Sand and Sandcastles

Here’s another chestnut: Life is what you make it. 

But what is life, exactly?

Is life what we think?

Or more in line with how we seem to live our lives today, is life what we do—whether that means building castles in the sand or building them in the sky…

Or is life the stuff we own, show, and store up? And does that definition imply by extension, for example, that if clothes—including those saggy-baggy pants still so popular with teenage boys—make the man, then we are what we wear. (Which makes me—sigh—a pair of plus-size mom jeans.)

Other clichés about life aver more darkly that the only things we can depend upon are death and taxes—or that the only thing we possess in life is our choices. But because ”like sands through the hourglass, so are the days of our lives,” most everyone seems to acknowledge and agree that life is fleeting and unpredictable, so carpe diem, dude.

As far as I’m concerned, no one has ever written more memorably on life as shifting sand than Percy Bysshe Shelley in “Ozymandias.” This poem relates a traveler’s encounter with the ruins of a statue of Pharaoh Rameses II (reigned 1279-1213 BCE), once fifty-seven feet tall, in the desert:

And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.

I remember my first encounter with Ozymandias in high school English. Even then, amidst the thick boredom and confusion surrounding the students’ general reception of all poetic texts, rose a collective and chilling thrum of prescient awareness of this hard truth about our mortality.

Whatever permission we teenagers gave ourselves at the time to carpe diem in consequence of this reading—life’s too short to do homework, man—I don’t recall. To this day, whenever good old Ozy comes to mind it makes me wonder if such mortal knowledge is not part of the unending draw of a bucket, shovel, and bearable stretch of sand along life’s unfathomable and infinitely coursing sea.

Shelley, as it turns out, did not get much time on Earth to figure out and share the mystery and meaning of human life. In its pithy biography of the poet, The Poetry Foundation relates that Shelley, who “called poets ‘the unacknowledged legislators of the world’…drowned while sailing at age 29.” In that short time, however, he “produced gorgeous lyrical poetry quintessential of the Romantic Era.”

So no answers—but what a beautiful record of the effort to record and comprehend!

Life is what you make it: castle and sand are one.

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    Keys to Success

    Everyone knows the phrase “practice makes perfect,” but what does that even mean these days?

    When I was a kid taking weekly half-hour piano lessons, Mrs. Belsky would write the following in the top right margin of my John W. Schaum color-coded course book: “X20.” That meant that I had to practice each assignment—be it an E major scale, Fingerpower® exercise, or adapted excerpt from Beethoven’s “Ode to Joy”—twenty times daily.

    And twenty times daily meant Mrs. Belsky expected me to practice every scale, exercise, and song assigned seven days a week, no matter what else was going on that day. It was part of my responsibility as the piano student to carve out a productive practice time within my daily and weekend schedule, a slot during which I could focus solely and completely on practicing each piece assigned twenty times…

    Now, I was a willing student. I loved to play the piano, and I recall occasions when my mom pulled me away from the keyboard with an “Enough! Go outside and play now.” But I also recall instances, usually around a holiday, that I really didn’t feel like practicing at all. On those days dragging my feet to the piano felt like the long slow walk (I only ever watched other students take, of course!) to the principal’s office.

    Nonetheless, what got me through those practice sessions—because once I began playing I usually forgot my reluctance—was force of carefully established habit and a dawning understanding that my strict practice routine was indeed making me a more skillful piano player.

    And at the risk of being labeled a nerd—I can hear my youngest sister and guest blogger Fran Ciotoli‘s childhood “Felicia’s a geek!” ringing in my ears—I will admit that at the end of my practice sessions I typically turned to pages much further along in my lesson and recital books (never the scale or exercise books!) and attempted to sight-read random pieces. It was challenging and exciting to discover that I could play many of the pieces, or parts of them anyway, using my developing skills.

    These sight-reading sessions were immediate proof that my efforts were paying off and the rewards, in the form, say, of a treasured book of Christmas carols—or later Scott Joplin rags or secreted away popular sheet music of Billy Joel songs—were within my grasp.

    Self-determined rewards, true, but developing this type of self-discipline proved beneficial in many other areas of my life in addition to playing the piano. In school I never fought doing the kind of repetitive exercises that honed the skill of memorization, and to this day I can memorize and rattle off facts, deadlines, lines of verse, phone numbers, you name it, with relative ease.

