Can vs Should: “You can’t do everything!”

When I announced a hiatus last, I took time to add lots of links and various clevernesses. Preparation took a few weeks. This happened in April 2022, readable here.

I recently noted on Facebook that I don’t like editing. That’s called understatement. And a bleak confession. It’s always needed. No one but Mozart can produce a finished, polished piece, and he didn’t write short stories anyway.

Recently, a friend not so gently said, “You can’t do everything!” That doesn’t mean I don’t try. Think of frosting spread too thin. Not yummy. (Toothpaste is the opposite, by the way. That long minty ribbon is a marketing tool. Adults need a pea-sized dollop; kids, a bit the size of a kernel of rice.)

I have stories, poems, and plays that need editing. An Amazon launch is the goal. I won’t mention the unfinished novel. It has its merits, but I’m not sure I’ve got the energy.

Can vs. should is the lesson I’m learning. Could I continue blogging about something every Monday? Probably. I’m noticing grammatical errors in the FB prefaces, so sloppy. I just have the feeling I shouldn’t keep churning out even short posts when other works needs doing

So, while I could, I don’t think I should. Will I get that other work, the dread editing, done instead? Time will tell, and I will tell you.

Until we meet again…here or, maybe, on Substack?? Love to all…

A Christmas Concern

A Christmas concern: It’s getting earlier and earlier—the massive decorations on lawns and in stores. Or sometimes blue or something else made festive. Americans love Christmas, at least the lights and colors. Sometimes together. Near The Galleria last night, I saw trees completely covered in red lights. “Breathtaking” and “beloved” per the website. That’s a tiny example. Seeing the lights throughout the city has long been a favorite holiday activity.

My worry this year is that the light trend may reverse. Pendulums swing. Will we go back to a minimalist style with either smaller displays or some sort of media that is not the same as light?

What to do? Awareness is first. We are by nature attracted to light. Light the world yourself as your goodness shines through. Reflect the light of Christ. Keep Him in Christmas. I used to think that was a reactive phrase. This year, I saw a dozen Christmas cards at Walmart with not a single religious one among them. Years ago, we were told to worry about”Xmas.” When have you even seen that larely?

The image for this kept coming as a squeezed out tube of toothpaste. Let’s not let that happen…

squeezing most out your tube toothpaste

“Given” is a poem I sometimes consider my best. I read it tonight to a group before we watched It’s a Wonderful Life (1947). There was interesting conversation afterward, but one phrase that resonated was “goodness creates goodness. Someone asked if it could be made today. I don’t think so. Not because “In our society today…” but because I don’t think we have anyone who could stay out of the story and let it tell itself. Agendas and messages would win out. And yes, poems were being read—so I asked to read this one, not saying whose it was. Merry Christmas!

Given

Given, that this is not the season when He was born,

But on a mild April night, full of new lambs, shepherds tending.

Given, that the stores (and we, shopping, encourage them)

Start too early, the days before Halloween now.

Given, that too much attention is paid to these tinseled toils:

Trees, bows, old elves, new elves, words in glitter.

Given, that red and green are not the best of colors

Arranged on silly sweaters, flattering few.

 

Given, that shallow promises to do and be good should best be

Conquered with deeper resolve some summer, when we have time.

Given, that worries are misplaced on things, which never

Last but break or shrink or fill our stomachs but for the hour.

Given, that those selfsame gifts could find better uses

Feeding the poor, clothing the naked, saving the world.

 

Ah, no, not that last:

For there is only One mighty enough to save.

For all the disappointments, the burdens

Given and received, for all the sadness, for the emptiness

For all the tears over those gone on

For hardships, ours and others

For all the indulgence and self-righteous singing

For all the narrow,

There is still the great

Given.

 

This the time when we remember the birth of a child

Given

To a virgin,

His Father ours, too, but once, not twice.

Given

So that we might come again to that Father,

Given our faults.

For us, to us, was He

Given.

