Sunday, March 29, 2020

Spring Walkabouts


As our options for social outings dwindle in the face of Covid-19, we often hear it said: "You can always go out for a walk."

This is true. Days are warmer, snow is vanishing, and as an added bonus, birds are migrating up the river and across the countryside. The goldfinches are turning yellow again, and the returning robins are clucking away in absurd numbers as they flock through the neighborhood.

For anyone thinking of making an excursion farther afield, here are a few locales Hilary and I have visited in the last couple of weeks that are less than an hour from town.


Old Cedar Avenue Bridge. Less than a mile south of the Megamall and IKEA, this old highway bridge has been totally rebuilt as a pedestrian bridge. It has a large asphalt parking lot, and the low hills roundabout have been tastefully landscaped. You'll get wonderful views of the river and the various waterfowl that make use of it from the bridge, of course, and just to the west there is a long boardwalk extending out into the river. On a recent visit we saw wood ducks and shovelers at fairly close range, and sixty-odd trumpeter swans out on the ice on the far side of the river.

Trails leads in both directions along the riverbank. The one that goes east, downstream, crosses under Cedar Avenue (a bit noisy, but the birds don't seem to mind) and soon arrives at the Bass Ponds, another great location for birding and a stroll. (You can also access the Bass Ponds more directly via a parking lot on Old Shakopee Road.)

Goldfinch turning yellow
William O'Brien State Park. Located a few miles north of the quaint village of Marine-on-the-St. Croix, this park has some of the most varied terrain and vegetation, and also some of the finest hiking trails in the region. My recommendation would be to approach the park from Washington County 4, which heads east a few miles north of Hugo. It's a nice drive through the countryside, and just before you reach Marine, as the road starts to descend (and before you pass through a short concrete tunnel at a bend in the road) you'll see a gravel parking lot on the north side of the road. Park here and take the trail up the hill through the oak-and-sumac woods. Within five minutes you'll be at the highest point in the park, with spectacular views across the countryside. From here there are several nice loop-hike options, all of them well-marked on maps posted along the way, through open fields and patches of woods.

We pulled into that lot a week ago on a sunny morning. I stepped out of the car and looked up to see seven raptors kettling in the bright sun above my head. A joyous sight. Two were mature bald eagles and one was an immature red-tailed hawk. The others, I'm not so sure.

When we reached the top of the hill a few minutes later we came upon four sparkling bright bluebirds—the first of the year for us.

If you can't find this little lot, you might just as well go to the main entrance on Highway 95. The hikes are also nice from the trailhead here, though you'll be walking through a broad flat marsh for quite a while before you get to the upland loops.

Highland Park Reserve. Right in West Bloomington, the trails at this park can give you a quick sense of getting away from it all. Head east and north from the Richardson Nature Center out into the grassy fields. The trail circles around clockwise into the woods and continues on to a small nameless lake, where you might see ducks and muscrat. Take a look at the platform on the telephone pole across the lake to the south. Maybe the resident osprey has arrived again for the summer. After circling around the north side of the lake, you can climb the hill west out into another nice set of fields or swing north again through the hardwoods to the nature center and the parking lot.

Hilly terrain at Lake Maria S.P.
Lake Maria State Park. This out-of-the-way backpacking park an hour NW of town is mostly just a bunch of trails through the hilly woods, but you'll certainly escape most of the weekend dogwalkers here. And after twenty minutes in the woods (trails are well-indicated on maps and posts throughout), it might occur to you that this is why you came out here in the first place: to stretch your legs in peace and quiet. You'll begin to admire the rugged oaks and the delicate ironwood trees, whose pale, crinkling leaves fill the middle story of the woods like notes on a musical staff. Maybe you'll take a dead-end branch of the trail to example one of the three wood-heated pond-side cabins you can rent by the night.

Two cranes. Can you spot them?
Sherburne National Wildlife Area. Due west of Zimmerman on Highway 169, Sherburne covers a vast area (30,000acres) of mostly open grassland and marshes. The best hike is the Blue Hill Trail, but we usually just take the six-mile Wildlife Drive. It goes past marshes, clumps of hardwoods, aspen thickets, and open grasslands. Lots of birds to be seen here, though sandhill cranes top the list for many visitors. We took the loop two days ago and saw sixty-odd cranes, most of them flying by in flocks of eight or twelve, but others standing in the tall grass twenty feet off the road, bellowing their strange, harsh, throaty gurgle.


Carver Park. Forty minutes west of Minneapolis, Carver is a sprawling park with a variety of habitats. Our preferred starting point is at the end of Springview Drive. From here a paved walking (and biking) trail heads east past Lundsten Lake and through open fields to a nice lookout tower across the countryside. (The fields along this trail are probably the best place in the Cities for seeing bobolinks—though they haven't arrived yet.) The easy loop continues around another lake counterclockwise back to the parking lot.  Other trails head off in all directions from Lowry Nature Center. Print out a map and spend the day.

I have tried to keep the bird reports that might have accompanied this little blog to a minimum. I realize most people aren't too interested in such things. But I might mention as an aside how excited I was to see a northern shrike on the path down at Tornado Alley, just a few blocks from our house the other day, and a beautiful meadowlark at Afton State Park, singing from the top of a willow shrub.