    Now, Mrs. Belsky was not a warm and fuzzy figure in my life. She never hugged me or gave me a sticker for doing a good job, kid! I wasn’t afraid of her, nor do I remember her swathed in a honey glow of fondness. In fact, she was rather stiff in bearing and only distantly friendly. These are the only personal things I remember about her: she occasionally sipped tea during lessons, she had two whiny daughters slightly younger than I was who always had runny noses, and she eventually left being a piano teacher to study and become a Protestant minister.

    What I remember most about Mrs. Belsky, however, was that she was an excellent instructor, firm but encouraging, a stickler but patient with a hint of kindness. Her persona as the teacher always remained formally intact. When she nodded in affirmation of any proficiency in my performance of an assignment it was incredibly satisfying. And I thank her, truly thank her, sometimes daily, for the benefits I continue to reap as an amateur pianist and as a student in school and of life, for the time I spent studying at her bench.

    After a number of years Mrs. Belsky said to my mother, “I’ve taught her everything I can. She now needs to move to an advanced instructor.” I did leave with a bit of a tear in my eye, but I was excited—and a little scared—to move on to study with the concert pianist from whom I took several truly terrifying years of lessons. I learned a tremendous amount from her as well, and in a shorter amount of time, but it was a far, far less pleasant experience, and by that point I was a teenager and my attention was beginning to turn in other directions, including toward boys and poetry.

    Believe it or not, what prompted this post—and I have further thoughts on some of the topics covered here that I’ll save for several follow-up posts—was my son’s recent football practice. Watching the qualities of self-discipline and perseverance being instilled in these young boys in full football gear sweating out the hard and boring exercises in the August humidity reminded me of my countless hours at the piano…

    In this case, it’s “football practice makes perfect.”

    But it’s rather amazing to me and an irony of contemporary society that we now tiptoe around the many, many benefits of practice, practice, practice, and rote memorization apart from when it involves training for sports.

    Hearing the coaches BELLOW at the kids—and watching their parents nod in vigorous agreement with the relentless charge to dig deeper, stop whining, try harder—reminded me that the desire to excel, thereby conquering flaccid boredom and the apathetic absence of standards, as well as the understanding that this means that self-discipline necessarily involves self-denial (no fair! no fun!) still exists.

    So maybe we need to take “perfect” out of the maxim “practice makes perfect” as an impossible standard. No one, in fact, is perfect. In today’s environment kids are not always taught the subtleties of aspiration—shoot for the moon, land among the stars. But surely we can show them and remind ourselves, in word and by example, that practice makes competent, even skillful.

    And that the ability to do something well on your own inevitably leads to improved self-esteem and a desire to see what might happen if you try a little harder. The results can inspire delight, even joy.

    Surely this applies to many interests and endeavors besides pressing the right keys on the pianoforte or spinning a football.

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      One Small Step…

      Love for Neil

      Where does he go when the astronaut dies?
      Does his soul rise—after lift-off—through skies
      full of angels saluting such brave enterprise?
      And where is re-entry? Our spaceman goodbyes
      are brimming blue oceans, Earth’s tears in our eyes.
      How much it means when an astronaut dies!

      Neil Armstrong
      8.5.1930—8.25.2012

      (poem by Felicia Sanzari Chernesky)

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        The Ways of Man, Sea, and Sky

        Am I the only one who ever feels pulled adrift, caught up in strong currents sometimes coming from more than one direction at once?

        O frail and fleshy vessels! It’s an inherent part of being human—struggling to navigate through life’s tempestuous, teeming waters…

        In this image, fiberglass vessels huddle at port, blissfully at rest. A large sky looms over them, making them look like toy boats, and the blue vault is clouded, but calm. During waved-tossed moments, it’s important to hold such images in our minds, “this too shall pass” piping persistently throughout the sounds of the latest storm.

        I think this image is lovely and harsh and complicated and simple, because the landscape just appears to be at rest. The overwhelming clouds are flexing muscles of movement; they are showing off the ability to send those toy ships sailing, and in a shower of tears if they so desire.

        In the end, is this a short post about a pretty photograph and a reminder that all we can control is our own little rudder, that all we have are our own little choices for astrolabe?

        Maybe. Maybe not. A ship can loop endlessly and lose itself at sea. It can sail smoothly, full speed ahead. It can shipwreck on deserted sands. It can—well, you can count the coconuts as easily as I can. At times, I’m convinced it’s not that simple and a bit of a mistake and a letdown to reduce all that we are to a few comforting platitudes.

        There’s a swirling mist rising before us. I might call it a cloud of unknowing, matey. And I might even be right about that.

        Like I said, this is a little post with a pretty picture; it doesn’t carry any answers on board. But I’ve my face to the wind and I’m waving ahoy to every ship I pass.

        Godspeed, my fellow captains.

