Song Series #2: Csík, Art of Flying, Waits

IMG_8434

On this blog I recently started a song series, in which I intend to present songs I have introduced in class, am planning to introduce, or wish to include for any reason. My main purpose is to draw attention to songs themselves and what they can hold and do–but purposes aside, this is fun. The first post focused on songs that I had brought to various classes and that we had sung along with cello.

This time, I will introduce three songs that remind me of each other in some way, whether musically, lyrically, or otherwise. All three are tremendous (they come up to you slowly and then shake something up in you); all have to do with love in a broken and transitory world. They all convey hope in some way without sidestepping loss and sadness. The Csík and Art of Flying songs remind me of each other melodically and rhythmically (in the chorus); the Csík and Tom Waits, lyrically. The Art of Flying lyrics stand apart–but all the correspondences and similarities are slight anyway. The songs seem to belong together in some way, but their differences are even more interesting than what they share.

The Csík song “Te majd kézenfogsz és hazavezetsz” (“You will take my hand and take me home”) has to do with two people staying together even after everything and everyone else leaves them–youth, money, comfort, health, family. The lyrics are beautifully structured, with clear patterns and changing images. Here are two different renditions, each of which brings something different out of the song. It was Marcell Bajnai’s cover that introduced me the song; I then heard it in a Csík concert (this past Saturday night). Although I love the instrumental part of the Csík original (and the musical contrasts it brings into the song), Marcell’s cover brings out the lyrics and gives them room. The mood is different too: more reflective or matter-of-fact than exuberant.

Now listen to Art of Flying’s “Tomorrow” (one of my favorite songs in the world, on their wonderful album “Garden of Earthly Delights“); you will hear how the two choruses remind me of each other. As far as I know, there’s no video of the song; the recording is up on their Bandcamp site, where you can listen to all of their music. I am proud to have played cello on one of their songs. Here, by following the link below (in an image of the record cover), you can listen to “Tomorrow” and read the lyrics, which begin:

I leaned my back against an oak
I thought it was a trusty tree
& first it bent & then it broke
my true love had forsaken me
my dream of peace could not come true
the wind had swept our hearts away
& so I sing this song to you
tomorrow blows us all away

gardenofearthlydelights

Finally, here is Tom Waits’s “Time.” The similarity between these lyrics and the Csík ones lies not just in the theme, but in the relation between verse and chorus; in both, the verses (mostly) hold the brokenness, in vivid detail, and the choruses the simple affirmation, though this division is not absolute. Also, both speak of the future in some way; although Csík refers to physical action (taking a person’s hand and bringing the person home) and Waits to some metaphysical state (it being time for something), they point to something similar. It was the Csík song, in fact, that reminded me of the Waits song and how great it is.

That wraps it up for the second installment of the song series. Next time, unless some other ideas occur in the meantime, I intend to present a few songs that have had special importance to me over the decades, songs that have stood out as favorites over time.

 

I took the photo by the Zagyva river on Sunday night.

From Hamlet to Csík: Bring the Bringa!

6BB3C392-5266-469D-A751-6BD10EFF7D0D

My laptop is still in repairs (I should get it back tomorrow), so I am writing on the phone. To make this easier, I wrote a draft on paper first, a good idea in general. The pen is a kind of mediator, the typewriter too. The electronic keyboard somehow shirks this role. Moreover, the pen and typewriter are messy in an enjoyable way. You get to cross things out, squeeze things in.

First of all, congratulations to everyone who took part in the Hamlet performance—three scenes and discussion—at the Verseghy Ferenc Könyvtár on Friday! I was sitting next to Katalin Cserfalvi, who works at the library and made this event possible. At moments we gaped at each other in awe. These scenes came alive, not only in the actors’ expressions and gestures, but in their rendition of the language. Last year’s performance was full of spirit and enjoyment, but this year’s reached a new level.

This took long and intense work. We have been rehearsing for about two months (mostly in class, and not in every class session), but before that, we read the entire play and then reread a few scenes multiple times. The students who weren’t in the performance—who served as audience members during our classtime rehearsals—deserve commendation too, because without their attention, listening, and comments, not only would we have been unable to rehearse, but we would have missed some of their insights. Also, the two students who introduced each scene at the performance, Luca Regina Gazdag and Dorina Kata Nagy, helped out in numerous ways behind the scenes, as did Petra Rónafalvi, who provided some of the costumes. When putting on a play, even a few scenes, one becomes aware of the different kinds of work that go into it and the importance of each.

After Hamlet, I went upstairs to hear a performance by Zsolt Bajnai and Marcell Bajnai (father and son): stories and songs alternating in a kind of dialogue. There seemed to be connections between Zsolt Bajnai’s stories and Marcell Bajnai’s songs; while not explicit or obvious (to me), they brought the separate works togethet into something new. I didn’t understand everything—some songs were familiar, some not, and I had read just one of the stories, the wonderfully satirical “Korrupcióterápia,” but I loved the different tones and the atmosphere of enjoyment in the room. Next time, whenever that may be, I will understand much more. (I didn’t take pictures, but there should be some coming from the library soon; when they appear, I will add the link.)

One exciting thing: the last song that Marcell played was one I hadn’t heard before. I was so taken by it that I tried to find it online later (by looking up the few words and phrases that I remembered). I had no luck, so I wrote to him to ask about it. He replied that he had written the song a week before and that this was the first time he played it in public! I now realize that he said this when introducing the song, but I didn’t catch it at the time. I hope to listen to the song many times.

All of this would have been enough for me for a weekend, but the festivities continued at full tilt. Yesterday, late in the afternoon, after a quiet day at home, I took the teain to the nearby village of Zagyvarékas for the Margaréta folkdance festival, followed by a concert by the band Csík. One of my students, an accomplished folk dancer and a member of the Rákóczi dance group, was in three of the dance performances—and I was eager to see them all and hear the band. It was my first real folkdance event in Hungary. I have seen a few short performances here and there, but nothing like this. I eas moved not only by the dancets’ skill (in singing as well as dancing), not only by the colorful costumes, not only by the gorgeous rhythms and melodies, but by the vitality and “nowness” of it all. Folkdance in Hungary is not some relic of a dying tradition; people of many ages put their hearts and lives into it.

What to say about the Csík concert? It was fantastic; they played so many instruments, and combined musical styles with such ease and in such interesting ways, that I wanted to rush home and start playing too. Their music opens up possibilities. The audience adored them (except for one disgruntled drunk man on the sidelines who ranted in a few brief sputters about how he wanted pure Hungarian music, not music from all over the place). Many songs were the band’s own, others by others; many had folk motifs, while others had a jazz, blues, rock, or other feel, or a mixture. One song I had heard before; Marcell Bajnai had played it in his recent solo concert, at the very end. It was exciting to recognize it and hear it in these two different ways.

C3C95123-447F-4FA3-BC90-D23C74D2833D

Mosquitoes were swarming all around—it has been a bad few weeks, mosquito-wise—and audience and musicians alike were getting bitten every split second, from every angle. But we stayed until the end and beyond, cheered for an encore (which they played), and kept on applauding after that.

It was a long journey home (but a pleasant one, except for the mosquitoes). I had made the uncharacteristic mistake of leaving my bike at the Szolnok train station (or rather, train stop), thinking that the Zagyvarékas train station would be near the village center. Wrong! They are about four kilometers apart; in fact, you have to leave Zagyvarékas and then enter it again. The walk didn’t feel long, but on the way back I just barely missed the train I had hoped to take and had to wait an hour for the next one. Lesson learned: bring the bringa!*

3A813E12-1DA7-4503-9534-9ADCF3EC3608

*”Bringa” is one of many Hungarian words for “bicycle.”

P.S. On top of it all, this evening I went to Pest for the Budapest Festival Orchestra’s annual Dancing on the Square event, which brings Roma and non-Roma, economically advantaged and disadvantaged children together from all over Hungary to dance to music played by the orchestra. This year, the BFO played Beethoven’s Symphony No. 7; in the final movement, the children performed a dance. This Beethoven symphony, and especially the outdoor performance, brought back strong memories of playing it in high school, at Tanglewood—the thick summer air, the feeling of being in the middle of the music, all of this came back—but the performance made me hear the work in a new way. It is hard to describe, but I have it in my ears. The dancing worked so well with the fourth movenent, the children danced with such glee, that it turned into something more than I can name, something that goes with the rest of the weekend. We do not have to hold back in music, stories, poems, dance, plays. So much is waiting to be created, performed, and heard. So much is already here, in the air, on stages, in books and notebooks, in the feet and hands, in the mind. The train back to Szolnok has stopped, the window is open, and I hear the loud wind in the leaves. They are there too, the  songs..

987EFEAC-9574-46A2-8C2A-CE68A6AE883B

Translations from the Hungarian

E38E3D55-6906-43BD-8249-75BA8FAA06FB

I woke up too early, but with good reason: some of my first translations from the Hungarian have been published in Literary Matters, a superb online literary journal! You can now read Gyula Jenei’s “Standing Point” (“Ahol állnék”) and “Chess” (“Sakk”) in English translation, as well as Marianna Fekete’s essay “A Crack in Eternity? Béla Markó’s Grass Blade on the Rock.” The latter quotes 21 haiku poems, which I translated as haiku. I hope you enjoy them! There will be more.

1LIFE in Esztergom

2FF2E372-0F8F-4CEC-A379-60E240D14850

Does life get a whole lot better than this: listening to a terrific band in one of the most beautiful cities in the world? If it does, I hope to be there for it; but if not, I have already lived well.

Established late in the tenth century, Esztergom was Hungary’s capital until the Mongol seige of 1241. It towers above and alongside the Danube; you quickly encounter its steep hill and cliffs (I was generally able to bike uphill; I just had to watch for cars). When I arrived, it was just early afternoon, so I had time to see the Basilica (up high) and bike along the Danube below.

The Basilica, planned in 1822 and completed in 1869, stands on the foundation of a much older church, built in the eleventh century, that suffered burning, sacking, and ultimate ruin, with renovations in between. Esztergom itself, for all its splendor, has been through war after war, trouble after trouble. Later, when I commented on its beauty to the staff at the Atrium, the bed-and-breakfast place where I stayed, they replied, “Szép lesz.” (It will be beautiful.)

The synagogue, which I did not get to see (I mistook another building for it) is supposedly Hungary’s oldest—I have yet to verify this—but with the deportation and killing of almost the entire Jewish community in World War II, it stopped being a place for services. Today it functions as a cultural center.