Only birding connoisseurs would be interested to hear about the rusty blackbird we saw down at the 180th Street Slough on Thursday. You don't see one of those every day! 

Wednesday, March 25, 2020

Shopping Before Breakfast


I have always enjoyed those early morning trips to the supermarket. The sky is dark, the air is fresh and cold, the parking lot is mostly empty, and golden light beams out from the glass doors. You walk inside to the smell of coffee and fresh baked sweet rolls. There is a hush in the air. Everyone is going about their business, some of them only half awake.

Of course, this experience takes on a slightly different caste when you're also aware that along the way you might be contracting a fatal disease.

The other day I set out for CUB before dawn, driven by the long grocery list that had developed since the last time I went, a week ago, and encouraged by something I'd read the previous day in the New Yorker. Atul Gawande  had written about data from Singapore and Hong Kong suggesting that transmission of the corona virus was not common between individuals who spent less than fifteen minutes in one another's company.

A week ago, on my last trip to the store, everything was new. I was wondering how long the groceries I was buying would have to last, and I was also slightly disturbed that products such as rice, dried beans, and toilet paper were nowhere to be seen.  Now, back again a week later, with a larder still heavily stocked with soups, sardines, and crackers, I was beginning to get into a rhythm. 

And there were a few bags of basmati rice to be had. Yogurt, which had been unavailable a week ago, was now two for $7. And though brand-name toilet paper was still out of stock, there was an entire pallet of mediocre generic rolls sitting on the end-cap, bundled into four-packs for $.99.

By the time I got home, Hilary was starting in on a household project: recaulking the bathtub. We watched a few how-to videos, and we somehow convinced ourselves we needed some caulk remover.

"I'll go get some," I volunteered. I was enjoying being out. Maybe I was even boosting the economy. I could also visit the liquor store next door to Home Depot, then stop in at the Nodin Press office nearby and pick up a copy of a book that we'd just published.

There were plenty of people at Home Depot, but no one on the staff had heard of caulk remover. Nor did they stock such a product. 

I arrived at the liquor store twenty minutes before it opened (new hours) so I continued to the office, then sat in the drive-through line at Caribou Coffee for a latte, and even got the quiz question right: What city was F. Scott Fitzgerald born in?

Back at the liquor store I grabbed a few of the usual suspects and headed for home.

Reading through my emails a few minutes later, I came upon a link from the New York Times sent by a friend. The thrust of the article  was simplicity itself: STAY HOME.

Later, in the course of an email conversation with another friend, I mentioned that I'd been to Home Depot. She told me her neighbor works there. "She said it is astounding how many people are out shopping for non-essential items. She feels at risk of being infected by the hoards...They do need to stay open for contractors, plumbers, etc., but I don't think people that are bored or just want to do household projects should be allowed in. Just my opinion."

Oops.

Later in the day, emailing with a client in Durand, Wisconsin, I asked him how things were going.

He replied: "Yes, in Wisconsin all libraries are closed. I'm the only one going in; everyone else works from home. Beloit just confirmed its first few cases so hopefully it will do what it's going to do and all will return to normal soon. How about you? Probably doesn't affect you, other than your hipster night life.  Hold off on the raves, mister!"

For now, I think I'll stick to birdwatching. There are lots of ducks passing through town these days.


Tuesday, March 17, 2020

Ortega y Gasset — Lao Tzu

Combing the shelves a few days ago in the midst of some extended "social distancing," I happened upon a row of aging paperbacks published by W.W. Norton, all of them bearing on the spine the name José Ortega y Gasset.

No one reads Ortega nowadays—at least no one that I know. And the titles, most of which appeared between the two world wars, have an old-fashioned and slightly generic ring: Man and People, Man and Crisis, The Modern Theme, The Dehumanization of Art, History as a System. Ortega wrote his most famous work, The Revolt of the Masses, in 1914.

Considered all in all, these titles conjure a point of view galaxies removed from the issues and perspectives that excite young people and academics today. What they fail to suggest in how wide-ranging Ortega's interests were and how comfortable he was raising basic metaphysical issues without feeling the need to explore every possible objection that we might present or burdening his thoughts with obscure and portentous terminology. Ortega often referred to philosophy as a form of noble sport, and his writings almost invariably carry a jaunty, even journalistic flair.

I ended up reading a short essay from the collection Concord and Liberty.  It carries the ambitious title "Notes on Thinking—It's Creation of the World and It's Creation of God."

According to Ortega, much of Western philosophy, building on the Greek notion of "aletheia," concerns itself with establishing convincing connections between our thoughts and the things "out there." We take that to be "thinking."

But in his view, this orientation isn't a necessity. Rather it's a choice we make about the relative importance of things. Other people, other cultures, have made different choices.

As a young man Ortega studied for quite a while in Marburg, Germany, which was then a locus of Neo-Kantian thought, which (to oversimplify) explored alleged a priori principles governing thought. He later took an interest in phenomenology, which attempted to make an end run past the problems of verification posed by the empirical approach by focusing, not on how we experience things, but on how we experience our experiences of things. By solipsistically avoiding the challenges and vagaries of the world "out there" Husserl and his students felt they had somehow purified their inquiry. Ortega may have been trained in this discipline, but he's long since outgrown it.

