Music was my refuge. I could crawl into the space between the notes and turn my back to loneliness. — Maya Angelou
Music moves and swells inside the pages of Michael L. Newell’s new book, recently out, Meditation of an Old Man Standing on a Bridge. From the fiddler’s bright allegro at a local dance, to childrens’ “symphony of shouts echoing across fields” when released from school in the poem “Celebration,” to nature’s melody in the “songs of streams” trailing across stony earth in the poem “Voice of Waters,” the touch of music’s many moods thread through Newell’s work. Having spent much of his life abroad, Newell’s poems spread the wide spaces between the Andes, Saudi Arabia, London, and Rwanda, and music features as a central theme threading together the distances.
One of the most moving poems in Newell’s collection, “Serendipity,” is a narrative poem written during his time in Rwanda. The poem begins with the poem’s speaker walking down a dirt road, headed home from work past laundry drying on the lines outside houses with corrugated metal roofs, bricks placed on top to hold them down, when a choir singing in Kinyarwanda captures his attention.
voices rising and falling from the home’s
living room, a beautiful repetitive melody
enhanced by constantly shifting harmonies,
counterpoint melodies, and one male voice
chanting or speaking underneath the rise
and fall, the same voice lifting in ecstatic
soaring flight above the others, a song at once
celebratory and deeply sad, the melody ascending
and tumbling, repeating itself again and again, every time
Newell describes the music so distinctly that when reading his words, I, too, am standing on the pathway caught up in the harmony and sweep of sound. “I stand still,” writes Newell, “eyes shut, and listen, nearly weeping.” People passing by on the path where he has been standing for ten minutes join in, pick up the melody, and carry it out into the neighborhood as they move on, music drifting through the air as they go.
The poem continues with someone in a large vehicle stopping by to ask if the poem’s speaker is okay. Upon learning he is standing there because he was caught by the choir’s beautiful singing, the driver, fully understanding what is implied, turns off his truck’s engine to give the choir his full attention. By now, though, the music has fallen silent. Here Newell takes the moment and expands our understanding.
I do not know whether the music was religious,
or folk song, or political, or celebratory, or grieving,
but hours later I still hear the music
as I go about my nightly ablutions. I realize
I have been changed without ever seeing those
responsible for the change. I have heard
on a dirt road from a ramshackle home, music
rough hewn, homemade, finer than I could find
in a concert hall while entertained by highly trained
professional musicians. I have heard music
from the blood and marrow of people singing
because it defines who they are. I have
listened to the heartbeat of a people.
The music described here is not merely people singing to get the notes down, the rhythm tight, the harmonies smooth. This music emerges from the very center of the self, “from the blood and marrow of people singing/ because it defines who they are,”as Newell says, resulting in the deep expression of being that carries us into a wholeness where time stops and we are simply present and fully alive. Whether our lives are surrounded by joy or submerged in pain and grief, listening with full attention, we know we are in the presence of something shining, and are replete. This is what Newell can do in his poems–take us out of ourselves and immerse us in life. This is why it’s worth reading poetry in general, and why you will want to read Newell’s Meditation of an Old Man Standing on a Bridge.
“Poetry is rooted in sound,” says poet, musician, and editor of Prairie Schooner, Kwame Dawes, and neuroscience backs up this statement. In the February 2017 article of Neuroscience News, “Is the Brain Hardwired to Appreciate Poetry?” the research of professor Guillaume Thierry and his colleagues at Bangor University has shown that even though we might not be able to say why, something in our brains responds positively to poetry’s construction and its stress patterns repetition of consonant sounds. Sensuous and beautiful, focusing and intensifying emotion, not only Newell’s poems, but poetry itself is a kind of music whose play of sounds can draw the reader to it.
Though poetry’s effect on us is different from that of music, (see more about that in this study, “The emotional power of poetry: neural circuitry, psychophysiology and compositional principles”) since ancient times, poetry and music have been linked. Containing rhythm, meter, repetition of sounds, euphony, and sometimes rhyme, poetry uses words with a focus on its auditory element. NPR has a page where you can listen to the interesting effect of poetry blended together with various jazz musicians with, Elizabeth Bishop’s poem, “One Art,” sung by Nancy Harms with composer Jeremy Siskind’s piano, or Amiri Baraka’s poem, “Yes We Can,” with David Murray’s composition, among other examples.
