes Aaron slapped his hands to his ears.   No no no no!  His father couldn’t die!  He wouldn’t tell, wouldn’t utter a word about this strange …strange…situation.  That was a good word.  It was a situation.  It was a new word for Aaron.  He liked to discover new words.  It was one of those pleasures that came from inside his mind.  This was a way of thinking that he enjoyed.  It was the USE of his mind that he enjoyed.
          Aaron would protect his father at all costs.  It wasn’t dad’s fault he had to be at work so much.  Mother always said it: money’s more important than anything, even love!
          It wasn’t dad’s fault that he went to work so early and came back so late.  It wasn’t dad’s fault that Aaron got so mad he broke dishes and never did his homework and threw a baseball through the living room window.
          The problem was that without dad at home, mother could do anything she wanted.  It depended on the way she felt.  She whipped him with a belt on his behind.  She made him stay all day in the dark closet with the door closed.  He curled up into a ball and listened to her talk.  Her voice got louder and then softer as she moved about the house.  She was telling him what he was and she did not spare the curse words.  He was stupid, lazy, ugly, a disappointment, a worthless no good son of a bitch and it would have been better if he hadn't been born. 
          Sometimes Aaron’s mom felt bad and sometimes she felt good but it was spooky good, there was something wrong with how she felt good.  She would dance by herself around the living room, singing corny old songs, and then she would put on her mink coat and drive her car to the stores in Clayton and Lake Forest.  When she came home she was moving so fast she looked like two people at once while she hid the stuff she had bought.  She moved the heavy coats aside and got into the deep shelves at the back of the closet.  She pushed at bags and boxes until she made room for the new shoes and earrings and bracelets.
          She bought a lot of stuff and Aaron wondered if she was the reason why dad had to work all the time.  Dad was scared of her, Aaron realized.  He let her do whatever she wanted rather than start one of those terrible fights where screams got so loud the neighbors called the police and mom hit dad so hard his eyes went black.
          Aaron didn’t blame his father.  It was just bad luck.  He had a vague knowledge that his mother hadn't always been this way.  She was different when she and dad were first married.  She looked different in the pictures.  She looked happy and..and...nice!
          What had happened to change her from a nice person to such a mean person? 






