This is a more difficult piece for me to put out for you to hear. Not because of the quality of the performance by the LYL Band, the performance is fine. Nor do I disagree with the performance, as it does what a performance should do: it represents a physical, working version of the feelings in the piece. The problem with it is, that taken in particular, it can be heard as out of balance.
I wrote this at a specific time in my life, for that matter at a specific time of year and even a specific time of day. When it was written and performed, I was exiting my middle ages, and elements of my life were out of balance. And it was written at this time of year, which in my upper Midwest US means that it is now dark when one awakens in the morning. At this time in September, there is no more promising summer sunlight tempting you to arise early, the sunlight that says the day has already started and you should go and catch up with it.
Perhaps you’ve had the thoughts I had on the day. You know you have things to do, many of them things you would not choose to do at that morning moment in time. How should one view this predicament?
Albert Camus wrote of this famously in his essay “The Myth of Sisyphus.” You can read the concluding section of that work here. It is not long, but if read thoughtfully it is arduous. Was I thinking of Camus when I wrote this? No, I was thinking of my own life; but other people’s stories, in effect, other people’s myths to explain this mystery, show that we hold these thoughts in human commonality.
I will not try to explain Camus thoughts on this, he does this better than I could. I have no quibble with his analysis of the situation, but as I’ve mentioned previously here, I currently suspect all myth of understanding more than it knows. Furthermore, the close association of myth and heroism makes me the more skeptical.
And that’s why I found this piece, one I myself wrote and performed, problematic. Inside it I come to the same consolation that Camus did, but Camus’ “Myth of Sisyphus,” and my piece “This Is the Darkness” can both be easily experienced in an unbalanced way: the absurd predicament is so strong an image that the consolation, our revolt and continuance of seeking right action in the face of that predicament, can seem all too vainglorious.
So let me suggest another myth. One plainer and less heroic. There is a plainspoken yet strange hymn associated with Christianity “Work for the Night Is Coming.” You can hear it sung here in this short video. As I said, this is a Christian hymn, still sung in Protestant Christian churches. Does it mention Jesus or any divinity? No. Does it elaborate any moral code? No, not really. Does it offer a sure explanation of any mystery or absurdity? No, not directly. It simply says “Work, because soon enough you will not work anymore”. In the context of Christian myth, this can be taken to mean heaven or the advent of heaven on earth, but this strange hymn decides not to say either.
Not so strange that this was written by a Canadian—the natural brethren of us upper Midwesterners, someone who would know intimately that the darkness beyond summer is long—but strange in that Anna Walker Coghill was 18 years old when she wrote it. I had to be much older to understand her words.
That’s a lot of context for this piece, but to hear “This Is the Darkness” performed by the LYL Band, use the gadget that appears below: