Running, Radio, and Rest

A busy summer vacation filled with translation, travel, and concerts has come to an end, though the translation and concerts continue. We have a faculty meeting tomorrow morning and will then be officially back on board, though the week is fairly light for some of us. The following week, September 1, is when classes start. I am assuming that nothing will prevent me from going to Fishing on Orfű this Thursday, though that could change. I’m going only for a night, since I have to be back before Friday evening to lead an online Szim Salom service. I will arrive at the festival in time to pitch my tent and then hear the Platon Karataev acoustic duo (Gergő and Sebő) play on the water stage. Then I will find my way to the Fonó Borfalu to hear Dávid Szesztay; I will probably stay there to hear Szeder (for the first time), and then walk around and explore. But to do this, it won’t be possible to bring the bike, unfortunately; it turns out that there are no available bike spaces on the trains from Budapest to Pécs. Instead, I will take the train to Pécs (from Szolnok, via Budapest, without a bike), then take a public bus from Pécs to Orfű. That will also allow me to get back home earlier on Friday.

I am looking forward to the school year; I have lots of plans for my classes, and this year, if we are lucky, we (the public library and the school) will actually be able to hold a Shakespeare festival.

But on to the subjects of this post: running, radio, and rest.

Running is my favorite form of exercise after bicycling, when I am relatively in shape. Recently I have been running a mile almost every day, which isn’t much compared to what I used to do at my peak (five miles twice a week or so), but still an improvement over the recent years. I think I could work back up to five miles, but I have to do it carefully. Anyway, running takes off the excess energy, elongates the body, and just feels great. So much for that.

Now, radio. For most of my life, I wasn’t much of a radio listener. It wasn’t on at home when I was growing up, and while my first encounters with radio were enchanting (I still remember the songs that played the day that I stayed home with a fever and listened), I usually couldn’t take that endless stream of Top 40 hits. Only later did I become aware of independent radio, and even then, I preferred to choose what to listen to. But over time, I came to realize how great a well-run radio show can be. If it’s a good show, it introduces you to music you will want to hear again, maybe music you would never have encountered on your own. The DJ not only knows a lot of music and has an enormous repertoire to select from, but also enjoys selecting and commenting on things.

It takes some dedication to listen to the radio. I don’t work with music in the background—I have to focus on the music, if it’s on—so I pick one radio show a week and stay for the whole thing if possible. Most recently, this show has been WFMU’s Continental Subway, with DJ David Dichelle. It’s a fantastic show. He plays music from all around the world, and knows how to pronounce the names and titles. In the third hour, the “Random Road,” he focuses on one country in particular, a surprise location (because he never tells us in advance). Last Thursday it was Bhutan. The music was dreamy. You can go listen to it in the archives if you are curious.

One of the real gifts of the internet is that it allows people to listen to a radio show from around the world and to type comments. So there are regulars from many different places, and short text conversations take place. Also, David welcomes us to write with suggestions. He is very interested in Hungarian bands, and has played some of my suggestions already: the Pandóra Projekt, Felső Tízezer, and the Sebő-együttes, as well as some Hungarian music that was new to me. It is really fun to have my suggestion played, and even more fun to hear music I don’t already know, and kinds of music I don’t usually listen to. I otherwise like to listen to my favorites over and over again, so this is a good contrast.

That leads to the last topic: rest. It is a good thing. But it has many dimensions. Rest isn’t just the absence of work, or the increase of sleep. It also has to do with the redirection of thought. We have many things that we are used to thinking about; turning the attention somewhere else, even for a little while, can be greatly restorative. That’s part of what happens at the end of Raymond Carver’s “A Small, Good Thing” (one of my favorite stories in the world). The encounter with the baker shocks the bereaved couple out of their train of thought. There is something restful and luminous about the ending.

All of these are luxuries—running, radio, and rest—but luxuries that can be found and built, to some degree, with minimal money. They do take money, but not a lot. That is one thing I love about living in Hungary, where I moved almost four years ago: it is possible to build so much out of a simple life. I don’t have much money at all; my total financial assets, beyond my apartment, would probably get me through one year in the U.S. (if I were careful), and my teaching job pays me the equivalent of thirteen thousand dollars a year, more or less. But not only is it possible to live on very little here, but there’s so much to learn, create, and support. It’s hard to convey this to others, but it’s true: some material possessions are important, but not many. All depends on what one wants to do with them. For me, the apartment, the bike, the books, the musical instruments, the laptop are quite enough, not only in themselves, but in the projects they make possible. So, back to translating for a while.

Two-Week Roundup

A lot has happened in the past two weeks. In two weeks from now, I will already be on my way back from the U.S. (I head out there on Friday). I am not bringing the laptop, so any updates during those two weeks are likely to be brief (though you never know).