 

After coming down from the hill, I walked through the Comedium Corso festival grounds to get my bearings. I heard an organ grinder, saw children riding Shetland ponies, and found the large stage where the bands were to play. I checked in at the Atrium before biking back down for the concert.

 

1LIFE ascended the stage through billows of fog and began to play up a storm. Within seconds or minutes, the audience (ranging in age from about 3 to 60, with a large teenage contingent) was tapping, dancing, singing, cheering along. Some of these songs, such as “Nincsen kérdés,” are heartbreaking and exhilarating at once; the hard-edged sound combines with the raw and thoughtful lyrics. Their sound reminds me a little of Nirvana and a little more of Son Volt (especially the Wide Swing Tremolo album) but their mixture of music and lyrics is unlike any other I have heard.

Several little kids were dancing through almost the whole show—and really dancing to the beat, not just randomly jumping around; teens were singing along to every word; and I was thrilled to be there. I realized, in a new way, that 1LIFE had “it”: the combination of music, lyrics, zest, stage presence, and knowhow that makes you enjoy every moment and want still more. They have more to discover and try out—this is always true for good artists—and they are clearly doing this. They show it through their appreciation of others’ music, their range of textures and tones, and their willingness to go for it, play shows, work with each new situation. They are professional in the best sense of the word: not staid-professional, but live-out-the-art professional.

They played most of the songs from their album, including “Kapcsolj ki!” and other favorites; one still-unrecorded song whose name I didn’t catch (I think it has “bölcsesség,” “wisdom,” in it) and which begins with “Na na na”—I love it so far and can’t wait to hear it again—and another song, “Londoni idő,” that is not on the album either but can be found on video. Midway through “Álmok a parton,” in the chorus, Marcell Bajnai changed “A Tisza-parton éjsaka….” to “A Duna-parton éjsaka” (in accordance with Esztergom’s location on the Danube). I don’t know if this was planned, but it felt spontaneous and perfect. There were memorable moments between the songs, too: quick stage banter, an eloquent impromptu song introduction by Marcell Jankó, the bassist—and then the one sad moment: they announced that they would play their next-to-last song, “Maradok ember,” but a festival staff person apparently told them that they were out of time and could only play one more song. So they skipped “Maradok ember” and played a gorgeous, exuberant “Táncolunk a végtelenben,” which turned responsive toward the end—that is, we sang back when we were supposed to, with full voice. And then cheered and cheered. And hoped for an encore. It did not come, but the concert didn’t go away quickly either. The pictures I took of the show (below) are limited in quality, but Kitti Berényi (kittiphoto) took some great ones.

After the concert, I biked along the Danube again, walked over the bridge to Slovakia and back, got some beef stew from one of the festival food stands, ran into the band and congratulated them, and then walked and biked through sloping alleys, up and down steps, until the sun went down. I got a good night’s sleep; early in the morning, I set out for Budapest (by train), where Rabbi Katalin Kelemen and I led Szim Salom’s Shavuot service. I had been preparing for this daily (it involved, among other things, leyning the Ten Commandments and chanting the first chapter of Ruth), but I didn’t realize that Esztergom would be part of the preparation too. I arrived so rested and happy, and met with such cheer and warmth from the others (regulars and visitors) that it went the way a Shavuot festival should. From festival to festival, the bridge was not long.

Some may think it’s eccentric of a 55-year-old to travel to Esztergom to hear a band led by one of her former students. Well, it is eccentric, but it’s part of my nature, and I don’t regret a second of it. Good music reaches people of all ages. This does not mean that I would go to all their shows. For instance, if they were playing at a young people’s nightclub or party, I wouldn’t want to step into their space. But a festival is meant to bring people together; age is less important there than other things.

There’s another aspect of this too. In his essay “Self-Reliance,” Ralph Waldo Emerson writes of the individual: “The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does he know until he has tried. Not for nothing one face, one character, one fact, makes much impression on him, and another none. This sculpture in the memory is not without preestablished harmony. The eye was placed where one ray should fall, that it might testify of that particular ray.“ That is, it is given to each of us in life to appreciate particular things, to see them in a particular way. No one else can do this for us. It’s each person’s choice whether to live this out or not, but for me it’s the difference between full life and a sort of whimpering hesitation. Live modestly; be thoughtful of others; remember life’s stages, necessities and losses; but live out that life that is only yours, because that’s what it’s there for, briefly.

AC4A8CCC-EDE8-48AC-BC4F-C050464C23E5

(I added links to this piece and edited it here and there after posting it.)

Expectations and Their Excesses

IMG_8124 (2)
In my ninth-grade Civilization class, students have been giving speeches–a sometimes daunting venture for them. At the tail end of class yesterday, a student delivered a trenchant speech on expectations. I won’t repeat it here—it was intended for the classroom and not the internet—but I will lay out some thoughts that it inspired.

Expectations are standards we set for the future: the things we hope (and sometimes demand) of a person or situation. They may be rigid or loose, low or high—but if they are not met, we experience some kind of disappointment—in others, ourselves, or the general state of things.

There’s hardly an angle through which some expectation will not eventually come whizzing. Teenagers face expectations from teachers, parents, social media, peers, and themselves; adults vie with their own share. It isn’t just the number of expectations that matters; it’s the way they play out in our minds. (I say “our,” but I recognize that each person deals differently with expectations; it’s a private, often ineffable struggle.)

