So, this one is a song that I've revisited after about 9 or 10 years. I recorded an earlier version on a cd I made at home when I was 17 ( it's the second to last track on the cd, those of you who want a melody and sound reference point. Adriana-you may be the only person who has this cd.). I think I may have also performed it at the grade 12 fashion show at my high school.... I wore a pretty dress and a fluffy pink sweater, and had a real live piano, no crappy keyboard. But, actually, I may have played another song.
Anyways. I was writing this morning, inspired by one of Adriana's blog posts ( isn't it nice to have points of artistic inspiration that come from a known source, rather than a merely distant one?), a poem called "Redeemed". Now, I'll take a wild guess, and say this is attached, emotionally and thematically to Charlotte Martin's "Redeemed", which I too have been listening to obsessively and devotedly for the past while.
You'd never know that this one concept, this word is what triggered a re-write after ten years, additions of complexities and switches in meanings. I'm fascinated by the word "redeemed", in the non sin related, non consumer related sense, but I've always had trouble coming to grips with, and finding my way about the term and act of redemption. It's interesting how to forms of the same meaning, the same themes affect me so differently.
I think it's that I associated redemption with being a big scary biblical term, whereas redeemed seems smaller and has possibilities outside of Judeo-christian thought patterns and processes. It feels more organic. I don't know, really, I don't.
However, none of this is actually noticeable in the song.
So, here's quick and quiet song #5
Cm-A flat
The sense she depended upon
but knew would never come
as she pasted petals into her book
and closed the shelves
The sound of some clearer voice
she waited for nine years to hear
and time and time and time
waits up
To put it in fierce terms
she would stand rigth straight for hours
moving only her joints
but her bones wouldn't follow
E flat-Cm-Fm-A flat-Cm
Standing in that green dress
she roots down into a tree
and is left ( calm?) ( stranded?) (unknown word...)
Cm-A flat
Isabella light sleeper
all our gifts run dry
who'dve though we'd be sitting here
no hillsides and no distillations
in our palm lines
they hold themselves
so strangely in my body
the placement of words
along limbs and exhalation
E flat-Cm-Fm-A flat-Cm
Transitions between form and tense
lie different on more places
than the tongue
E flat-A flat
I can't bring her back
I won't bring her back
Cm-A flat-E flat -Cm-A flat
To this failure
of broken and stuttering time
without.
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2 comments:
Listened to the original version of your song and then read this. I can't really articulate the transition for myself, yet, but thank you, and thank you for saying that you found any inspiration in my small poem. It was emotionally linked to the song, yes, if not thematically (not in a direct way, but I imagine it ended up that way). Regardless, I very much love your songs. I really think you should record them (some of them again). They are beautiful on the page, but in the air, oh Anna, they breathe.
okay, so maybe there weren't as many protected posts as i thought. there are a few from this time last year when you first met me.
i got confused because some of them are set to private, so only i can see them. and oh anna, i would show you those ones but.....they are so ridiculous. like a 10 year old wrote them, pining away, withering.
that's okay. there will be many shared secrets in our future.
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