9/21

I will not write a race poem

So I’ll liken the trees to brown sleeves

With leaves tracing a pattern reaching 

Toward hearts

 

I will not write a love poem 

So I’ll imagine backpacks 

pushing back against lower backs 

Aching for a release 

 

I will not write a disorder poem

So I’ll write about food 

Itching to be eaten 

To enter a full stomach 

I’ll write about the mind 

Cautiously telling a cautionary tale

About candy and obesity and health 

While also singing songs and admonitions about body positivity Fighting and unlearning the things taught by tv screens I’ll write about life and regret and wonder why Why we just have to keep trying and keep fighting and 

Think of that as fun. In writing to the mind I’ll again and again call attention to how it’s all about your mindset and yet somehow I can never quite get my mind to set. I’ll remember that hunger means you need to drink more water and hunger means you want something so you need to keep going but hunger is never satisfied. In race, I’ll remember that every day is a race against time against each other against my own That there is this pressure to be the first the first the first when white people just get to live

I’ll… 

I…

Art Biz with Liz: Women Artists and Unsung Keyboard Stories

Last week, I had the pleasure of attending several events for a conference called “Diversity and Belonging: Unsung Keyboard Stories.” The conference, presented through the Westfield Center for Historical Keyboard Studies and the University of Michigan School of Music, Theatre & Dance, was held from January 26 to the 30.

When I was a child, I loved watching pianists play. It fascinated me how each touch of the key resulted in a specific sound. I begged my parents for lessons and eventually got my wish when we found a local piano teacher. It was easy to imagine that she represented what it “looked like” to be a pianist. But what does the “typical” keyboardist look like? As I grew up and met all kinds of people who were accompanists, artists, and more, I realized that there wasn’t a “typical” instrumentalist (though the music I had been exposed to seemed to suggest so). Even though I didn’t believe I had preconceived notions on the concept, the conference set out to test my ideas.

To start, “keyboardist” does not just mean “pianist.” Though I didn’t learn about many of them until I started college, the keyboard has a variety of different interfaces, including the organ, harpsichord, carillon, clavichord, piano, and electronic descendants. Accompanying these instruments is a rich history, though with that that comes room for discussion as to whether or not it has always been inclusive to everyone. A range of musical artists have been ignored or discounted, and the conference created an opportunity for keyboard scholars, performers, and instrument makers to explore what it means to be a keyboardist—even if that meant questioning history itself.

Both in-person and online, over sixty presenters and performers touched on topics such as diversity, disability, and empowerment in keyboard music. As a carillon student, one event I attended was “Broadening the Carillon Repertoire,” which was a recital presented by my peers featuring a diverse selection of music played on the Baird Carillon. This included a range of pieces, from the Taiwanese folk song “Alishan De Gu Niang” to “The Boy with the Axles in His Hands” (1866) by Thomas Greene “Blind Tom” Wiggins (1849-1908). I also virtually attended the world premiere of Connor Chee‘s “Melody for Kinyaa’áanii Nos. 1-2,” played by Professor Tiffany Ng on the Lurie Carillon. Connor Chee is a Navajo pianist and composer, and it was interesting to hear his work on a carillon.

I also (virtually) attended a presentation by Alissa Freeman, a doctoral candidate at U-M studying piano pedagogy and performance, on the topic of “A New Liberation: Exploring the Keyboard Works of Classical Era Women Composers”. I was aware of the fact that women composers are often erased or ignored in history, but I was stunned at just how underrepresented women composers are in current music history textbooks and concerts across the globe. It was interesting to hear Freeman speak on social commentary surrounding women composers, including how historically, regional differences in Europe led to very different experiences. I enjoyed hearing Freeman play Josepha Barbara Auernhammer’s “Set of Variations.” As I listened to the music, I couldn’t help but think about Auernhammer’s history; Freeman had explained that she held the position of Mozart’s star pupil despite not being of nobility. She sounded awesome and her piece equally so, which was bright and lighthearted. Freeman also played “Sonata in C Major, Op. 7” by Maria Hester Park. Park’s piece was melodic and pretty, though it shifted into a slightly more serious and virtuosic tone at times.

When I played the piano as a child, I had a large book of classical pieces that I often played from. Looking back, I can’t recall playing a piece that was by a woman composer. I’d like to apply the insight I gained from the conference to being more conscientious about whose piece I play and not just what piece I play, whether on the piano or carillon.

If you are interested in learning more about the conference and its presentations, various recital livestreams are still available on the Westfield YouTube channel.