Children and teenagers may have the hardest time with expectations, because they often lack the authority to say “no” or to put others’ judgments in perspective. They (or many) want to be accepted, appreciated, approved, encouraged, and loved; at the same time they fear that such goods will prove conditional. Acceptance is exhilarating and menacing by turn: exhilarating because it seems a dream fulfilled, menacing because it demands a piece of the soul. Sometimes they (and not only they) break expectations just to show that they can—that is, to hollow out some room for themselves.

Adults have these pressures too, albeit in different ways. We donate doles of our lives to the workplace, which, no matter how congenial and humane, expects us to play a certain role. Outside or work, we have still more roles to play. They may all be genuine–but even so, they leave many of us wondering: are we allowed to be ourselves? Or is concealment the cardinal expectation?

Expectations can also enliven and refine us. Many teachers, principals, and other educators (myself included) believe, and have seen, that “high expectations,” articulated and supported properly, will bring good things out of their students. Yet even the most carefully articulated expectation is not always correct or appropriate: for instance, an essay-writing rubric can encourage and reward dull prose.

Yet if expectations seem wrongheaded at times, their absence is far worse. I have heard bitter stories of people whose talents went unnoticed, who were treated, early on, as though they had no prospects. Or else they were told that everything they did was great. Nobody pushed them; no one seemed to believe that they were capable of more. Expectations csn make life more urgent and fruitful. So where do they go wrong?

Perhaps they go wrong when they lose their sense of liberty. I may see promise in another person. I may say or demonstrate this. But the other person chooses what to do with this–whether or not to pay attention to it, believe it, adjust it, act on it, etc. If I accept this liberty, then my expectations are well placed. But if I insist on my own will, the other person receives the message: Cease to exist, or at least pretend to cease.

They should also contain some humility, some acknowledgment of possible error. My expectations are not always right—in themselves or in context. If I know this, then I can respond to supposed failures more generously.

Even when the expectations carry respect and thoughtfulness, they can go wrong. For one thing, they accumulate. A person might not mind one or two. But eventually they become too much. We end up in situations where we’re bound to let someone down, possibly ourselves.

Also, they do not always translate correctly. Many of us imagine expectations that do not exist—or we misconstrue real ones. Some of us have a vague sense of letting others down no matter what we do; this might come from some past experience or from something in our character. Others seem blissfully unaware that others expect anything of them at all; or if they realize it, they do not seem to care much.

There is no final message here. Expectations can do good or harm; the difference lies in their source, intent, and quantity. But even the kindest and most generous expectations should step back at times. It does not hurt to ask: what am I asking for, and why? Do I dare to hear another person’s “no,” or even my own?

 

I took the photo in Veszprém, at the Davidikum Kollégium, where we stayed. Also, I revised this piece substantially after posting it.

Different Kinds of Rest

IMG_8205

Rest will be scarce over the coming months (or plentiful, from some perspectives), so I will be looking to make the most of it. I have three different translation projects ahead and am excited about them all. I am participating in two literary events in the U.S. in October: the ALSCW Conference in Worcester, Massachusetts, and a series of events at the Dallas Institute of Humanities and Culture featuring two of my Hungarian colleagues (more about that soon!). In addition, I have a few writing deadlines, will continue my synagogue responsibilities as usual, and may hold another event at the Szolnok Gallery/Synagogue in September. The event on May 23 went beautifully. The audience was enthusiastic, everyone joined in the singing, and the acoustics lifted the voices.

Yes, and there’s the upcoming Hamlet performance and discussion–by some of my tenth-grade students–at the Ferenc Verseghy Public Library on June 14! They will perform three scenes from Hamlet, followed by discussions and interviews with the characters. We are now heading into our final rehearsals.

All of this is in addition to regular teaching, which is in an irregular state right now, since I am meeting frequently with seniors to help them prepare for their oral exams.

The next few weekends will be packed. Next Saturday I go to Esztergom to enjoy the Comedium Corso festival–where 1LIFE will be performing–and explore the surroundings, which look stunning in the photos I have seen. (I will take my bike on the train so that I can explore more easily.) From there I go to Budapest to lead Szim Salom’s Shavuot service on Sunday. The following weekend, we have the Hamlet performance on Friday; right after that, also in the library, there will be a performance by Zsolt Bajnai and Marcell Bajnai (father and son)! On Saturday, June 15, I plan to attend a folk dance festival in Zagyvarékas; one of my students, Dániel Lipcsei, will be performing in three groups, and there will be many more groups from all over the country. Some of it might look and sound like this:

Then on Sunday, June 16, I go to Budapest for the Budapest Festival Orchestra’s annual Dancing on the Square event. Later in the week, Szolnok’s Tiszavirág Fesztivál begins; I look forward to its concerts–including an acoustic show by 1LIFE–and other festivities. The following Shabbat (on June 22) I lead a service–with a bat mitzvah ceremony–in Budapest; on June 30, I leave for the U.S.  I will be teaching, for the ninth consecutive summer, at the Dallas Institute’s Sue Rose Summer Institute for Teachers; this year we focus on tragedy and comedy, as we always do in the odd-numbered years (the even-numbered summers are devoted to epic). Those will be an intense, focused three and a half weeks, with lectures, seminars, panel discussions, films, and more. A few days on either end for visiting people–and then back to Hungary on August 5!