"The sphere of absolute reality —Husserl's reine Erlebnisse (pure experiences)—has, in spite of its juicy name, nothing to do with life; it is, strictly speaking, the opposite of life."    

Ortega eventually brings us around to the point that at different times and places, the "ground" of belief upon which individuals build their thoughts differs, and therefore, their notions  of w hat truth looks like also differs. He points to the Buddhists by way of example. Their basic belief in the immortality of the  ego, doomed to live an endless succession of lives, shapes their ideas about life and behavior. 

The Hebrews, he argues, believe in the indomitable will of God, out of which everything flows. That being the case, for them no purpose is served in investigating the static "being" of particular things. To a Jew the Greek concept of "aletheia," the discovery of hidden being, is entirely beside the point. What interests him is "emunah," the Hebrew word for truth, which is rooted in the future, and also in the notion of firmness—the truth, the firmness, of God's will. Amen. So shall it be.

In a footnote Ortega observes that Aristotle, in his effort to describe what the "substance" of a thing is, finds it necessary to concoct an entire sentence by way of naming it: "a-thing-being-what-it-was." Though a being is what it is now, Aristotle's definition refers to its durability through time.

In the space of a few pages Ortega has given us a good deal to think about. Especially the importance of time. Whether the connections he draws between the static, thing-oriented philosophy of Greece and the general aridity of modern thought are entirely valid I couldn't say, but he was certainly not alone in working to establish a more dynamic approach to describing thought and its purposes, as a means to get a handle on "life itself." Over the course of a long career as one of Europe's most eminent philosophers he  employed several concepts in turn—vital reason, trajectory, perspectivism, historical reason—to explain how thinking works and what it's for, though he developed none of these concepts to the extent that it became philosophical common coin.

(Then again, philosophers seldom take an interest in conducting exchanges in the currency of their colleagues. They'd rather mint their own.)

To my ear, most of what Ortega has to say here is true, but I found the most interesting points to follow from his acknowledgment that there is more than one set of assumptions available to us as we struggle to construct a coherent picture of our place in the world.

He mentions the Buddhists, the Hebrews, the Greeks. A few days after reading this essay, I ran across a book on the book cart at my local library, Dao De Jing: a Philosophical Translation. I had checked this book out years ago, but never took a serious look at it. (I don't think it was the very same volume; this one had a sticker indicating it was a used textbook from the University of Wisconsin / Eau Claire.)

Now, for only a dollar, I could have a second chance.

I bought it, and, struggling under the burden of a tenacious cold, I read the introduction. Brilliant! Here, I said to myself, is a description of life and an approach to experience that Ortega would have approved in every detail. First and foremost among its underlying beliefs or parameters is the rejection of the idea of "being." Second is the understanding that self and circumstances are inextricably intertwined. (Ortega: "I am myself and my circumstances.")

There is eloquence in the prose of  the translators who wrote the introduction, Roger Ames and David Hall, as they attempt to convey the unique qualities of the Chinese manuscript without falling into the many traps that common language usage in Western tongues present. Here is a typical passage from that introduction, which might have been lifted directly out of one of Ortega's essays: 
"What encourages us within a Western metaphysical tradition to separate time and space is our inclination, inherited from the Greeks, to see things in the world as fixed in their formal aspect, and thus as bounded and limited. If instead of giving ontological privilege to the formal aspect of phenomena, we were to regard them as having parity in their formal and changing aspects, we might be more like classical China in temporalizing them in light of their ceaseless transformation, and conceive of them more as “events” than as “things.” In this processual worldview, each phe­nomenon is some unique current or impulse within a temporal flow."
But Ames and Hall have an advantage over Ortega. He's trying to wrench a long-standing tradition from its path, while remaining within it. They're merely saying, "Hey, take a look at this entirely different way of approaching life and experience." They're referring, of course, to the text of the Dao De Jing. Also known as the I Ching, and the Lao Tzu.

 As for their translation itself, it strikes me as more meaningful that some of the others that I have laying around the house, but also wordier and less "poetic."

One or two examples will have to suffice. Here are a few lines from verse five, as translated by Stephen Mitchell:
The Tao doesn't take sides;
It gives birth to both good and evil.
The Master doesn't take sides;
she welcomes both saints and sinners.

In the version from Ames and Hall, the first few lines run as follows:

The heavens and the earth are not partial to institutionalized morality.
They take things (wanwu) and treat them all as straw dogs.
Sages too are not partial to institutionalized morality.
They treat the common people as straw dogs.

In a footnote they explain that "straw dogs" refers to sacrificial objects that are treated with reference during a ceremony, but are afterwards discarded to be trodden underfoot.

Mitchell  translates the final line of this verse as simply "Hold on to the center." Ames and Hall give us a much wordier version:

It is better to safeguard what you have within
 Than to learn a great deal that so often goes nowhere.

 A second set of philosophical assumptions also came to mind as I read Ortega's essay: those of Hegel. Hegel is well-known for having remarked, "Nothing can be predicated of Being." He replaced that concept with the concept of Spirit, and a restless spirit at that, developing dialectically through time. The "things" that may interest us he construes as "objective spirit," which is to say, they're concrete deposits—institutions, works of art, historical narratives, feats of engineering—that reflect the condition of spirit at that time and nourish its further development. They are to be admired and utilized but also to be risen above as new circumstances call for new creations and iterations.