The Wolves at the Manger

The Light came suddenly, an insignificant dot swelling into a blaze that filled the sky. Ze’ev and the other wolves watched from the hill above the camp. He could not pull his eyes away from the brightness surrounding the shepherds, but at last he glanced at his mate, Adi. She too was transfixed, the gold of her eyes catching the glow.

There had been bright moons before, so clear the fields glistened, and the occasional bonfire when the shepherds needed warmth or light. But nothing compared to what unfolded in the spring night. Adi turned toward Ze’ev, questions in her gaze.

The wolves were downwind from the dogs, close enough to watch the evening ritual. The shepherds usually gathered soon after dusk. The flock lay nearby. Lambs bleated for their mothers. Night birds sang. A young boy often played a simple flute while the older ones sang or clapped.

And the smell of the meal. Tonight it was lamb stew simmered with onions and lentils. The dogs gnawed the bones of the poor creature—broken-legged, unfit for sacrifice. Ze’ev did not begrudge them. Who did not savor the sweet flesh of a lamb?

But tonight was different. The meal ended quietly. There was no music. The Light had come.

Gevurah, leader of the pack, rose slowly, his gaze fixed on the sky. He tilted his head and gave a soft gathering howl. The shepherds were distracted. It was time to take a lamb or two.

One by one the wolves stood, reluctant to leave the hill. Perhaps someone unseen watched the sheep. Perhaps the dogs were watching the brightness. Perhaps—just once—the hunt would be easy. Gevurah howled again, a little louder. Hunger pressed, though spring made it bearable.

Ze’ev rose but did not move. Something else filled the air, thicker than scent. Each breath felt full, alive. He looked again at Adi. She met his gaze and stepped closer. Together they watched the camp.

Gevurah yipped. It was time. Ze’ev lifted his head slightly, signaling that he and his mate would remain behind. In spring they were not needed. The pack slipped away to flank the herd. The sheep were unusually quiet, their faces lifted toward the Light.

When the others vanished, Ze’ev and Adi sank onto their haunches. The Light grew brighter, fuller, stretching across the sky, and it seemed to sing. The tones were beyond human making but clear to the wolves’ ears. The earth itself echoed with a joy they had never known. Then the heavens closed, leaving a new star.

The shepherds stirred, talking excitedly, pointing toward the village beyond three limestone hills. Packs were gathered. Wood was added to the fire. They were leaving—something Ze’ev had never seen.

The sheep began to bleat again, softly. Their backs would soon face the approaching pack.

Adi stood and took a cautious step toward the camp. Ze’ev followed. Moving quickly and silently along the rocky ridge, they slipped into the empty camp. The dogs were gone with the shepherds; the sheep forgotten.

Bowls of stew sat cooling. The wolves lapped the rich broth, one bowl and then another. The night was strangely quiet, the air washed clean.

Then the Light returned, filling the camp and the field. Ze’ev looked to the right. Gevurah and the pack lay alert but motionless, as if held in place.

The wolves lifted their heads and saw a being—not shepherd, not child, yet kin to both—formed of brightness beyond imagining. Ze’ev felt no fear, and that puzzled him. Humans were to be feared. Wolves took only what they needed; without them, shepherds would have no work. There was no common ground.

Behind the being were others, filling the hills and the sky. Music flowed—not like shepherd songs, but sound shaped within breath and time.

The being spoke without words, thoughts opening like images in their minds.

“Ze’ev and Adi, welcome. The shepherds go now to Bethlehem to see a newborn child, sent from God. They have left their flock. Gevurah and the others will not approach. My companions guard the sheep and ease your hunger. The shepherds will forgive the meal you have taken.

“We come from realms of glory. Tonight we rejoice at the birth of a King, who comes as a child. You have no need of him as humans do—but would you like to see?”

Before they could answer, the wolves stood in a limestone cave. A baby lay in a stone manger, wrapped in cloth. The wolves recognized the place: the shepherds’ shelter for special lambs, wrapped at birth and kept apart.

Whispers and tears filled the cave.