Back to the topic of rest: there are different levels and kinds. One of the reasons that I find Shabbat challenging (and important) is that it takes me about a day to wind down from the week. Resting on Friday evening and Saturday takes planning, focus, and determination (and I don’t always succeed at it). On Sunday, a greater calm sets in, but by then it’s already time to gear up for Monday. I have found it difficult, even in “free” time, to read books unrelated to my teaching, projects, and other preparations; several books have been waiting for months, not because I lacked time for them, but because my mind would not fit them in. I have now returned to The Book of Why by Judea Pearl and Dana Mackenzie; this time I hope to stay with it instead of letting more months go by. It gets more and more interesting as I get farther into it; I will have more to say about it later. I am also overdue with Cynthia Haven’s biography of René Girard, Evolution of Desire, not to mention books in Hungarian, which I read especially slowly.

Reading a long book (for pleasure and interest) takes a particular kind of  restfulness. It’s different from reading a poem or short story; while these require intense focus and attention (and time), they tend to take less time on the initial reading than a novel or nonfiction book; thus you can reread them many times. I enjoy rereading more than I enjoy first-time reading, because of the new understandings that come with the repetition. To come to know a long book, you have to be willing to dedicate many hours just to the first reading. This is especially true for slow readers like me. I know people who can read a 350-page book in an afternoon or two; I am not one of these.

So there’s the rest that involves unwinding and the rest that makes room for reading. What other kinds are there? Writing, playing music, and other creative activities require stretches of time for trying things out, going back and revising, etc. There’s also the rest that comes through exercise: biking, for instance, over long distances. There’s the rest that comes from spending time with others: laughing with them, playing music with them, sitting down for a meal with them. There’s the rest that comes from doing something different: going somewhere on vacation, for instance. There’s the rest that comes from attending a concert, reading, or other performance. There’s the rest that comes from sorting things out in the mind: reflecting on the week, remembering important things, and putting less important things in their place. Then there’s the rest that comes with pure laziness: puttering around, doing what you feel like doing, whether or not it’s productive. There’s the rest that comes from sitting quietly and doing nothing. There’s structured, time-bound, hallowed rest, such as the rest of Shabbat. Finally, or near-finally, there’s sleep, and, at the end of life, death.

These all overlap, yet they are distinct, taking different forms and playing different roles. Yet each one can be well or poorly carried out. It’s all too easy to compromise rest, to try to make it serve something else. To rest well, you have to rest with all your heart. Or maybe that’s what makes something restful in the first place: doing it with all your heart, instead of pulling it this way and that.

I end with Walt Whitman, “A Clear Midnight“:

THIS is thy hour O Soul, thy free flight into the wordless,
Away from books, away from art, the day erased, the lesson done,
Thee fully forth emerging, silent, gazing, pondering the themes thou lovest best,
Night, sleep, death and the stars.

Falling and Rising (in One Day)

IMG_8202
Last night I remembered something about a Sportnap (Sports Day) taking place today; drowsily checking my messages, I realized that I was supposed to sign up to help with one of the activities. Oops! The biking excursion looked just right; I enjoy biking, as readers of this blog probably know, and we would return in time for the award ceremony for winners of regional academic competitions. (Three of my students won first, second, and third place, respectively, in one of the English competitions.) So I signed up, heard my conscience sigh, and went to sleep.

IMG_8196

In the morning, when I got there, a large group was ready and eager to go. My colleague took the lead, thanked me for coming too, and explained where we were going. She asked me to hold the rear, since she knew the exact route. We took off, crossed the street, and headed northward along the Zagyva (on my usual route to and from school). I thought I’d take a photo as we were going along, and I did, while bicycling. But I didn’t realize that someone was directly in front of me and someone else coming in my direction. As soon as I saw them, I slammed my breaks so hard that I got thrown from the bike (even though I was not going fast at all) and felt my nose hit the ground. One member of the group, Gábor, waited for me, but the bicycle chain had come off the gears, the front brake was stuck, and the bike wouldn’t move. I urged him to go on ahead, since I needed a minute or two to fix the bike.

It took about ten minutes; when I was done, I continued northward, pedaling as fast as I could, but could not see the group anywhere. I continued for a few meters onto the dirt road, only to find it muddy from the rain. Mud caked my bike, immobilizing it again; with some digging and pulling, I managed to get some of the big clumps off so that the wheels could move. Now I headed in the opposite direction; I remembered that my colleague had mentioned Széchényi, so I tested out those environs. No one familiar in sight. I also remembered a mention of the Marcipán cafe and cake shop; when I reached the place, I saw almost all of them standing outside! (A few were inside the cafe.) I hope they weren’t waiting for me, or if they were, I hope it wasn’t for long. I joined for the second hour of the trip, which was fun. I felt bad about missing the first part and not helping out, but there was some victory in fixing the bike, finding the group, and biking with them for an hour. This time, when I took photos, I stopped first.

IMG_8201 (2)

But why did I fall from the bike? I think there were several reasons or causes. First, I was trying to take a photo while biking (not a good idea, especially in a crowd). Second, I am not used to biking in groups or biking slowly. Third, I am a bit exhausted from the drama festival and the week; and fourth, these things just happen sometimes.