Chapter Two 
Fighting For The Right

           By late September school had already become boring.  Aaron didn't have the attention span to hold on to subjects that weren't related to his interests.  Numbers, chemicals, categories, all these things whooshed past him without leaving an impression.
Then, on the last day of the month, a notice appeared on the main board just outside the principal's office.  It had symbols that Aaron recognized as musical notes and a floaty cartoon of several men in top hats and tuxedoes, tootling on various instruments.
          MUSIC APPRECIATION.  An elective course available to third and fourth graders would begin in two weeks.  Those who were interested should sign their names on the numbered sheet attached.  A pencil dangled from a string.  This WAS interesting and promised to break the daily monotony of teachers' droning voices.  Aaron picked up the bright orange nub and signed his name.
          He waited eagerly.  Finally, after the passage of two weeks, his home room teacher handed out a number of sealed notices.  One of them was for Aaron and he found notification that today, yes, TODAY! At two o'clock, just after the end of recess period, the kids who had signed up for the class were to go to the cafeteria. 
          Two o'clock came and Aaron was in the biology lab with Mr. Warren, the science teacher.  He presented his note.  The teacher scanned it and nodded Aaron towards the door.
          Aaron found himself traversing the near-empty halls towards the cafeteria.  A few kids were converging on the double glass doors leading into the expanse of the lunch facility.  They pushed the doors open and found an area where the long rectangular tables had been cleared away to make room for a chalk board, an upright piano and three rows of chairs.
          The students found their seats with the usual clamor.  After getting a glance at the teacher, kids were bumping one another to sit in the back row.  They had done their lightning appraisal of the instructor and they didn't like what they saw: the music teacher looked mean. 
          It seemed pretty stupid to Aaron to try and get away from this strange looking woman.  He took a seat in the front row at the right corner, next to the window.  He counted the attendees: eleven students.  Eleven out of a total of one hundred ninety seven third and fourth graders at Daniel Boone School.  Of those eleven, Aaron guessed with accurate realism, there might be four who were actually interested in Music Appreciation.
          The two minute bell rang before third period.  Wooden floorboards in the halls amplified chatter and the sounds of hurrying feet.  The staccato booming quickly died as classroom doors closed behind tardy students.
          The teacher stood next to the blackboard with one hand on her hip, the other holding a long piece of chalk that she was passing through her fingers with intricate dexterity.  It twirled from thumb and index finger down to the middle finger, where it stopped and whizzed around that long digit and somehow balanced on its point in the teacher's palm.  The chalk then continued and found its way to the pinky and returned the way it had come.  The teacher's fingers looked like five perfectly trained snakes.
          Aaron was transfixed by this skilful movement.  Under his desk he attempted to work the pattern with his pencil, which he instantly dropped and just as instantly picked up.
          The kids were wary.  A couple of girls whispered the word “ugly”.  Aaron looked at the new teacher and tried the word ugly, but it didn’t fit.  He rummaged his mind for a word to describe the woman.  Not ugly.  Not scary.  Not mean.  Not repulsive.
          Then the word came to him.  It was a word he didn’t know he knew, but somehow he knew what it meant.  Maybe he had read it in David Copperfield.
          The word was Homely.
          The teacher was homely.  Her hair was in a net.  Its red brown coils were tucked in an orderly bun.  She had large ears.  She wore a green blouse and a pink sweater that covered a long bony torso.  The sweater was too short at the waist and buttoned to the top over her large adam’s apple.  The long brown skirt looked as if it was made a hundred years ago.  There was a pair of checked men’s pajama pants visible beneath the hem of the skirt.  The grey and green flannel pants swished over white tennis shoes as she walked.
          “Take your seats, take your seats,” the woman said in a sonorous voice.  When the students had sorted themselves out, the teacher began to write her name on the blackboard with brisk muscular strokes.
          “I am,” she said as she tapped the chalk rapidly on the board.  Tap tap.  Tap tap tap.  There was a pause as she finished printing her name.  “I am….Mrs. Leek.”
          There was an immediate titter throughout the class.  Aaron agreed it was a funny name but felt that it would be rude to laugh at another person's name. 
          Mrs. Leek turned and put her hands on her hips.  The laughter diminished but didn’t quite die out.  Mrs. Leek looked at the students as if she could stab them with her eyes.  Only one boy continued laughing.  He was a big dumb kid named Bennie Shapiro.  His eyes were closed and his head was pointed towards the ceiling as he brayed like a donkey.
          “YOU!”  The woman pointed to Benny Shapiro.  She was holding the white chalk as if it could beam death-rays.  “Do you think there’s something funny about my name?”
          Benny’s face came down and turned almost crimson.  His long legs were splayed out beneath the chair in front of him, his shoes almost pointing in opposite directions.         “Ummm,” Benny murmured, “I was just, uh…”
          “And your name is?”  The teacher demanded.  She had taken a small pad of paper from her skirt pocket and held a pen over it.
          Benny was stunned into silence.
          “Can someone tell me this young man’s name?”
           “Bennie Shapiro” emerged timidly from several children.
          Mrs. Leek wrote quickly on her pad, tore the leaf free and walked to Bennie Shapiro.  She folded the paper once and handed it to the boy.  “You are dismissed from this class, Mister Shapiro.  Permanently.  I don’t tolerate rudeness.  Take this note to your teacher.  I’m informing her of why you are no longer in this class.  I’ll want her signature, and a signature from one of your parents.”
          Bennie was confused and scared.  He pulled his legs back under him and got up.  He looked around, appealing to his classmates.  None met his eyes.
          Discipline problems were thus ended in Music Appreciation Class.
          Aaron had never encountered a person so strange as Mrs. Leek.  She sang rather than spoke.  When kids were outside her danger radius, she was a ripe target for mockery.  Everywhere in the school some piping voice was imitating her trademark delivery.
          “Students!”, they sang, “Who can tell me the name of this music?  Students!  What instrument do you hear in this solo?” After two weeks the kids shaved the imitation to a lilting utterance of the single word in two notes: Students!  They became like bird calls, emitting from the playground, answered from the second floor, again from the gym.  “Students!”, they sang, and followed with fits of giggling.
          Mrs. Leek didn’t care.  She was terrifying.  This capacity to instill fear was a combination of her stunning dour face and the expressions of contempt she could use to bore straight through a student’s soul.   Her lips were extremely full and were marked with cracked vertical lines.  They contrasted with the gaunt angles of her cheekbones and the horse-like shape of her skull.  Her skin had the texture of pitted leather.  Sometimes her face looked like a tree knot, a place where a branch had failed to sprout.       
          Her teaching methods were strict and direct.  She didn’t mind getting wrong answers.  At least they were answers.  One day she pointed a yardstick at a boy named Mark Rabinowitz.
          “Can you tell me, Mister Rabinowitz, what German composer struggled with deafness throughout his life?”
          The boy yawned, blinked, appeared to think for a moment.  “Umm, uh, Fats Domino?"
          Mrs. Leek popped the yardstick across a desktop, making it snap so loud everyone jumped.
          “All I want to know is whether or not you are alive!” the woman said.  “I’m not asking so much.  Make a guess, take a chance.  You can’t look more stupid than you do now.  ‘Duh, um, Fats Domino?,’”she mocked.  “Beethoven’s Balls, most of you kids are zombies.”  
          Mrs. Leek’s curse had brought all the students to a state of fascinated alertness.
          “I suppose I’ll get fired now,” she said calmly.  “I’ll only miss two or three of you.”
Her eyes met Aaron’s and she gave him the slightest wink.  Aaron’s insides relaxed with unfamiliar gratitude as he realized that he would be one of those few students.
          The incident passed and the eccentric teacher did not get fired.  She continued the arduous task of instilling music into the lives of her students.
          She brought record albums from her collection.  One day she brought 45’s by Fabian and Elvis.  She played them side by side with old records by Mississippi blues men with funny names.  Blind Willy this.  Pegleg Joe that. 
          “You see how the rhythms and chords are really the same?” she asked.  Two or three sets of eyes were alert.  Aaron Kantro nodded but was too paralyzed with shyness to speak.
          When the teacher played Benny Goodman or Duke Ellington, Aaron felt like he was on a rocket ship.  He thought a fuse had been lit under his chair.  The music gave him goose bumps.  He felt a strange warmth at the back of his neck.