Why Hegel felt the need to attach the word "absolute" to the concept of Spirit is beyond me. That was a big mistake. 

After finishing Ortega's little essay, I was inspired to pull another book off the shelf, The Imperative of Modernity: an Intellectual Biography of José Ortega de Gasset by Rockwell Gray. It's a brilliant and eloquent work. One of the passages that really appealed to me, during my random perusal, compared Ortega to the French philosophes of the eighteenth century.
"Although much of the thematic content of Ortega’s mature philo­sophical work came from outside Spain and must be seen within the larger history of European neo-Kantianism, phenomenology, and existentialism, his early work and his lifelong concern for the con­dition of Spain cannot be understood without reference to major Spanish reformists of the later nineteenth century.
Gray adds that
 "the original model for the essay of social criticism came into Spain from the French Enlightenment and the philosophes.[They] provided the more distant historical precedent for the kind of far-ranging essay writing that Ortega was ultimately to refine in his modern Spanish prose. It is also among [them] that we find an early source of modern historicist philosophy—the assertion that man lives in time with no guarantee of a beginning or a destiny beyond this world. ..In this broader view, it is pos­sible to consider Ortega a latter-day philosopher despite his very considerable indebtedness to various German thinkers of the late nineteenth and early twentieth centuries."
A very good point, with respect not only to Ortega's choice of themes, but also to his cheery and  accessible style. Diderot and Ortega, for example, would make a good College Bowl team.

But during these strange and difficult times, perhaps the Dao has something less intellectual but more appropriate to offer us. I just now opened the translation of Hall and Ames at random to verse eleven.
Extend your utmost emptiness as far as you can
And do your best to preserve your equilibrium.
Now as for equilibrium—this is called returning to the propensity of things,
And returning to the propensity of things is common sense.
Using common sense is acuity,
While failing to use it is to lose control.
And to try to do anything while out of control is to court disaster.
  


Friday, March 6, 2020

McCoy Tyner, R.I.P.



"No one — not Art Tatum, not Powell, not Monk, not Bill Evans — dropped a bomb on jazz pianists quite like McCoy Tyner. There was pre-McCoy and post-McCoy, and that was all she rote."

This line comes from a perceptive piece on McCoy that pianist Eric Iverson published on his blog, Do the M@th, a few years ago. (I have plundered it shamelessly in the notes that follow.)

I'm neither a pianist nor a musical theorist, but my interest in McCoy's music goes way back. In fact, one of my top-ten musical experiences must be the night I heard McCoy at the Cafe Extraordinaire, a store-front club in South Minneapolis that was in operation for only a few years before folding in April 1971. You won't find many references to it online or even in local jazz histories like Joined at the Hip. But I heard Joe Henderson there, and Woody Shaw, and McCoy.

I was in high school at the time, and was lucky to have a few friends who, like me, were "into" jazz. Dave took a special interest in Thelonious Monk, as I recall, and Carl's dad had been an amateur jazz trumpeter. We all listened to the local jazz station, KSJN (soon out of business) and that's how we came to know who was going to be playing at the Extraordinaire. Just our luck, Carl had recently inherited his aunt's antique green 1954 Chevy Bel Air—the model with the rounded fins. This was important, because the Cafe Extraordinaire was a good twenty miles from Mahtomedi. The other side of the world. We had figured out how to get there with a Hudson Street Atlas—there was a freeway exit nearby—but we really had no idea where we were.

In those days Mahtomedi was a village like the one Dylan Thomas describes in Under Milk Wood. And the "cafe" was a small, dark, empty storefront not far from Nicollet and Lake lined with a few rows of folding chairs.  

The cover was six dollars, cash—a fortune, when you were making ninety cents an hour mowing other people's lawns. On the night when we heard McCoy, we arrived late and ended up in the first row. There was no bandstand; I stretched out my legs and rested them on the front leg of McCoy's piano.

The sound was powerful. Everything you heard on a Coltrane album, without the need for a tenor saxophone. Swirling arpeggios, mountains of block chords that could not find rest, pounding rhythms extending up my legs from the piano.

Iverson repeats the story that "Tyner was really down and out for a few years at the end of that decade." A world-class artist playing for forty-five people in a hole-in-the-wall on Lake Street in South Minneapolis? I can see why.

What made Tyner's approach unique? It seems to me that he devised way to establish a harmonic field in which chord changes followed one another or shifted back and forth without ever suggesting any kind of resolution. Tonic and dominant didn't interest him. Drawing on these harmonies McCoy developed a series of riffs that sounded to me, back when I first heard them in high school, like whole tone runs, which once again eschewed the conventional patterns of the diatonic scale in favor of a cosmic tinkling. But McCoy produced these chords and runs with such authority that the word "tinkling" is entirely out of place. These were booming, massive, flurries that keyed you up and carried you away.

The musical vocabulary that McCoy developed sustained John Coltrane's famous musical explorations, which were based more on frenzied repetitions and variations than any kind of harmonic or structural innovation. And there are listeners even today, no doubt, who think of him as "Coltrane's pianist." I think it's fair to remark that during the 1960s, McCoy did sound more powerful and cosmic and impressive on Coltrane's albums than he did on his own, due to the added energy Coltrane brought to the table.