After that fall, it was all upward. The award ceremony featured several musical performances by students (several choruses and a xylophonist) and many, many awards. For each award, they announced both the winner and the teacher(s) who helped him or her prepare. Both the student and the teacher would go to the front of the auditorium; the student would receive a certificate and flowers and would then present the flowers to the teacher. Thus a colleague and I received flowers three times: when Szabina, Laci, and Fanni received their awards. Many other students from our school won awards–including my former student Gábor Kozma, featured in the Szolnok TV video of the event. Then came a reception with some delicious pastries; in one of them, the sour cherries (meggy) tasted so fresh, they seemed to be from this year. I haven’t seen sour cherries at the market yet, but they’re around the corner, and I watch for them every day.

szolnoktv2

So it turned into a good day, with more rising than falling. Now it’s almost time to fall again (asleep).

Song Series # 1: Dylan, Waits, Sparks/Denver, ERQ

houses-on-the-hill

Since birth, more or less, I have had songs in my life, whether through hearing them, singing them, playing them, dancing to them, teaching them, writing about them, writing them, trying to remember them, seeking them out at record stores, or carrying them in my mind. Songs are some of the first things we hear in the world. So why start a song series on my blog?

When teaching certain songs in English and Civilization classes, I have realized that students really take to them (flopped lessons aside) and often haven’t heard them before. I want to keep track of a few of the songs I teach (or hope to teach) and give students a way to find them again. For each song, I will post a video or recording and the lyrics. Your comments are welcome!

Here are four songs that I taught to several classes this week (we sang them, and I played cello accompaniment): “Blowin’ in the Wind” by Bob Dylan; “Today” by Randy Sparks, sung by John Denver and others; “Come On Up to the House” by Tom Waits (I include both his recording and Sarah Jarosz’s cover); and “More Bad Times” by Ed’s Redeeming Qualities.

Here’s a 1963 live performance of “Blowin’ in the Wind”:

How many roads must a man walk down
Before you call him a man?
How many seas must a white dove sail
Before she sleeps in the sand?
Yes, ‘n’ how many times must the cannon balls fly
Before they’re forever banned?
The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

Yes, ‘n’ how many years can a mountain exist
Before it’s washed to the sea?
Yes, ‘n’ how many years can some people exist
Before they’re allowed to be free?
Yes, ‘n’ how many times can a man turn his head
And pretend that he just doesn’t see?
The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

Yes, ‘n’ how many times must a man look up
Before he can see the sky?
Yes, ‘n’ how many ears must one man have
Before he can hear people cry?
Yes, ‘n’ how many deaths will it take till he knows
That too many people have died?
The answer, my friend, is blowin’ in the wind
The answer is blowin’ in the wind

Here is Tom Waits’s “Come On Up to the House” (first his own recording, and then a wonderful cover by Sarah Jarosz):

Well, the moon is broken, and the sky is cracked.
Come on up to the house.
The only things that you can see is all that you lack.
Come on up to the house.

All your cryin’ don’t do no good.
Come on up to the house.
Come down off the cross, we can use the wood.
You gotta come on up to the house.

Come on up to the house.
Come on up to the house.
The world is not my home, I’m just a passin’ through.
You got to come on up to the house.

There’s no light in the tunnel, no irons in the fire.
Come on up to the house.
And your singin’ lead soprano in a junkman’s choir.
You got to come on up to the house.

Doesn’t life seem nasty, brutish, and short.
Come on up to the house.
The seas are stormy, and you can’t find no port.
Gotta come on up to the house, yeah.

And now for “Today,” as sung live by John Denver:

Today, while the blossoms still cling to the vine
I’ll taste your strawberries, I’ll drink your sweet wine
A million tomorrows shall all pass away
‘Ere I forget all the joy that is mine, today

I’ll be a dandy, and I’ll be a rover
You’ll know who I am by the songs that I sing
I’ll feast at your table, I’ll sleep in your clover
Who cares what the morrow shall bring

Today, while the blossoms still cling to the vine
I’ll taste your strawberries, I’ll drink your sweet wine
A million tomorrows shall all pass away
‘Ere I forget all the joy that is mine, today

I can’t be contented with yesterday’s glory
I can’t live on promises winter to spring
Today is my moment, now is my story
I’ll laugh and I’ll cry and I’ll sing
Today….

And finally (for today), a beloved song by Ed’s Redeeming Qualities, “More Bad Times,” as performed at the Rat in Boston. (The lyrics vary a little from version to version.)

You twisted your ankle, I carried you
You got a divorce, so I married you
You fell off a cliff, so I buried you
I wish there were more bad times to see you through

You never had rabies
You never gained weight
You never came home with a scar
You never drank poison
You watched what you ate
You never so much as put a scratch on my car.

You twisted your ankle, I carried you
You got a divorce, so I married you
You fell off a cliff, so I buried you
I wish there were more bad times to see you through

You never got measles
You never had gout
You never threw up at parades
You never got dizzy
You never fell out
You never picked up any live hand grenades

So many things did go wrong
But the list is not long enough
Not enough bad things to fill up a song

You twisted your ankle, I carried you
You got a divorce, so I married you
You fell off a cliff, so I buried you
I wish there were more bad times to see you through

You never lost contacts
You never leaked oil
You never fell to sticks and stones
You never drank cleanser
You never ate foil
You never choked on any big chicken bones

You twisted your ankle, I carried you
You got a divorce, so I married you
You fell off a cliff, so I buried you
I wish there were more bad times to see you through

And that wraps it up for the first installment of the song series. More to come, over time!

