Between revising my recording setup and spaces and some travel, I’ve been away from being able to create new audio pieces for much of the past month. I’ve missed that, and I hope you have too, though I have been able to put together a few new things in the midst of this.
I was hoping to bridge this gap by presenting some things I have from older recording sessions featuring writing still in copyright, but so far I have received no response from those that seem to be the contact points for that—the usual when I seek to gain permissions. I assume this is just the inevitable result of a publishing industry focused on those business and revenue things they may need for survival. In an ideal world there’d be another me busy banging on the door of rights-holding publishers until they at least told me no or “Go away, we don’t want any.”
For you constant readers, in place of new audio pieces, I’ll leave you with just two brief follow-ups.
I’m reading a couple more Emily Dickinson books so that I won’t be so embarrassingly blank on certain questions. One is Aife Murray’s Maid as Muse, it’s fascinating premise to look at the lives and possible influence of the Dickinson family’s Afro-American and Irish servants. The book also doesn’t overlook the basic fact that it was the presence of servants exchanging their focus and time that allowed Dickinson to produce poetry that valorized independent thought.
If by chance you read that last sentence and think, well there’s your white privilege and base economic exploitation that I’m too aware of or otherwise inoculated to by family heritage or economic class to engage in, think (as I do) that it’s some Asian factory that allows me a cheap computer* to write this and to create and/or record the Parlando Project audio pieces and someone in another place built the inexpensive electric guitar you hear.
The other Dickinson book is Lives Like Loaded Guns by Lyndall Gordon. Gordon seems to have a more polemical mood so far than Murray, though her wars are mostly laid in books. The book promises to help me understand the complicated way that Emily Dickinson’s almost entirely unpublished work managed to get published and find a considerable audience shortly after her death. Even early on in the book Gordon is presenting an understandable portrait of Mabel Loomis Todd, one of the producers of the first posthumous edition of Dickinson poems. Todd is often painted on cardboard: Emily Dickinson’s brother Austin’s mistress and nemesis of her brother’s wife, Emily’s intimate friend and often interpreted as lover Susan Gilbert Dickinson. A social climbing no-talent who glommed onto a real talent? Todd might be all that, but I’m already finding Gordon’s portrait of her illuminating.
As it seems it always is with Dickinson books I’m frustrated by a lack of chronological clarity. Murray’s book has a great deal on the life and influence of Maggie Maher, an Irish born servant who worked with Emily in the Dickinson house kitchen in the post American Civil War years just after Dickinson had already written the majority of her poems; and the admittedly juicy details of the Emily/Susan/Austin/Mable love rhombus are no doubt material to the way Dickinson’s poems emerged after her death, but the events of her brother’s “betrayal” of her friend/possible lover’s wife happened in the last years of Emily Dickinson’s life when she doesn’t appear to be writing or even collating her poetry.
This is the place were you see pictures of these two together.
One last note: one of my personal favorite pieces over the past three years was “Blues Summit in Chicago 1974” a short narrative of my reaction to watching a video a couple of years ago of a concert combining some pioneering “Great Migration” Afro-American blues musicians with some more likely white “Blues Revival” guys in front of an audience redolent of that titular year. In it I note that both the young guys and the old masters are all dead, and that some of the “young guys” died before their elders—well, except for one guy, Dr. John (stage name of Mac Rebennack) who was still living. “Can’t be the clean living” I remind listeners to that piece, as Mac had a long dance with heroin and other drugs. This year Dr. John in effect asked for a revision of that piece when life finally claimed him for death.
If you haven’t heard that piece, here it is as performed with the LYL Band a few years back, it’s available with the player below. And I’ve just got some good news on another piece that you’ll see here soon!
*I am moving to a new Macintosh computer for those “in-the-box” musical elements this summer as I want to use more of those tempting virtual instruments that allow me to work up to orchestral levels of scoring. My old computer was still working with occasional needs to account for its capacities, but it’s now nearly nine years old and eventually it won’t work. My hope is the new one will work as long as I do, but alas the “Apple Tax” is real and a few things about the new computer are frustrating despite its considerable cost. Still, I’m privileged to be able to afford it, and it’s so hard to find good help these days….
3 thoughts on “A few updates, and why fewer new audio pieces so far this summer”
Reblogged this on Becoming is Superior to Being and commented:
Love Frank’s last note, “Blues Summit in Chicago 1974” — kenne
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I recently took an adult education poetry class at the University of Cape Town. In the session on Dickinson’s “There’s a certain Slant of light,” our professor expressed admiration for Gordan’s biography (she’s from Cape Town) but said that he was unconvinced by her theory that epilepsy was the cause of Dickinson’s withdrawal from social life. He thought anxiety was a more likely explanation. I’m no expert on Dickinson, but that makes more sense to me. (There was an amusing moment in the class when someone said that “afternoon” and “tune” was a weak rhyme. I demonstrated that they rhyme perfectly if you say them with an American accent.)
Your break will give me a chance to catch up–I’m way behind because of my own travels.
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I continue to be less productive than I’d like to be (though I tell myself I’ve set a very high level of expectation) but I’m half-way through Gordon book (and less than half-way though any new audio pieces), I’m liking “Loaded Guns” more than I thought I would. After some introductory material she’s actually more chronological than some and easy to follow in covering the development of Emily Dickinson and her relationships
When I finished Gordon’s “epilepsy is the reason for withdrawal” chapter her sales-pitch was effective, but as I try to recall my old medical experience epilepsy alone has various presentations, and I think migraine or something similar still seems to fit in other ways. Gordon poses an interesting question: what was the reason for the two somewhat lengthy out-of-town stays for treatment of some “eye problem.” That’s always seemed weird. I’m even less a medical historian than a literary scholar, but what was the 1850’s understanding of “eye problems” and what treatments were that lengthy for such things then? My current guess is long-term clinical observation for intermittent symptoms was the reason.
Mysteries of creative people is a perfectly juicy subject for me, but of course plenty of people have illnesses while few are Emily Dickinson!