Yet McCoy's essential contribution to the quartet is sometimes underestimated even today. An aside McCoy once made when discussing the music of Thelonious Monk underscores the rhythmic value of his style:
“The music of Monk is strange, fleeting, and presents the peculiarity of being at one time very shifting but also very grounded, with a very sure tempo. My playing, I believe, possessed also this metronomic rhythmic accuracy….because I have a good strong left hand, John knew that he could count on this rhythmic foundation….”
But his unorthodox harmonies were no less significant. He provided the voicings for some of Coltrane's landmark recordings, and Coltrane once remarked: “Tyner plays some things on the piano, but I don’t know what they are.” 

On McCoy's more conventional early albums, there are plenty of moments when you can hear him diverging from the harmonic patterns suggested by the "standard" he happens to be playing, drifting into his personal modal style out of habit or preference. These can be jarring moments ... but interesting.

And he often resorts to an extended descending flurry of notes that we've heard many times before—his signature riff. (Then again, so does Monk.)

Iverson remarks that unlike Bud Powell or Bill Evans, two masters who use the conventional tonal system, "Tyner’s pitches seem to transcend conventional Western harmony. It is a private language of sound; it is bells and drums in a pre-colonial village; it is banging stones together at the first communal fire."

I heard McCoy a few times later in his career, at Orchestra Hall and again at the State Theater as part of a "super-trio" that included bassist Ron Carter and tenor Sonny Rollins. Both were worth attending, for sure, but neither had the intimacy or the intensity of a club performance.

I lost touch with McCoy's work in the 1970s. My early favorites among his LPs were Time for Tyner and The Real McCoy. I wouldn't mind hearing Sahara again, to see what he was doing with Sonny Fortune, a likely sympathetic collaborated on soprano sax. The only one that I purchased again as a CD was Trident, which captures something of the roiling force of his style. His later album Infinity, with Michael Brecker, which re-inaugurated the Impulse label, is high-energy and very solid.  

But there are 74 recordings listed in his discography. So, what do I know about McCoy Tyner? 

Tuesday, February 25, 2020

Mallards at Sundown



Yet another in a long succession of clear, beautiful days is drawing to a close. Above freezing most of the day. Staring out the window as twilight approaches, I open the book I have here with me in the den, The Limitsof Analysis by Stanley Rosen.  Page twelve.
"One cannot make sense of Platonism or Kantianism without giving an elaborate account of the functions of the intellect. This account will of course differ sharply in the two cases. [Of course] In the first case, we require a description of the intuition of the formal structure, whereas in the second, we need what Kant called as account of the "transcendental ego," that is, of the principles of subjective activity or construction which are invariant from one individual intellect to the next."
Rosen adds:
"In both cases, then, we must present an account of the subject as well as the object (or the thinker as well as the thought content.)"
But this isn't true. Not at all. When we have an intuition of beauty, for example, there is no need to describe the "formal structure" of that intuition, or what it feels like to the individual who experiences it. Anyone who has the slightest sensitivity to beauty will know what it involves, generally speaking. The challenge lies in describing the specific experience that has elicited such a feeling, and explaining what the attributes and effects are that warrant our enthusiasm and affection for it. The analysis doesn't focus on the psychology of the subject, but the character of the experience itself.

For example, when the sun sets, as it's doing now, mallards often fly back and forth across the sky in several seemingly random direction, just above the treetops, grouped in sevens and twelves and nines, and they're traveling fast. Who knows where they're going, why they're flying in opposite directions, or what affinities underlie their choice of traveling companions. Maybe they're headed for the big pond by the Honeywell plant on Winnetka Avenue. Maybe they're headed for the open water on that section of Bassett Creek that winds through the golf course, or the very small pond, surrounded by willow shrubs, just across the road from the maintenance shed on Wirth Parkway.

It doesn't matter. What's beautiful is the evening sky, interrupted from time to time by the startling appearance of these ducks, which appear much whiter than usual as they rocket past, catching the last rays of the setting sun.

I just now saw eleven of them moving north, flapping wildly. Did the mallard in the lead suddenly lift off, gripped by the desire to visit the Coon Rapids Dam, with his mate, off-spring, and various hangers-on scurrying behind?  Or was there some kind of discussion beforehand?

In any case, the zeal of these birds is remarkable, and their inexplicable movements adds both drama and mystery to the sunset hour. I'm tempted to call their presence sublime. In comparison, the flocks of crows that drift dilatorily across the neighborhood before dawn, cawing at random and almost always heading west, come across as genial slackers.  

Thursday, February 20, 2020

A Season of Music



It's far too soon to start imagining that winter is almost over, but as light returns to the morning sky, it's tempting to review a few of the musical events that helped us through the dark evenings, and also to celebrate the variety of organizations and venues that continue to bring great shows to town.

Fred Hersch 
Jazz pianist Hersch can drive and swing with the best modern trios, and has long since earned his reputation as one of the post-modern greats at the keyboard, but he's even better known as an extraordinarily thoughtful soloist whose spontaneous contrapuntal lines would often be worthy of being published as "classical" compositions. He arrived at the Dakota downtown with guitarist Julian Lage, and that worried me a little. Would the younger artist be capable of contributing to the flow consistently, fashioning an evening to compare with the one pianist Brad Mehldau and reedman Joshua Redman gave us a few years ago in the same club? The answer is an astonished yes. It was a remarkable night, with Lage's tastefully electrified licks offering a perfect foil to Hersch's rich but sometimes delicate elaborations.