Image credit: House on the Hill (1902) by Pablo Picasso, courtesy of http://www.PabloPicasso.org.

Thoughts on “Kapcsolj ki!”

1life

The immediate occasion for this post is a new online vote–and while I don’t trust in online votes or their results, I vote for 1LIFE, because they deserve the chance to play at East Fest–Mezőtúr (in July). I will not get to hear them, because I will be in Dallas for the month–but others will be able to enjoy the occasion. Enough of that; I am here to say a few things about “Kapcsolj ki!,” a song that has intrigued me for months. In particular, I see an interesting relationship between the poetic form–particularly the stanzas and rhymes–and the meaning. Parts of the song are especially difficult to translate–and it’s always hard to convey music in words–so anything I say will be a rough approximation. (The lyrics are by the band’s lead singer, guitarist, and lyricist, Marcell Bajnai.)

The video, by the way, is my favorite of all of theirs, because it’s taken in the studio, and it’s so well put together, from different times and moments in the recording session. Over the course of the video, the recording comes into being, and yet you’re listening to the finished thing all along.

Now for the song: it moves from looking outward toward looking inward (though both are present throughout); it seems to speak, at first, of a relationship where the other person is afraid to notice the speaker–and if only that person were willing to take the risk, things would become possible. But then it shifts; in the second verse and the bridge, the speaker begins to see the obstacle in himself. This gives the chorus (and the entire song) a new meaning. By the end, you hear everything in a new way.

The translation is rough, intended just to give some access to the original. I want to draw attention to the rhyme pattern and its relation to the meaning. The song’s rhythm breaks the lines into stanzas of three, with clearly audible line divisions. The first stanza has a strict rhyme (the “án” sound) throughout; in addition, the three lines sound like a tight unit:

Monoton mozdulatok során,
Zavaros gondolatok taván,
Úgy érzem elnyel az óceán

(In the course of monotone motions,
In the lake of confused thoughts,
I feel the ocean swallow me)

The next stanza has slant rhyme; the vowels rhyme, but the consonants do not:

Hajóm süllyed még egyszer
Engedd meg, hogy megértsem
Ne tégy úgy mintha féltenéd

(My boat is sinking once again
Give me a chance to understand
Don’t pretend to be afraid)

In the third stanza, there is slant rhyme once again, but for the first time, the stanza’s unity is broken, since the sentence is incomplete; the final word, “könnyedén,” leads directly into the fourth stanza (and gets repeated there). This is especially difficult to translate because of the incompleteness of the thoughts; I hope that I have conveyed the overall gesture. (See the first footnote for a comment on “kérdeznék.”)

Tudom jól, ha kérdeznék*
De inkább nem mert én,
Azt is tudom, hogy könnyedén

(I know well, if I would ask
But I would rather not, since I
know too well how easily)

And then, in the fourth stanza, the rhyme falls away, just as it says that “the dream easily evaporates” (“Könnyedén elillan az álom”). So the evaporation of the dream is accompanied by the slipping away of the rhyme–and the breakdown of the stanzas–over the course of the entire first verse. (I took some liberties in the translation to capture the repetition of “könnyedén.”)

Könnyedén elillan az álom
Amit annyira vártunk
Mintha nem is lenne rég

(How easily it turns to air,
The dream we waited for so long,
As if it were not long delayed)

Then, in the pre-chorus and chorus, a new pattern gets set up, that also gets broken slightly, at just the right time.

Valamit akkor is mondanék
Valamit az égbe kiáltanék
Csak hogy te is halld a hangom
Valamit akkor is kérdeznék
Érted bármit megtennék
Csak hogy te is észrevedd

(Something then I would say
Something I’d shout into the sky
Just so you would hear my voice
Something then I would ask
I’d do anything for you
Just so you would notice [me])

It works really well in the ear to have “Valamit” occur three times here but not four; if it were “Valamit” instead of “Érted,” it would be too much, but here it’s just right. Similarly, in the chorus:

Kapcsolj ki mindent, nézz fel az égre
Legyél most bátor, én várok rád
Dobd el a kulcsot, kezedben a sorsod
Legyél most bátor én várok rád
Kapcsolj ki!

(Turn off everything, look up at the sky,
Be brave now, I am waiting for you
Throw away the key, your fate is in your hand
Be brave now, I am waiting for you
Turn [it all] off!)*

The chorus has a series of commands (“turn everything off,” “look up at the sky,” “be brave now,” “throw away the key”), three of them with a different preposition in the verb (ki, fel, el), and one with no preposition at all. But “kezedben a sorsod” breaks the pattern; it’s a declaration rather than a command. This variation, once again, works well in the ear. (See the second footnote for a little more about “kapcsolj ki.”)

Now for the second verse. If the first verse represents a breaking down, the second verse represents a building up, but only in the imagination, in the apprehension of possibility. Here the rhymes and verse structures move in the opposite direction, from dissociation to unity. At first the lines do not rhyme (well, there’s off-rhyme in the first two, but not in the third, unless you listen to the middle of the line as well):

A nap szárítja a könnyeket
Áradnak már a tengerek
De mi lesz ha betörnek a házba?

(The sun is drying up the tears
By now the seas are swelling up
And what if they break into the house?)