“Yes,” the being conveyed, “you know this place. Lambs born here go out for sacrifice—spotless, without blemish. This child is also pure, though his beauty is harder to see.”

The dogs glanced at the wolves with nothing more than interest, as if enmity itself had paused. Ze’ev saw tears on the face of the oldest shepherd. Then the air folded inward, and the wolves were again on their hill.

“We leave you now,” came the final thought. “Much sorrow will follow in the years ahead. But there will be joy. Your distant offspring will see this Son again, robed in red, restoring all things. Wolves and lambs will rest together. Peace will reign.”

The Light faded. Song softened into silence. The pack stood once more in its places. Below, the flock stirred and the shepherds’ voices returned to the night.

Ze’ev pressed close to Adi. Together they held the memory of the night, clear as starlight.

The Piano Tuner

Scenario 1

The call: A piano has been acquired. Free. Not a good sign. An old baby grand without a brand name. Not tuned in many years. But the bills must be paid.

The visit: Someone is there to let me in. Brief introductions. Apologies for various matters—of no real importance. I’m anxious to see the piano. Perhaps, just once, it’s not as bad as I assume and expect.

The view: Sigh. Not pretty. Tan, not ebony. Scratched. Nice stool though, recovered carefully. Sheet music has been moved to an electronic keyboard. Not a bad sign.

The beginning: Top to bottom, each key must be touched and assessed. They’re always low, of course—a quarter or even half-tone. That’s just physics. The red felt to dampen the keys not being tuned. The hammer, which is really a lever. I wonder why it’s called that? And my ears—they say “ear” as in “Do you have the ear for this job?” but really both are needed. These days, some of the young ones are using an app. I don’t understand why. A tuning fork at 440hz is required. After that? Nothing.

The method: Begin in the bass. Play the note and compare to its correct pitch as gauged from the 440. Twist to the left, turn, up, up, until it’s right. A perfect match. Then on up the scale, again and again, to the top register. Those notes of the 88 are always a bit thin, just to say.

The proof: A few scales to make sure, then the playing. I favor Chopin. With eyes closed, ears relaxed, I am for a few minutes a performer. No need for an audience other than myself. And the cosmos.

Scenario 2

Setting: The Palau de la Musica, Barcelona’s premiere recital hall. A Wednesday evening in November.

Program: Alba Ventura plays Chopin, and more. She begins with a set of variations on Prelude #7, in A Major by Mompou. Using the music, at least its presence, she turns pages on the iPad with her left foot. Then Scriabin Deux poems (Skriabin in Spain).

Intermission: The piano—a Steinway—is more beautiful than many. The ornate carvings of the stage reflect just lightly on its raised lid. My work begins. How many notes does it take to change a pitch? How much power from a pianist’s hands? Subtleties beyond my poor reckoning. But the artist said, “D2 is a bit off. Will you please fix?” So of course, it’s done. She’d missed the shade of flatness in A6. No need to tell her. I and two in the audience will notice its new perfection.

Done: Yet I cannot play. Not here. My “place” is the wings from which I watch and listen. What will the artist ask? I cannot question. Perhaps I could and never have. Time is so important. Those few minutes while the audience breaks silence, goes to drink, returns. The tuning yields the desired result. And I am indispensable, or so I shall tell myself as I stop for a scoop—or two—of gelato across the street. She will play the 24 preludes without me, or the sheet music. They are under her fingers and flow from her heart. My work is done.

 

[I have for years listened as a piano tuner brings the instrument back. This video shows a complete tuning, about an hour. The resolutions I find very satisfying. Below are links to increase general knowledge or add specificity to the scenarios above.]

These are basic tools.

Here is our pianist, Alba Ventura, playing the Federico Mompou Variations on a Theme by Chopin in July 2024.

This is the Chopin prelude he used.

The composer did not perform in public, but here is a recording of him playing this piece in the mid-1950s, with the sheet music to view.

Scriabin’s Deux poemes, with music

Chopin’s 24 Preludes with music, Arthur Rubenstein, considered a benchmark interpreter