Like poetry, music changes us. I remember listening to Ralph Vaughn Williams’ Fantasia on a Theme by Thomas Tallis for the first time years ago, transfixed by its haunting beauty, the emotional intensity it evoked–how it could plummet into the depths of human soul, climb to the penultimate heights of spirit, whisper the heart’s tenderest thought and longing. Tom Barnes’ April 23, 2015 article in Mic, “Scientists May Have Finally Discovered Why Humans Make Music,” discusses Leonid Perlovsky’s research at Harvard University where he explains, “music’s power comes from its ability to help human beings overcome cognitive dissonance, the feeling of emotional discomfort we feel when we learn novel information that contradicts existing beliefs.” Barnes explains how a variety of research shows people most often respond to dissonance by tossing out the new information or pushing back the old. Music, however, “soothes the difficulties involved in processing conflicting information.” Additionally, Barnes’ article goes on to report, “neuroscientist Daniel Levitin in a 2013 meta-analysis of more than 400 neurochemical music studies, found that listening to music had a more measurable effect on people’s anxiety and cortisol levels than did anti-anxiety drugs,” a significant observation. Music has the ability to break down walls between people, to soothe tension and unite them. We can see this ability exemplified in the choir directed by Mica Hendler in Israel, bringing together Palestinian and Israeli young people, as well as in the inspiring music collaborations found at Playing for Change where musicians and singers from around the world are recorded in their various every day environments and then woven together into a unified piece.
Life is a journey we’re all on together, each of us affecting the other as we co-create the world around us in all its complexity. When differences divide us, we are challenged to find ways to communicate and connect that enable us to reach beyond the things that divide us. Poetry focuses the reader on the specific moments and details of life, and we need poems like Newell’s “Serendipity,” that cause us to listen from the inside out. Music moves beyond words into the enlarged world of spirit, a place beyond sharply defined boundaries and ramshackled habits of understanding. Art can heal. We need music, poetry, and art that rises up from our blood and marrow joining us together in a larger place of being. We may be worlds away from what feels like home either mentally or physically, as was the person standing in the middle of the road in Newell’s poem. We may have differences in opinion that may not be resolved, but music can carry us to a larger place where we can at least listen to each other with soft hearts, allowing ourselves to shut off the motors of defensiveness–where we can wait on the roadside for the music to rise up.
Expanding the vehicles that nurture our awareness of being and nurture our ability to greet each other fully can help us avoid traveling through our lives without ever hearing the beauty in others’ voices different from our own. Both music and poetry are gifts of this kind. They help us express and experience our lives more fully. Poetry asks to be read slowly, wants us to pay attention to the implicit, to touch the difficult and complex, feel the tears beneath the beauty, see the human side of experiences. Poetry enables us to look with greater gentleness, sensitivity, and kindness at the questions that rise up between us. While recently attending the Geraldine R. Dodge Poetry Festival in Newark, New Jersey, I met the poet, Betty Neals. We spoke about the connection between music and poetry. She is the voice speaking on this link to Rahsaan Roland Kirk’s jazz piece, “Theme for the Eulipions” from the 1976 album, Return of the 5,000 Lb Man. The music opens with Betty describing the desolation of a railroad station at 2:00 am on a weeknight. As I hear her speak, I picture myself in a cold and isolated train station with insects circling florescent lights, flakes of suspended particulate matter from city smog caught in a night sky, empty tracks leading out into the obscure dark. Poets, artists and musicians are Eulipons, Betty explains as she reads. Music, “the duty free gift for the traveler.” Then the music rises and takes off, and we are carried away on a journey far beyond loneliness and despair. May we all find and perhaps join the Eulipons.
If you’re interested in a copy of Michael L. Newell’s book, Meditation of an Old Man Standing on a Bridge, contact me and I will put you in touch with how to do that.
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