So, a roundup:

The school year ended, and the faculty went on a trip to the village of Demjén. We visited a winery and thermal bath. It was a beautiful day.

I went to three concerts over the past two weeks: Cz.K. Sebő and Felső Tízezer (at the A38 Hajó), then a performance by Zsolt and Marcell Bajnai (at the Szolnoki Művésztelep), then the Platon Karataev duo at the TRIP Hajó. In addition, I attended two literary events at the Szolnoki Művésztelep (at the ARTjáró Összművészeti Fesztivál): one featuring the literary journal Eső, and one featuring Légszomj, Gyula Jenei’s Covid diary in verse with György Verebes’s art. I also attended an online event featuring the poet and translator George Szirtes. All of this is enough to fill the mind and soul for a long time.

As far as writing goes, the inaugural issue of The Penny Truth is out and about, My long semi-satirical poem “Apology in Seven Tongues” was published by The Satirist, and my newest poem, “Day of Rage,” received some nice comments here on this blog. I am working on two translation projects (poetry and short stories), both of which are an honor for me. I will say more about them later.

Two weeks ago, I posted my cover (with cello, guitar, and voice, and a homemade video) of Cz.K. Sebő’s “Out of pressure.” I learned a lot from playing the song.

Radio also figured prominently in these past two weeks. I have been enjoying WFMU”s Continental Subway, and also listened to Marcell Bajnai’s interview on Megafon.

Speaking of songs, I have a few to recommend. Two have come up on this blog already, but that’s all the more reason to mention them again.

The first is Cz.K. Sebő’s “First Snow.” Listen to the whole song, the lyrics, the drums. This song sounded especially beautiful at the concert at the A38 Hajó; I have been hearing it in my mind ever since.

The second is Felső Tízezer’s “Majdnemország,” about which I have written here.

The third is Lázár tesók’s (the Lázár Brothers’) new video, “Olyan egyszerű” (“So simple”). The song is from their debut album, Hullámtörés. If you just listen to the melody and watch the video, you might think it’s about how nice it is to be out on Lake Balaton together. But the song is not nearly so cheery, and that’s part of what makes it beautiful: the combination of moods and colors. And that they composed and performed it so well.

And then, to wrap it up, Marcell Bajnai’s most recent song, “legjobb metaforám,” which I have heard in three forms so far: as a recording, in live performance, and read aloud as a poem (during the radio interview; the interviewer, Marci Lombos, read it aloud, and Marcell read “Forróság környékez” by Norbert Siket. This might be my favorite of Marcell’s solo songs; it is certainly one of them.

And that is a good way to end the day.

Reuben, Gad, and Ambition

In Matot, the first part of the double Torah portion to be read in synagogues this Shabbat, the children of Reuben and the children of Gad tell Moses that they would rather settle east of the Jordan instead of crossing over the river, since they see that this land is good for their cattle. Moses asks them angrily whether they intend to abandon their brothers, who will need to fight for their new land, and why they are turning the Israelites’ hearts away from God’s promise, as their fathers did before them. They reply that they will set up sheepfolds and cities here, then go forth and lead the battle. When it is won, and when every man has received his inheritance (ish nahalato), then they will turn back and settle here. Moses accepts this offer, provided they fulfill their promise.

In this passage, Moses’ main concern is to fulfill God’s will for the people; he objects not to Reuben’s and Gad’s children’s wish to stay here, but to the betrayal that this would involve. They make clear that they will not betray the people, or God, or the plan.

I am now going to make a leap into the present, which means misinterpreting this text a bit, or at least leaving it behind momentarily.

A modern-day leader, in contrast with Moses, might chide the children of Reuben and Gad for not being ambitious enough. Why are you settling here? Don’t you want to go for the best? Don’t you have any drive, any will to succeed, any growth mindset?

One of the great illnesses of Western society (particularly the U.S., I think) is the belief that people should always be striving for more on others’ terms: more money, more prestige, a higher position, a bigger house, the next big thing. There are actually workplaces that push you out if they see that you aren’t striving to move up.

But what if you are striving for things, just not on others’ terms? It may look, on the outside, as though you are just sitting still, not moving ahead in life, but that stillness can contain a lot of movement.

Also, a person doesn’t always have to be in motion. Stillness is good, too: for finding calm in yourself, for contemplating things, for taking in music, poetry, speech, for making sense of a bewildering world.

But there’s more to Ruben’s and Gad’s children’s decision than a desire for stillness (which doesn’t come up in the passage). They recognize the land as good for them and their cattle. They see no need to move further when this place is already suitable.