Friday, March 19, 2010

In The East



In the east
tourists release caged birds,
they open the wicker door,
the finch steps bravely forward,
pfff, wings flutter, up in the air,
gone, little bird gone.
The kestrel strikes
in seconds
as it makes it rounds
above the marketplace.
This quaint custom
is a symbol of the soul’s liberation
from the endless rounds of death and rebirth.
The tourists don't see the kestrel
they miss the next logical step.
When they free the yellow finch
they are feeding the kestrel and its young.
They think they have practiced virtue,
they pay a few rupees and move on,
unconscious
that the joyous flutter of wings
is not a yellow finch
restored to its free wild life
but a kestrel feeding its young
on our ignorance.

Friday, February 19, 2010

Where Am I?




Where Am I?
Feb 19, 2010

Where Am I?
Feb 19, 2010



Where am I?
Yes, I know…California, planet earth,
solar system, milky way, local galactic group,
Great Wall Galactic structure, further strings and shapes of galaxies
in structures too big to see, yet, part of a thing
called Universe, and then , then…
where am I? Large or small, or in between?
fractal geometry reveals that size
is meaningless, macro is the same exact shape
as micro, and if that is true,
the “where” of am I could put me at the very center
of….of what? Not too big, not too small, just right?
If our universe “banged” some fourteen billion years ago,
then evolved into the shape we now see,
this universe is temporary, it’s passing on through,
truckin’ down the road. What’s fourteen billion years?
Nothing much. An expanse of time. It’s not Forever.
So where am I? Let’s leave alone the “what am I?” question.
I have a feeling that the Where will reveal the What and the What
will reveal the Where, but man, this thing is complex and subtle.
Wrap your mind around the most brilliant idea EVER thought,
an idea that dwarfs Einstein’s most stunning insight,
an idea that has Steven Hawking playing with wooden blocks
that have letters carved in simple relief, “A”, “B”, “C”,
that’s very good Steven, very good Albert
very good deepest thinkers of our world,
you’ve gotten us off our tricycles,
but we don’t know where we are, don’t know what we are,
and surely don’t know why we are,
so it looks like I’m going to have to keep asking,
I mean doesn’t EVERYBODY ask?
Maybe not everybody but a lot of us would like to know
and we put all these frustrations into books
and call them religions and maybe they soothe the frustration a little
but they don’t put a face on my location in the scheme of things
so I just want to grab this super smart Intelligence, Force, Creator,
Joker, whatever it is, grab it by the collar and say just like a movie tough guy,
“Hey! Where am I? I want some answers! Quit fucking around!
Can’t you show us a formula, an artifact, a document that’s less ambiguous than Koran Bible Torah, send an angel or flying saucer person, or something to change me from frustrated to fulfilled?
Can’t you do that right now, huh?”
Uh oh. I know I’m not as smart as Einstein much less this thing that casually
tosses universes out like a tennis ball machine, bang!
whoops we missed, Bang! There it goes again. Universes all over the place that support life, no, encourage life!
This is not someone you grab by the collar and get tough with, anything could happen. And does. Everything happens!
It makes me kind of tired. My eyelids droop from the effort of all this
ravenous curiosity.
I think I’ll go to sleep. Maybe I’ll find the answer in a dream.
Wouldn’t it be funny if I had that dream,
and then couldn’t remember it?

Everything Is In A Look



Everything ã1999
written 1972

Arthur Rosch



Everything is in a look.
Yet still, everything
is in looking away.
Unable to breathe suns from each other,
we turn to contemplate
lonely space,
and wash our hearts
with what warmth remains.
And again, that look,
rending the cosmos,
pours from the vat of creation
in our eyes.
The unspeakable love dashes its silences
to death,
against the perimeters of our exiles.
Yet, and there is always a yet,
to be born, to be resurrected
in a touch. The miracle is
that my skin was made to meet your skin,
that unknowable lightnings are our servants
to carry the burdens of love and loneliness.
Somehow my universe gathers energy
and spreads, with the vague arms of an amoeba
to some call on the horizon.
No matter that horizons always receed;
for if you too were to will your stars and dust
towards the furthest reach,
perhaps we would meet on some plain
lit by the ecstasy of celestial collision.
And perhaps we must die
to know each other.

Look! I would fling off my skin
like a cloak,
to show you the sun that burns within.
But as it is, only my face,
and what desperate radiations that can pass
through this terrible cloak
may reach you.
Know me! Know me!
Not by my escapes into smiles
but by my facelessness,
too full to shine,
too lonely to weep.
We are infinity
yet the mystery is always a deeper note
than we can hear.
Hearken to the remotest timbre,
it rises from our source
but hides its silence.
Listen to the mask of music,
behold the facade of suns,
yet be ready to fling them away
to peer into the depth beyond depth.
Love only wears faces to entice us
in our simplicity.
God dons the robe of the cosmos
that we may not plunge into her nakedness
before we ourselves are naked love.

Wednesday, February 17, 2010

A Worthy Destination





A Worthy Destination
Jan 28, 2003
revised Feb 15, 2010




I haven’t found peace.
I don’t own peace,
rent peace,
buy or sell peace,
though I do encounter peace
from time to time.
Peace is like a friend
who comes for a surprise visit.
As my life takes on a shape
in which peace feels comfortable
I see peace more often.
Peace is not easily found in this world.
Peace comes like an accident,
a good mishap.
Peace lands in my heart like
a bird that’s raised its young
and is looking for a new place to nest.
I thought I would know peace by now,
but it’s taking longer than I expected.
The biggest problem is my mind.
It’s like a bag turned inside out, its contents
are the world, spilled and crazy.
Peace is not comfortable
in the world. When I’m with peace, I feel as though I’ve brought a guest
to the kind of party
that’s broken up by the cops after midnight.
I need to make peace more welcome here.
I should send peace an invitation, find a good solid tree
where peace can perch and sing
before taking flight
to a more worthy destination.

Wednesday, January 20, 2010

Jazz Pianist Jessica Williams




An Appreciation of Jessica Williams






Everyone grew up with a unique soundtrack. These are the songs, the music that sustained our adolescent years, the songs that saw us through our high school sufferings and our frazzled romances. This is the music that walked at our sides as we met and married our spouses. And, perhaps, the music that dirged when the marriage ended.

None of us forgets the sound track of our youth, with its slow-dance makeout songs and funky booty-bouncers. It remains the sound track of our lives. There may be additions, new music always comes forth, but the basic rhythm carries our days and soothes our nights. We will always love the music we loved when we were young.

Our world is a motley of generations, and each generation has its youthful soundtrack. My father is still imprinted with Glenn Miller and Tommy Dorsey. They evoke his time in history. Armies were storming the beaches of Normandy, hopes and heartaches were thrown into the fires of war. Spirits were kept buoyant in the face of dread. The music was lively, sentimental and sophisticated. Only real pros could play it, virtuosi of reeds, brass and rhythm. It was vital and inventive and it isn’t going anywhere. New generations simply rediscover it.