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          Further Thoughts on an Empty Fortune Cookie


          Perhaps the emptiness leaves space for something on the way, like room to contemplate the following comments that I read by Kindlelight late last night:

          To write a novel, you begin with what you can see and then you add what came before and what came after.

          You must understand that when you are writing a novel you are not making anything up. It’s all there and you just have to find it.

          —Thomas Harris, “Foreword to a Fatal Interview,” Red Dragon

          As I struggle to complete one novel, embark on revising another, and look forward to taking a fiction class in the fall for the MFA to help untangle everything I’m doing wrong, I therefore read the emptiness as the expanse where before and after exist, and the space to figure how to map this terrain in words.

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            Anyone Want a Drumstick?

            While Colorado Susan persists in her claim to have no connection Hogwarts School of Witchcraft and Wizardry, we have a different problem brewing with another guest blogger.

            If you’ve read the comments to any of my recent posts you’ll notice that Francesca Ciotoli, who writes Pages and Patterns, took umbrage (as I knew she would) at my confessed and sacrilegious dislike of Jane Hair Eyre and in particular my inability to find the dark and troubled Mr. Rochester attractive, even remotely, in a post called “Postscript to a Vacation.”

            I asked her permission to post our exchange, which she granted, with the hope it might generate a bit of wider discussion.

            Here it is, in relevant part:

            Felicia—

            I am truly devastated by your review of Jane Eyre—it is NOT about heaving bodices at all! In fact, it is her personal growth and indomitable spirit that I have always loved—Rochester is just a conduit (albeit a damn sexy one) for her individual development. It is he who needs her far more than she:

            “Do you think I am an automaton? — a machine without feelings? and can bear to have my morsel of bread snatched from my lips, and my drop of living water dashed from my cup? Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong! — I have as much soul as you — and full as much heart! And if God had gifted me with some beauty and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh: it is my spirit that addresses your spirit; just as if both had passed through the grave, and we stood at God’s feet, equal — as we are!”

            and

            “I am no bird; and no net ensnares me; I am a free human being, with an independent will; which I now exert to leave you.”

            and

            “I can live alone, if self-respect, and circumstances require me so to do. I need not sell my soul to buy bliss. I have an inward treasure born with me, which can keep me alive if all extraneous delights should be withheld, or offered only at a price I cannot afford to give.”

            Enough.

            Fran

            Hi Fran—

            I knew you would be upset about my review of Jane Eyre. With your permission, I’d like to take your comment here and add it to a new post and open up a discussion about this.

            I don’t dispute your characterization of Jane, by the way. And your assessment of her growth I believe is correct.

            Felicia

            p.s. Rochester is not sexy.

            Felicia—

            Yes, please open it up for discussion—I look forward to it!

            P.S. Rochester is sexy because he is arrogant and proud and brought to his knees by simple, plain Jane.

            Fran

            First of all, I think the character Fran is in love with isn’t Rochester at all, it’s Jane. I think the attraction is to Jane’s fierce growth into a strong and independent person who knows who she is and what she wants. Now, why she wants Rochester is beyond me, but that’s another conversation altogether…

            In terms of personal reading preferences, I acknowledge that I’d rather read George Orwell than all of the Brontës put together any day of the week. And I admit this is like comparing apples to oranges (or should I say panting, trembling bosoms to upright walking pigs and aspidistra plants), but while reading for pleasure can be different from reading for edification, there is inherent pleasure in both types of reading. And the best reads, I find, are ”beautiful and useful.”

            I can learn from a novel—I can admire (even been in awe of) the writing and respect the author—but not still not truly enjoy reading it.

            Some of it does have to do with the characters. It’s hard to love a novel when you find the main characters exasperating (like Jane Eyre) or controlling (like the overbearing St. John Rivers) or repugnant (like the manipulative Rochester). A contemporary example of this on television is the brooding Don Draper of Mad Men, who is practically impossible to have any sympathy for—until life’s sturm and drang cracks a few chinks in his terrifying beauty.

            Perhaps these are my monkish inclinations coming to the fore. I’m no romantic and I do have trouble warming fully to idealization in art, but symmetry and patterns in nature and ourselves are very appealing. Were I to characterize my own point of reference artistically, I would say that I like to stand in the place where symmetry is challenged. There’s blood and lightning there.

            So, despite the cliché phraseology, my favorite characters always march to the beat of a different drummer…

            That doesn’t make me a wannabe troublemaker. I just like shadows and interstices and blurry borders. It’s where all the really interesting action happens.

            But enough from me. Readers, what do you think?

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