Yearly Archives 2023

I’ve become ever more convinced with age that It’s not so much the plain fact of death that people fear as they face the downslope of their allotted years on earth. It’s not death but the nature of the dying that furrows their brows during conversations about the end of life.

At least that’s how it is for me and most every aged peer I talk to when conversations—not all of them, but many—at least touch on who’s in the hospital now, who’s going in soon, who’s getting out, and whether the getting out is to go home, go to the nursing home, or go to the morgue.

And the last of those is the least of most everyone’s worries.

The thought of death is dwarfed first by the fear of unrelieved physical pain, though modern methods and attitudes toward pain management have significantly reduced the incidence and concern that one’s end may be accompanied by acute bodily suffering.

It’s another fear that strikes the mo...

Sixth century B.C. Greek philosopher Heraclitus, like many who came before and after him, noted the endless flux of existence, he with a particularly rich metaphor that ensured his name would be etched forevermore into the canon of universal wisdom: “You can’t step into the same river twice.”

True enough. The sun rises, the sun sets, and before it rises again, however placid the intervening hours may have seemed, nothing and nobody is exactly as it was the day before.

We’re a day older, a dollar richer or poorer, and, inconveniently enough, our planet a day closer to the exploding fireball it will inevitably become in the course of geologic time. (Whereupon all its parts will change into something else.)

Out of all this comes a synthesis: new knowledge, insights, accommodations and compromises that come together in a fresh and life-giving new reality that honors humans’ dual needs for both tradition/securi...

Poet Rebecca Lindenberg is a self-proclaimed “maximalist.” Not that she’s doing drunken cartwheels across the page or in her life, risking artistic coherence, her dignity or her health in a doomed effort to defy the laws of gravity and decorum.

Lindenberg’s maximalism is instead her response to the reality that despite how often we go about our lives half-ready to explode with joy, grief, confusion, wonder, regret, curiosity and sudden outbursts of love for all creatures and the creation great and small, we too often opt for restraint instead—for fear the world will think us crazy. (Or we will ourselves fear it is so.)

Nothing to see or hear here, let’s move it along now…

Not on your life, says Lindenberg.

The trick is to see and hear as much and as closely as you can, accepting at obvious face value the enormity of the world and your Self’s sometimes perilous navigation within it...

I learned the Australian folk ballad “Waltzing Matilda” so early in my elementary school years that I don’t remember very much of the life I led before it became one of those anthemic tunes that courses through my blood with ease and gladness whenever I find myself suddenly singing it in the shower or out on a bike ride in the sun-splotched innocence of a spring day.

So the genius of Eric Bogle’s “And the Band Played Waltzing Matilda” is that it uses the freewheeling joy of the original as the backdrop for a deep lamentation on the devastating losses of war. Bogle frames those losses not in the realm of great battles and territory surrendered or annexed, but in the individual persons (young men in this case) with families, friends and romances waiting for them at home, and a future that will never be realized.

The setting is World War I, perhaps the most nonsensical war of all the nonsense that lies deep ...

Although I lack data to support this assumption, I would bet money on a natural human inclination that among songs we are drawn to upon first hearing, that is the version we will prefer for the rest of our lives, no matter how many cover versions follow as other artists explore a great song’s nearly inexhaustible interpretive possibilities.

That said, sometimes we experience a huge “Wow!” as we listen to a cover version of an old favorite.

Sometimes the “Wow!” occurs because an artist brings a different musical genre altogether to a song. Jimi Hendrix’s take on the “Star-Spangled Banner” may be the most dramatic example there, but “Wow!” can also happen when a female covers a male’s original song (or vice versa), or a young artist covers an old artist’s song (once again, vice versa), or any artist goes louder or softer, faster or slower, or emphasizes lyrics that open up another dimension to a song we h...