We know our sound track,whatever it is: Metallica, Paul Anka, Tupac, The Carpenters, Michael Jackson, The Eagles, Little Richard….it’s ours and ours alone.

It is permanently tattooed into our nervous systems.

The soundtrack of my youth was a little strange. In 1961 there weren’t many kids of fourteen listening to John Coltrane . How many of my peers had a closet full of albums by Miles Davis, Cannonball Adderly, Roland Kirk? How many owned a copy of Charles Mingus’masterwork, “The Black Saint And The Sinner Lady”?

I loved jazz so passionately that there’s no adult counterpart that I can identify. I love my wife that much. It’s no innocent passion, it’s tempered with the woes of life. It’s deep and real but it isn’t the insatiable breathless devotion I knew as a teenager. I was a kid who had musical crushes. My first Art Blakey album tipped me over!

Jazz was everything for me, at fifteen, sixteen. It was the Path of Paths.
I wanted to be a jazz musician, and my ear tuned to this musical elevation. When Ornette Coleman came along in 1965, I was graduating high school, and I didn’t hesitate, I jumped. I left home, ran off to New York with a dream of joining The Ornette Coleman Quartet. I met the man. He was wonderfully generous but I was too young and not good enough to be a member of his band. I didn’t get it, socially, didn’t understand the drugs, racism, the harshness of the jazz life. It was all a romance for me. If I failed, I could go home and attend college. There was no such safety net for Ornette Coleman. He had to grab the world and make it listen!
The sound track of my youth: Coltrane, Miles, Mingus, Jackie Mclean, Tony Williams, Ornette Coleman. I didn’t have many friends. People thought I was crazy.
Along the way I developed a passion for piano music. I loved pianists. I seized upon Bill Evans with a grip like epoxy and listened for hours and hours. The way McCoy Tyner soloed with Coltrane gave me goose bumps. I’d stop the record, go back to the start of the piano solo and play it again and again.
I liked the peaceful manner of Bill Evans. He was never harsh, he played like a very gentle man, and so it was, I understand. I was gravitating towards a more reflective kind of music.

I love pianists. I love the great classical pianists. Glenn Gould, Vladmir Ashkenazy. Chopin transported me. I loved the interpretations of a relative unknown , Abbey Simon. I hated the the narcisissm of the so-called “greats”. How could different pianists play the same music, the same Chopin, with such disparate results? Some sounded musical and tender, towering and strong, while others merely sounded brittle.


About ten years ago, a friend gave me a Jessica Williams album. I loved the music. The CD was “Live at Maybeck”, an outdoor concert in which Jessica played solo. I loved the playing. I wanted more. I played the Maybeck CD again, and yet again.
What happens when an artist’s work enters a person’s life? What intimate process evolves when a relationship is established between artist and participant? There are a few artists whose visions have become like an alternate home for my soul. I’ve listened to John Coltrane for fifty years. I bought my first Coltrane album, “Blue Train” in 1960.

It began an awesome collection of Coltrane recordings. I wore out copies, I gave away copies. I often entreated some shrinking acquaintance who was dodging the copy of “Meditations” I was thrusting into his reluctant hands. “Here, listen to this, you HAVE to listen to this! It will change your life! Just take it!” He wanted to go back to his apartment, smoke dope and listen to Moody Blues and Led Zeppelin. By my logic, if I loved Coltrane, everyone should love Coltrane. If I was at a party, I’d load a recording like “Ascension” onto the turntable and people would run from the room as if a disease had arrived. Now and then someone would hit me, take the album from the turntable and break it or sail it out the window.

I carried Trane’s records with me across the country. I took them everywhere an aspiring musician could go. They lived with me in Cleveland, Detroit, New York, St. Louis and San Francisco. I listened to them stoned, straight, on acid. I absorbed them, I ate them whole, chewing so much vinyl that my lips turned purple..

Later, the same thing happened as I began to acquire Jessica Williams’ CDs. Jessica has a CD called “Tribute to John Coltrane”. I ordered it from Jessica’s direct-sales website. She even signed it! That CD, with my favorite Coltrane song, “Lonnie’s Lament”, became my everyday soundtrack.