The duo gave us one long set, then signed a few CDs and disappeared into the night. That's a much better option, for my money, than two short sets with a tedious intermission in between.


Duruflé Requiem
The Oratorio Society of Minnesota chorus presented a program of French sacred music in the magnificent Basilica of St. Mary in downtown Minneapolis on a cold November evening. Short works by Fauré, Franck, Widor, Dupré, and Honegger made up the first half; the second was devoted to Duruflé's beloved Requiem, which I'd never heard before. Sweet and slippery French harmonies throughout, several soloists who knew how to fill the lofty interior of the basilica, and a chamber orchestra and pipe organ also helped to maintain an atmosphere of beauty, reverence, and occasionally, of awe.


JazzMN Orchestra
Billed as the Midwest's premier big band, the JazzMN Orchestra filled cavernous Chanhassan Dinner Theater with its joyous blare—which is half the fun—in a December "Christmas" concert that mostly steered clear of cloying holiday classics or spruced them up in spiffy jazz arrangements . The ensemble playing was crisp and the soloists were uniformly top-flight, with the exception of the guitarist, who perhaps had gotten a new fuzz-tone device as an early Christmas present. Vocalist Yolande Bruce, of Moore by Four, appeared on stage for a few numbers, but the band was doing just fine without her.   


Le Vent du Nord
For my money, the best slice of the Celtic music pie is the one performed by musicians from Brittany and Quebec. Irish music, even when played at breakneck speed, can fall into a yutty-tutty regularity that begins to numb the mind. French tunes in a similar vein are almost invariably more complex and interesting rhythmically, and the harmonic coloring also tends to have more variety and appeal. Whatever the case may be, Le vent du Nord took the stage at the Cedar Cultural Center intent on delivering a rousing and varied show, and under the impetus of an electric bass, a mean hurdy-gurdy, two stellar fiddlers, an accordion, and rich vocals throughout, they produced a display of music that I'm tempted to rank in my all-time top ten.

Giulio Cesare in Egitto
The Minnesota Bach Ensemble presented a concert version of excerpts from this Handel opera at Antonello Hall on a Sunday afternoon recently. I've always liked the hall, which is rich in wood paneling and so small that no seat is more than a hundred feet from the stage, behind which there are gigantic windows looking north past a few brick buildings toward the Mississippi River. The windows had been covered with white panels, alas, but the orchestra was sharp, and the three vocalists were distinctively different yet uniformly appealing. Linh Kauffman, a soprano that we've seen in several other recent productions, sang the part of Cleopatra, while the roles of Julius Caesar and Sesto were taken by two mezzos, Christina Christensen and  Spaniard Nerea Berraondo. Jacob Miller's narration strung the arias together and gave me a vague sense of what was going on, but it hardly mattered: it was mostly about the music.

We took Washington Avenue home, marveling at the big city lights beaming from buildings that used to house hardware stores and bicycle-repair shops, heated up some left-over chicken with lemon slices and oil-cured olives, turned off the lights, and dropped a few CDs into the CD-changer by Natalie Dessay, Theresa Berganza, and Lisa Saffer singing (what else?) some of Handel's Italian arias.    

Russian Renaissance
The Schubert Club has done a good job of booking unusual groups to fill out its Mix program, and Russian Renaissance is no exception. The group's instrumentation is drawn from traditional Russian folk instruments, including the triangular balalaika that we've all seen in films, the oval domra, a big button accordion, and the huge bass balalaika, which measures almost four feet on a side. The playing is energetic and precise, so much so that two years ago this quartet won the $100,000 grand prize at the M-Prize Competition, the biggest jackpot in the world of chamber music.


The concert was held in a cavernous "hall" lined with rugged exposed brick in the former Allied Van Lines building, which is located in one of the few parts of the warehouse district that still has warehouses in it.  

All of that being granted, I must admit that I left the concert with mixed feelings. The performances were tight, yes, and the play-list was varied. But too much of the program was given over to the furious diddling that produces the balalaika's trademark tremolo effect. The slower, more atmospheric pieces tended to be more satisfying. The group was adept at producing the abrupt stops and starts required to bring drama to the tangos, but it didn't dwell long enough in those languorous spaces that provide that genre's sensuous ground. I was intrigued to see compositions by famed French accordionist Richard Galliano, Belgian guitarist Django Reinhardt, and Argentine bandoneon-player Astor Piazzola on the program, but in each case, the balalaika version didn't quite measure up to the originals running through my head.

It was an unusual and entertaining evening, just the same.       


Tuesday, February 11, 2020

The Perils of Interlibrary Loans



It’s nice to know you can lay your hands on almost any book you want if you’ve got the patience to wait a few weeks. And all for free. The privilege only becomes hazardous when the books you request all arrive at the same time. They can’t be renewed, so you’re suddenly struggling under the onus of reading quite a few esoteric books almost simultaneously. Such a crisis is sometimes compounded by the untimely arrival of once-wildly popular books in your local library’s general collection, books that you put in a request for last summer—number 88 on 4 copies—and forgot about completely.

It would be criminal to simply ignore such riches, returning them unexamined, especially considering how hard library staff work to make them available to you. On the other hand, no one but a Harold Bloom could possibly read them all in so short a span of time.

I found myself with just such a glut a few weeks ago, and I gave it my best shot. Here are the results.

The Sum of Small Things:
A Theory of the Aspirational Class
I came across a reference to the title in a N Y Times  editorial; I suppose I was attracted by the word “aspirational.” I have long had it in mind to write an essay focusing of aspirational energy as the force that not only “makes the world go ‘round” but also gives life meaning. (Haven’t gotten around to it yet.) I also liked the phrase “small things,” being reminded of one of my mother’s favorite expressions: “Small deeds done are better than great deeds planned.” Perhaps faint echoes of W. H. Hudson’s classic essay collection, A Traveller in Little Things, were also making themselves felt in my brain.

Though it was published by Princeton University Press (or perhaps because of that fact?) the book turned out to be a snooze—but an instructive one. The author, Elizabeth Currid-Halkett, aspires here to very little except to do an update on Thorstein Veblen’s theory of conspicuous consumption among the leisure classes at the turn of the twentieth century. Currid-Halkett makes the case that nowadays, due to various social and demographic changes,  the same pernicious impulse to “show off” that Veblen described manifests itself among the upper-middle-class “elite” in the form of little things.

 A single example will serve to prove the point, or lack thereof. Here is how she describes those individuals who try to impress their friends by taking expensive exercise classes: “These classes signal financial stability and free time for leisure activities,” she says, adding that such conspicuous leisure “operates on a number of levels.”

She mentions the high cost of the classes and adds that they constitute an exhibition of “conspicuous leisure to anyone who has also shown up,” and goes on to elaborate this obvious point in some detail—so much so that she loses sight entirely of a more important point she had stressed just one page earlier.

“These exercises really worked. Because the exercises isolated specific muscles through discrete movements, one’s body really looked different—toned and tightened in ways that an ordinary run, game of tennis, or visit to the gym could not accomplish.”

So which is the motive here? Develop a “buff” physiognomy or impress your peers by flaunting your wealth and free time. Both impulses are perhaps at work in some cases, but it seems odd for Currid-Halkett to lay such heavy emphasis on the second one. After all, participating in an excruciating exercise routine for many weeks is an unnecessarily difficult way to show off, unless you also happen to be interested in fitness, muscle tone, and so on.

More generally speaking, Currid-Halkett, in her dissection of the “many levels” of consumer behavior, repeatedly ignores the most important one: that people, regardless of class, have a desire to improve themselves, often accompanied by the desire to help others. That’s the “aspirational energy” that animates the universe and drives it forward. Her slant, superficially cunning and statistically well-founded, exposes one of the core intellectual defects of our time. 

The philosopher Paul Ricoeur gave it a name in 1965: “the hermeneutics of suspicion.” Ricoeur was referring to the reductive theories of thinkers like Nietzsche and Freud, but the same attitudes are widely held today, when worldly-wise scholars and pundits feel called upon to demonstrate that every human activity harbors a secret motive, and is more shallow and self-serving than it appears. 
Let me suggest we take a clue, not from Currid-Halkett or even Thorstein Veblen, but from Veblen’s contemporary George Simmel: “Life is that which seeks to go beyond life.”

Made in Sweden
This is sociology at its best, which is to say, not sociology at all. Elisabeth Ã…sbrink offers vignettes of twenty-five individuals and cultural habits that shaped the Swedish character and nation, some for the better, others not so much. The book’s subtitle, “how the Swedes are not nearly so egalitarian, tolerant, hospitable or cozy as they would like to (have you) think” might give you the impression that it’s yet another shallow exercise in debunking grass-is-always-greener fantasies, but it’s richer than that.

Among the individuals she portrays are the novelist who wrote a proto-feminist work about a couple who do not get married but treat each other as equals—this back in 1815. In another essay she describes how eager the Swedes were in the late nineteenth century to practice eugenics and sterilization, and how comfortable they seemed to be, as a “neutral” nation during World War II, helping the Nazis with all sorts of logistical problems. One chapter deals with the Swedes’ equivalent of the  social security number: we protect ours religiously, they recite theirs at the grocery store checkout to accumulate points for gasoline discounts. Another chapter relates how Astrid Lindgren spearheaded an effort to ban all forms of psychological and physical violence towards children in Sweden.

One thing I especially liked about this book is that the author makes no attempt to connect the dots. Sweden is a complex society. Why reduce it to a formula or a simple-minded theory?

How Natives Think
Nowadays no politically correct reader would so much as glance at a book with a title like this. Too bad. The author, Lucien Levy-Bruhl, was a landmark anthropologist, among the first to speculate seriously, on the basis of his and other field research, on the fact that indigenous peoples in other parts of the world often apply a "logic" to their common experiences that differs markedly from the one we're familiar with. I requested this book after coming upon a reference to him in a book about shamanism that I was thumbing through, along with the phrase "participatory mystique." I like that phrase, though I imagine that if it were translated correctly, in might come out as "mystical participation," which means largely the same thing but doesn't sound so good to my ear.

The was published in 1922 with an English translation a year later.  This particular copy came to me by way of the collection of the Minneapolis Atheneum, later absorbed into the Minneapolis Public Library, later absorbed into the Hennepin County system.
"Primitives see with eyes like ours, but they do not perceive with the same minds. We might almost say that their perceptions are made up of a nucleus surrounded by a layer of varying density of repre­sentations which are social in their origin. And yet such a simile seems somewhat clumsy and inexact, for the primitive has not the least feeling of such a nucleus and surrounding layer; it is we who separate them ; we, who by virtue of our mental habits cannot help distinguishing them... The profound difference which exists between primitive mentality and our own is shown even in the ordinary percep­tion or mere apprehension of the very simplest things. Primi­tive perception is fundamentally mystic on account of the mystic nature of the collective representations which form an integral part of every perception. Ours has ceased to be so, at any rate with regard to most of the objects which surround us."
Isn't this one of the great challenges we all face: to participate in a meaningful way in life? Work, family, recreation, service. But these types of involvement are concrete. It seems to me that the phrase "mystical participation" would apply to the affinities we feel toward a football team, say, or a scheme of religious observance, or a riverside getaway that we've been returning to since childhood.
I didn't get far in Levy-Bruhl's book, but I think he was on to something.
 
A Thousand Small Sanities
Adam Gopnik is a talented, erudite, and good-natured writer well-known to readers of the New Yorker. His book about living in France with his family, Paris to the Moon, became an instant classic, and several of his more recent books about living in Manhattan also make for a good read.

In A Thousand Small Vanities Gopnik extends his range to take up the issue of liberalism, and the results are mixed. The book draws heavily on profiles he wrote for the New Yorker, and that fact leads to some odd areas of emphasis. And Gopnik frames his long essay as if he were explaining to his young daughter where liberalism comes from, and this gives it, at times, a vaguely flippant tone.
Yet there is plenty of meat on the bones, too. Gopnik reminds us of the role played by common-sense British philosophers of the eighteenth century in shaping liberal values, and that’s good.
“Hume, following Shaftesbury, thought that sympathy was the primary human faculty, our key gift. It’s the emotional mucilage that brings men and women together and keeps them together. Sex may make us want someone else’s company, but that’s an animal desire: it’s our ability to feel for someone, rather than to just, uh, feel them, that makes us human.”
He finds a similar bent in the works of Adam Smith, better known today as the high priest of capitalism than for his earlier work on moral sentiments. “Adam Smith believed, not that markets make men free, but that free men move toward markets.”

This whirlwind tour of what we might call humanist theory is refreshing. It leads Gopnik to the conclusion—echoing the German philosopher Jürgen Habermas—that “the coffee-houses and salons of the 17th and 18th centuries helped provide the foundation of the liberal Enlightenment—a caffeinated pathway out of the clan society into cosmopolitan society. Democracy was not made in the streets but among the saucers.” 

It’s an attractive theory—especially if you’re a long-winded coffee-drinker like me—but I’m not sure it’s entirely true. For example, Gopnik largely ignores the impact of religious thought on the development of liberal values. I seem to recall that in his classic History of European Liberalism (1934) Guido de Ruggiero emphasizes the role played by the Presbyterian church, among other institutions, in developing the idea that the people have a God-given right to choose their own leaders. These ideas eventually made their way from Scotland to the New World. And on a deeper level, Benedetto Croce emphasizes the fact throughout his long career, but especially in History is the Story of Liberty, that the only things we care to remember, in the long run, are acts of creativity—scientific, aesthetic, juridical, or whatever—and such acts are intrinsically “free,” hence liberal. Conservatism might preserve a few things, but almost by definition, it produces nothing.

Gopnik’s book is riddled with fine turns of phrase, and he is to be commended for devoting entire chapters to such questions as why conservatives hate liberals. But here he gives too much credit to political argument, whereas conservative postures are usually based largely on irrational resentment, low self-esteem, bigotry, the love of guns, and the success with which conservative politicians exploit the gullibility and irrational fears of their “base.”

Yet even here, Gopnik’s historical perspective is valuable. He describes Disraeli’s hunch that the working classes would be likely to side with imperialist pride over social betterment as “one of the shrewdest guesses” in modern political history, and goes on to note that in the US, the white working class doesn’t side with the social democrats because “identity, or national pride, if you prefer, has proven time and again to be incomparably more powerful than economic self-interest narrowly defined.” De Gaulle was also among those who intuited that myths matter. “Without a sense of common significance and shared symbols, it is impossible for any modern state to go on.”
Conservatives find few symbols to savor in the liberal agenda, which, according to Gopnik, they see as “a moral atrocity and a practical failure, a baleful compendium of bad ideas,” including secularism, cosmopolitanism, relativism, and permissiveness.”

He devotes another chapter to why progressives hate liberals, but here, too, it’s largely breath wasted. A single sentence would suffice, and he provides it. “Liberals believe in reform rather than revolution because the results are in: it works better.”

In the end, Gopnik’s vision is that of a literary man who imagines that if everyone is given the opportunity to express themselves in a coffee-shop or a brew-pub while imbibing among friends who’s views don’t differ much from theirs, all will be well.

I learned more about the world we live in today, which includes China, Russia, Turkey, Brexit, white nationalists, and all the rest, in the first chapter of Edward Luce’s The Retreat of Western Liberalism than in the 100-odd pages of Gopnik’s book that I got through. But I enjoyed Gopnik’s book more—probably because I share his vision.

See you at the coffee shop?