That’s another reason for staying still sometimes: you recognize that what you have, where you are, is good. Why do you have to go off in pursuit of something else, when you have what you want and need?

People here in Hungary are often surprised that I enjoy living in Szolnok. How is that possible? they ask. Especially after New York? Well, I don’t need everything that New York has; in fact, it can be overwhelming. Here in Szolnok, I have good work, friends, surroundings; and I can easily get to Budapest and other cities if there’s something I want to attend there. Besides, a lot of what I do is at my desk, or in my room; I don’t need a lively external environment all the time. My life is far from staid; I am writing, translating, playing music, teaching, learning, taking in others’ work, exploring places on bike. No one who knows me would call my life dull. Some of this, or maybe most of it, would have been impossible if I had tried to lead a so-called successful life on others’ terms.

This does not mean that moving up in the world is inherently conformist or compromising; it’s good to be recognized for what you do and to exceed your past limits. Sometimes internal and external success go together; the convergence can be beautiful. My point is only that we don’t always have to be moving up in a recognizable way, or fulfilling what others think should be our plans.

Some of the best times in my life, and the most fruitful, were when I was in simple surroundings, with a job that allowed me to get by. It would have been nice to have a little more money, but the jobs that offered more money often expected you to believe in this money too. If you didn’t, you were a slight heretic.

This reminds me of a beautiful song that David Dichelle played yesterday on WFMU’s Continental Subway: Frank London, Lorin Sklamberg, and Rob Schwimmer’s rendition of the Yiddish song “Tsuzamen Mitn Gelt” (“Az Nisht Keyn Emune”), which begins (the English translation is under each line):

Az nit keyn emune tsuzamen mitn gelt, vos-zhe arbetstu af der velt?
     Without faith, together with your money,
     what good is it to work in the world?
Az nit keyn bine tsuzamen mitn gelt, vos-zhe bistu af der velt?
     Without understanding, together with your money,
     what good is your being in the world?

My comments here are tangential to the text; they aren’t about the text, except in passing. The text is about something other than success; it’s about God’s plan and promise, and the people’s duty to fulfill their part in it. But it arrives at an ingenious solution to a conflict: the children of Reuben and Gad will fulfill their duty, but also follow their desire and judgment. Beyond that, the passage is about recognition: that the good life is right there, under their feet, “vehineh hamakom, m’kom mikneh.”

Painting: Benjamin West, “Joshua passing the River Jordan with the Ark of the Covenant” (1800).

  • “To know that you can do better next time, unrecognizably better, and that there is no next time, and that it is a blessing there is not, there is a thought to be going on with.”

    —Samuel Beckett, Malone Dies

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  • ABOUT THE AUTHOR

     

    Diana Senechal is the author of Republic of Noise: The Loss of Solitude in Schools and Culture and the 2011 winner of the Hiett Prize in the Humanities, awarded by the Dallas Institute of Humanities and Culture. Her second book, Mind over Memes: Passive Listening, Toxic Talk, and Other Modern Language Follies, was published by Rowman & Littlefield in October 2018. In February 2022, Deep Vellum will publish her translation of Gyula Jenei's 2018 poetry collection Mindig Más.

    Since November 2017, she has been teaching English, American civilization, and British civilization at the Varga Katalin Gimnázium in Szolnok, Hungary. From 2011 to 2016, she helped shape and teach the philosophy program at Columbia Secondary School for Math, Science & Engineering in New York City. In 2014, she and her students founded the philosophy journal CONTRARIWISE, which now has international participation and readership. In 2020, at the Varga Katalin Gimnázium, she and her students released the first issue of the online literary journal Folyosó.

  • INTERVIEWS AND TALKS

    On April 26, 2016, Diana Senechal delivered her talk "Take Away the Takeaway (Including This One)" at TEDx Upper West Side.
     

    Here is a video from the Dallas Institute's 2015 Education Forum.  Also see the video "Hiett Prize Winners Discuss the Future of the Humanities." 

    On April 19–21, 2014, Diana Senechal took part in a discussion of solitude on BBC World Service's programme The Forum.  

    On February 22, 2013, Diana Senechal was interviewed by Leah Wescott, editor-in-chief of The Cronk of Higher Education. Here is the podcast.

  • ABOUT THIS BLOG

    All blog contents are copyright © Diana Senechal. Anything on this blog may be quoted with proper attribution. Comments are welcome.

    On this blog, Take Away the Takeaway, I discuss literature, music, education, and other things. Some of the pieces are satirical and assigned (for clarity) to the satire category.

    When I revise a piece substantially after posting it, I note this at the end. Minor corrections (e.g., of punctuation and spelling) may go unannounced.

    Speaking of imperfection, my other blog, Megfogalmazások, abounds with imperfect Hungarian.

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