As I began listening to Jessica Williams I began to perceive the details of her genius. Her technique is so abundant, I can only laugh. Such speed, such “touch”, such command of the entire keyboard’s sonority. There aren’t many pianists to compete with the absurd affluence of her chops. Some performers with technical gifts get stuck there, with the technique. They remain performers. They never take the next step towards artistry.

Jessica Williams’ technique is so huge that she’s surpassed that mysterious threshold where a musician becomes able to tell jokes. Wit requires a special ability in music. A witty musician needs virtuosity. How can a player tell the joke without the timing? How can there be humor without first acquiring a universe of knowledge with which to assemble the fable, the short quip, the pun, the turning upside down backwards and forwards of a well known piece of music so that it sweetly mocks itself? It takes years of practice to afford the risk of timing, the risk of flirting with a line or a pun in an odd place, framed in an odd way. It requires confidence and audacity to take a chance, to make a wide leap of musical faith. Only the masters have that much audacity. Only the masters are geniuses of timing. Jessica’s aptitude for surprise keeps us listening intently. Some of her witticisms pass in a second. Whoops, quote from “Grand Canyon Suite” in the midst of a tender ballad. Gone! Two bars. She might play a gorgeous arpeggio from a great old standard. At the end, as the ringing tones of the florid scales vanish into the air, she throws off a little two tone discord, dink! and it fits perfectly, makes a comment on the preceding music as if to say, “so there you are! Ha!”

It’s impossible to write about Jessica Williams without a discussion of Thelonious Monk. Jessica has made no secret of Monk’s influence on her work. It’s an odd juxtaposition. Jessica said during an interview with Terry Gross that the first time she heard Monk, she thought he was wearing boxing gloves.
Monk plays a hammer-handed style that owes little to classical training. It’s a fusion of conventional and purely invented techniques, devised by Thelonious Monk to serve his peculiar childlike madness.

My guess is that a major link between Monk and Jessica Williams is humor. Jessica, with her fleet fingers full of finesse, has so much technique that the piano becomes a complex toy, an object with which to play, as a child plays, building worlds in the imagination.

Monk’s music often sounds like something played by a brilliant and very strong six year old. The melodies are deceptively simple, yet full of tricks and quirks. Some Monk tunes evoke the sensation of almost stumbling over a crack in the sidewalk, then recovering without falling on your face. Monk is devious. He writes to test other musicians, to see if they can cut it, to separate the gold from the lead. The compositions are not so much difficult as subtle. It’s easy to hum a Monk tune, easy to let one of his lines slip into the rhythm of driving or shopping. His songs are like nursery rhymes made up by a man who is both autistic savant and cosmic seer. Monk seemed to live in several worlds simultaneously. The only location where all the worlds converged was in the piano . Monk’s music was so unconventional as to require use of elbows, forearms, crazed crushes of fingers. His right leg flopped like a hooked sturgeon when he played. He was famous for getting up and dancing a little jig while his sidemen solved the labyrinth of his chords. Were it not for the staggering originality of Monk’s ideas, he would never have been recognized, never acquired fans. He was barely functional and spent time in mental wards. Without his wife Nellie’s patient devotion, no one would know the name Thelonious Monk. It would be “What-lonius who?”

Monk could be hilarious with a single chord. Just one! Using ten fingers. There might be fourteen or fifteen notes played by those ten fingers but all of them belonged in the comic smash of tones that was Monk’s sly quip. How could a musician as funny as Jessica Williams not fall in love with Monk? Both are clowns of the piano. They approach the piano from opposite ends, but Monk has given Jessica an entire vocabulary from which she can absorb crazy funny quirky and exotic musical remarks. No one can imitate Monk. An astute pianist can be liberated by Monk. He invented a uniquely sonorous dissonance. Monk used his imagination to turn wrong notes into right notes. There were no wrong notes. There were just Monk-Notes and Not-Monk-Notes. Musicians who played too many Not-Monk-Notes soon found themselves playing elsewhere.

Jessica’s palette is larger than the conventional palette of modern jazz. Bill Evans, Oscar Peterson, Billy Taylor, are modern jazz pianists. I know Jessica will be called a “postmodern” pianist but I refuse to plop a decal on her. Trained in classical music at the Peabody Institute, she encompasses the whole of piano literature and borrows from sources in every corner, from John Cage to the pulse of flamenco and the staccato plonks of the Balkan santur.

The length of Jessica’s lines is unusual. They can be so long they seem endless yet always resolve perfectly, after wandering and stretching through a DNA-like weave of notes where each fragment of the entire line is a single chromosome and miraculously the chromosomes fit together by the time Jessica has reached the conclusion of her idea and is moving to the next. Then, another line of equally operatic length may follow. Jessica pulls this length off without ever getting boring.
Her lines are like action films where we wait with our hearts beating quickly until the good guy wins or the odds are overcome. The conclusions are celebrations. The effect is visceral: UH! Rock me in my seat, let my arms and legs twitch with happiness when the mystery is solved!

This isn’t music I listen to. This is music I ingest. This is music that mingles with my bloodstream.

“When I'm playing, I think of NOTHING. The Buddha is EMPTY. I seek TRUTH through emptiness, through honesty without a veil or blinders.”. Jessica Williams


I have twelve CDs by Jessica Williams. That’s not a large number. I’d love to have all of them. I listen to them constantly. I listen to them as I write and work at home. I listen to them in the car. I hardly listen to anything else. Jessica’s music is so rich it’s like a rain forest of exquisite musical plants. It brings me joy, stimulation, awe, relaxation, information and escape to a world ruled by The Queen Of Beauty. What is she doing, I wonder, as she reaches to the very upper keys on the piano and spends sixty four bars tinkling almost beyond the range of human hearing.? The sounds are like bells coming from the clouds of a supernatural realm. Meanwhile, her other hand is playing some ironic or unlikely counterpoint that is so dextrous as to be stunning, impossible, yet there it is, pure musical fact. I can imagine a Hindu deity-poster of Jessica possessing eight arms. In each hand is a piano. A keyboard elephant’s trunk of ivory and ebony tapers gracefully from where her nose should be.

Jessica is both lofty and funky. She is elegant and rooty, the rasp and twist of blues is never far from the surface.

When John Coltrane said, with such stunning simplicity, “I want to be a force for good,” he was expressing the deepest will of anyone attuned to spiritual purpose. I seldom use the word “God”. It’s too vague. “God” becomes an excuse, a crutch, a fantasy, a fleeing from pain, a selfishness.

“Being a force for good” is a more accurate expression of putting my life in the service of a greater power than myself. If I want to be a force for good, if I hold that desire at the center of my heart, I have made a commitment to walking a path of ethics, generosity and compassion. Integrity demands that I make an effort to repair the damage of the lies that I have told, or believed.

There are people who make themselves into living treasures by embracing this desire. Jessica Williams is one of those people. It is our good fortune that she is an individual who devoted countless hours to the practice and study of music. This has enabled her to be the treasure, play the treasure, inspire the treasure in all of us.

Jessica is a force for good.

I have let her become one of the cornerstones of the sound track of my life.

Monday, January 4, 2010

Why Do We Pick On Ourselves?





Why Do We Pick On Ourselves?
Copyright Art Rosch
Jan 3, 2010



Americans pick on themselves. We do it constantly, relentlessly, awake, asleep, we pick on ourselves about everything. It’s as if a perfectionist mother –in-law sits inside our heads on a platform at the very center of our thoughts and points here and there, hectoring us with criticisms.


“You could lose a few pounds, you know. You’re getting heavy. What’s wrong with your face? Is that a zit? How could you have a zit at your age? Your pores are kind of large, too. Speaking of age, wow, you’re getting’ over the hill, and it shows, it shows! I see wrinkles at the sides of your mouth and eyes. And that big one in the middle of your forehad, wow. Who could love a mess like you? Who buys your clothes?!! A retarded pygmy? Where did you get those awful shoes? Who does your hair, a baboon? Get another stylist before it’s too late. The damage that’s being done, what a shame. Your hair is thinning out day by day. You’re getting a pot belly, by the way. Ever think of wearing something, a brace, maybe? Your skin’s losing its elasticity, there’s a cream that I can recommend. Your teeth are a little funny. Has anyone ever suggested cosmetic dentistry?”


Pick pick pick, pick pick pick. Am I wrong? Have I overstated the case?
She never stops, this critical demon of the shadows. She is a product of decades of indoctrination.


“I should remind you to get your cholesterol checked. Wouldn’t want you suddenly keeling over. It can happen; any second it can happen, bam! You’re dead! I’ll bet you haven’t provided for your family if something happens. Do you have a good lawyer? My brother in law knows one. Are you seeing a doctor? Have you checked your prostate lately? I hear there’s a new medication for that. There’s a pill for everything these days, just watch Sixty Minutes. I mean the commercials, not the show. There’s a pill that’ll help you stop smoking if you survive the side effects. I love the medications where one of the side effects is “diminished semen”. What does that mean? What kind of pill can have “diminished semen” as a side effect? Isn’t that the scariest thing a man can hear, short of “penis may wither and fall off?” Loss of semen really means having crappy sex, doesn’t it? So why don’t they say, “may have brief weak orgasms due to lack of sperm?”