Then the rhyme begins to build up: you hear the “o” and “a” sound.

Víz folyik be az ablakon
Hallok egy távoli dallamot
Hallom pedig messze van

(Water flowing through the window
I hear a distant melody
I hear that it is far away)

Notice the difference between “hallok” (indefinite) and “hallom” (definite). Both mean “I hear.” Since it is “a” distant melody, not a specific one, “hallok” is required in the first instance–but in the second instance, something specific is heard, namely, the fact that it is far away; hence “hallom.” This seems just a grammatical detail, but it adds to the musicality and richness of the verse.

From here on, for the rest of the verse, the off-rhyme with the “e” sound prevails. The phrase and line repetitions give a sense of building and climbing, but then, once again, loss and absence. (“Bárcsak most is itt lennél,” “I wish you were here”).

Közelebb nem is lehetne
Akár el is érhetem
Akár el is tehetném

Akár el is tehetném
Többé el sem engedném
Bárcsak most is itt lennél

(It couldn’t get closer
If I could reach it
If I could preserve it

If I could preserve it
I would no longer let it go
If only you were here)

This was by far the most difficult part to translate. I am not sure that I have conveyed “akár” correctly. “Akár… “akár” usually means “whether … or,” but that sounds awkward here. “Akár” can also indicate an emphasis, something along the lines of “even.” But here, in the song, its meaning seems to shift as it repeats, and the best way to convey that, I think, is through a simple “if,” even  though that isn’t as emphatic as “akár.”

Then come the pre-chorus and chorus again, followed by the bridge, which (as I hear it) holds a key to the whole song–somewhat buried in vocal distortion effects, so you have to pay even closer attention than usual. (“Mi van ha tényleg velem van,” “What if it really is with me?”)

Mi van ha tényleg velem van
A baj csak nem látom magam
Szó nélkül elmenni hagytalak
Mi van ha mást is tehetnék?
Rögtön hozzád rohannék
Talán te is megértenéd

(What if it really is with me
The problem is I can’t see myself
I left you without a word
What if I could do something else?
I would rush to you right away
Maybe you would understand)

In more than 1500 words, I have barely grazed the surface of the song. “Kapcsolj ki!” tells itself through the music; one can analyze it up to a point, but from there it takes off. This is probably my favorite 1LIFE song after “Maradok ember” (though there are other close contenders); while I don’t expect to play it on cello, I can’t wait to hear it live for the first time. I may have heard it at the school gala last year, but at that point I did not know who the band was and did not understand any of the lyrics. The upcoming Esztergom show (at the Comedium Corso festival) will be the first time that I knowingly hear them in concert. I wish many others this joy, and I wish 1LIFE many more shows and songs!

*The lyrics posted with the YouTube video–which I take as the official lyrics–show “kérdeznék,” but in the recording and video I hear “kérdezném,” the definite form of the verb. This alters the meaning slightly, since it suggests asking something specific.

**(“Kapcsolj ki” can also be translated as “disconnect,” which is both transitive and intransitive. I thought, though, that this translation would distort the meaning slightly, since at the end of the chorus, “Disconnect!” would seem purely intransitive, pointing back to the subject. “Disconnect!” also has connotations that I don’t think are present in the Hungarian. In the Hungarian, as I hear it, “Kapcsolj ki!” still implies a direct object.)

The photo appears courtesy of 1LIFE’s Facebook page.
I made a few edits to this piece after posting it–and added a rough translation of the song, which I subsequently revised in a few places. I will likely continue revising this over time. If you see any glaring errors or misinterpretations, please do not hesitate to let me know.

 

A Perfect Imperfection

IMG_6779_blur
The Veszprém drama festival and the surrounding trip still fill the air; we will be thinking about them, talking about them, resting from them for a while. In the meantime, my thoughts amble back to translation.

Last fall, whenever I had a substantial break in the day, I would go to a quiet café, take out the book, notebook, and thick dictionary, and work on the first draft of a translation (of poems and prose). Over the following weeks, I would revise the translation and begin new ones. The poems are by one of my colleagues, the poet Gyula Jenei; the prose, an essay–about Béla Markó’s haiku, with 21 haiku poems quoted–by my colleague Marianna Fekete. I undertook this project because I admire their work and understand what is involved. In the past I translated many poems of Tomas Venclova; those poems appear in two books, Winter Dialogue and The Junction.

Now the Jenei/Fekete translations, or most of them, are on the brink of publication! My translations of Gyula’s poems “Ahol állnék” and “Sakk,” and of Marianna’s essay, will appear in the spring issue of Literary Matters (in June); three more translations (of “Temető,” “Teasütemény,” and “Zongora”) will appear in the fall issue. These will be my first published translations of Hungarian poetry and prose.

I intend to continue translating Gyula’s and Marianna’s work–and to take on a new project as well. Over the summer, I plan to translate Kata Bajnai’s play Farkasok, with hopes that it will be performed at the Veszprém festival next year.

To translate is to seek out a perfect imperfection. You can’t convey the work exactly, so you work with approximations–but these have to sing. You must immerse yourself in the original work: listen to it, read it over and over, and come to know its rhythms and tones. You must be bold and shy: bold enough to undertake the project, take risks with it, and see it through to the end; but shy enough to hesitate, correct yourself, and return again and again to the listening. In that sense, translating is like playing music. You live out the sounds.