This yapping harridan, this carping abusive inner voice, how did it get inside our heads? Let’s make it simple. First there’s television. There are a lot of good things about television, it’s not the monolithic purveyor of propaganda it might be in some other countries. Still, it hauls a freight train of psychological toxins every second of every day, no matter if the sound is on, whether or not Tivo has blocked the commercials. It doesn’t matter. The marketers behind television are so sophisticated that we don’t have to turn on the device to be contaminated. In our society, television has become a self-referential culture, the subject of billions of conversations. It has moved into our thoughts and taken residence, permanently.
After TV there’s movies, the internet, magazines, newspapers, radio, you can’t escape marketing anywhere, not even in an airport restroom.


We barely live real lives any more. We talk about fictional characters whose lives are infinitely more exciting than ours and whose dangers are far beyond anything we would ever permit ourselves to face.


It would be interesting to snatch someone from the past and have this person witness our marketing techniques. Show a Viagra or Cialis commercial. What if we brought someone from the Victorian era, from around 1895, and showed him or her commercials for keeping your thing hard, every ten minutes another commercial showing a man of about forty five with a woman of about thirty eight, snuggling together, holding hands, watching the sun set. We would have to explain the nature of this product to the viewer. Without the warning “see a doctor if erection lasts more then four hours” there is nothing to indicate what this product does, what’s it’s for. When we explain it to our time traveler, what will this person think about our culture? How embarrassed would he or she be, how shocked at the impropriety?


Well, sure, they were prudes. Their repression caused them vast inner conflicts, but I would speculate it added an extra thrilling dimension to sex. It seems that when we started discussing our President’s blow jobs on the public airwaves, some line was crossed, some basic decency and sense of proportion was jettisoned off the side of our big ocean liner of a culture. Sex also got a little bit more ordinary, a bit more like costume jewelry.


I digress, I was talking about how we pick on ourselves. It’s stupidly obvious. It’s about getting us to spend money. The entire purpose of marketing is to manipulate our desires. The basic technique is to infect us with feelings of inadequacy. Then we are bombarded with glittering images of things we’re led to believe will make us feel better. If we feel bad enough we’ll go out and buy some ridiculous cream, or pill, or car, or hair weave, or something that makes no sense at all, we’ll just go buy anything, walk into Walmart with our credit cards and shop, as an anesthetic. We’ll be perfect consumers, depressed, dazed automatons piling up debt. Glassy eyed, we walk the aisles of the stores, pace the infinite mallways without destination until we find ourselves back home with bags full of junk. How did all this crap appear in our houses? I don’t remember buying an eighty eight inch Super High Definition TV set with a quadruple-woofer ten speaker sound system with Dolby nine point two noise reduction software.


We’ve been had. We’re nuts. We pick on ourselves because all our role models are distortions that are dissonant with real life. We don’t see authentic people in the movies or on TV. We see heroes who can kill a dozen trained hyenas by throwing wooden chopsticks from fifty feet. We are not encouraged to admire people who aren’t particularly beautiful, rich or talented. We aren’t given strength of character as a yardstick of true heroism. It isn’t enough to be an ordinary person anymore, we have to be some carefully crafted mannequin, with no missing teeth, no bad habits. We’re going to live to a hundred and fifty in perfect health, glowing and radiant, with a beautiful partner by our side. There won’t be any old age, slow decay, debility, nothing like that because the inner witch-voice won’t allow us to relax and be human, be ordinary and obey the laws of nature even when they take our youth and beauty.


Isn’t that the primary mechanism of marketing? To raise dissatisfaction to a level where we’ll do anything to “better” ourselves in the form of consuming whatever’s consumable to get a buzz for a few minutes or hours?


Pick pick pick, we’ve learned to pick on ourselves without mercy. Go ahead, take a look at yourself in the mirror! Do you like what you see? Have you been taught to accept yourself with all your flawed genes and pathological behaviors?

Can you accept and love yourself as the unique creation that you are?
Of course not. There’s no money in love.


Not yet.

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