My Name is Minette, Chapter Nine: The Dreaded Dinner Table

That night, Minette sat at the dinner table already dreading Paw and Maw’s imminent interrogation. She didn’t want to hear them call her a boy or a suitor. She wanted to ignore her fate. They were all huddled around their little round table, knees knocking, toes fighting. 

Rhys was humming to himself, gnawing on his porridge spoon, and Irma was devouring her food like a mouse who’d found its way into the cookie jar. Minette hid her anxiety by chastising her siblings’ manners as usual and teasing them as much as she could without starting a ruckus.

Maw and Paw were, predictably, surveying the table and its inhabitants like a king and queen on a haughty dais. They noticed any green beans hidden under a napkin, any elbow pinching of an irritating sibling.

This evening, try as Minette might, each child received their time in the sweltering spotlight.

Irma came first. Paw leveled his molten stare at her, and she looked up, swallowing, even though her eyes couldn’t see it.

“Irma,” Paw said, in that deceptively quiet, even tone. “You went to the shop with Rhys today.”

“Yes, Paw,” Irma said. Minette glanced at Rhys and found him observing his peas with altogether too much fascination. Uh-oh.

“Well? How did it go, then?”

“It was… fine,” Irma said, with just a squick of hesitation. “Rhys was there the whole time. He helped me count the copper Drunes.”

Paw’s head swiveled like an owl’s to peer at Rhys. “Is that true?”

Rhys nodded, his moppy hair falling into his eyes. “Yes,” he said. “We got the bread and the flour, like Maw asked. Irma did great, Paw. You should really let her–”

“Really?” Paw interrupted, and Rhys’ jaw clamped shut. “I should let her do what? Overpay for Thom’s clumpy flour again?”

Irma opened her mouth to respond, but Paw dropped a bunch of copper-colored Drunes onto the middle of the table before she could say anything. They rang out and clattered against one another. “You gave me two Drunes short. Two Drunes we could have saved longer. Two Drunes your father worked hard for.”

Irma lowered her head. “I’m sorry.”

“This is why you can’t be doing things like this, Irma. You’re just not like the rest of us.”

Minette flinched. She looked to Maw for any protest, any resolution, but Maw was silent.

“It was my fault,” Rhys interjected quickly. “I was the one who should’ve–”

“Quiet,” Paw barked.

My Name is Minette, Chapter Eight: The Future

The ladies carried themselves without a second thought, but with a hearty heaping of grace. They moved differently from Minette. Their dresses weren’t royal or anything, weren’t attire for a ball, but their simplicity was beautiful. Minette wanted to feel the black buttons in her hands, slip her arms through a shapely sleeve. Maw could make a dress like that. But not for Minette.

Paw clapped a giant, calloused mitt on her shoulder, startling her. He nodded his chin out toward them with a grunt and a grin. “Nice to look at, ain’t they?”

The ladies scurried off at the sight of Paw’s scruffy mug. Minette watched them go, face going hot. She didn’t know what to say.

Paw chuckled, finding something funny about her silence. “I remember those days with your mother,” he said. “Courting is fun, but marriage is work. You don’t want the prettiest girl, you want the one that can keep house. Remember that, boy.”

Minette wanted this conversation to be over. “Yes, Paw.”

“And go out for once,” Paw said, brow wrinkling. “One drink wouldn’t kill you. You need the experience, the hair on your chest.”

“Yes, Paw.”

“We’ll find you a good woman. Summer’s end. Guaranteed. It’s past time, Mort. We’ll get your hair cut and your shoes polished. Your mother and I will sort it out. Don’t you worry.” Paw clapped her on the back hard enough to make her cough and turned around, wheeling back into the forge and leaving Minette alone.

Minette tightened her jaw, watching the skirts bounce lightly above the ground as the girls turned a corner and disappeared out of sight.

Summer’s end, Paw had said. Brushing her hair out of her face, she looked at the sun-burned hills, the broad Oaks with some leaves already littering the dappled sunlight at their roots

Summer’s end was already here, along with the end of Minette’s freedom.

The real fantasy was how delusional she’d been. She’d assumed she could put it off forever, keep training, keep to herself, and maybe fall into something worthwhile, something that didn’t make her want to scream.

But reality was knocking, and she had to answer the door sooner or later.

She was so screwed.

My Name is Minette, Chapter Seven: Another World

The forge wasn’t far from home. She could see their huddled little roof and stone chimney from here. There was a nice view of town, too. The smithy sat alone on a hill on the outskirts of town, but still inside the great stone walls, observing the cramped, messy streets from above. From this perch, Minette had done quite a lot of people-watching, guessing at the lives of the little ant-sized citizens that rushed to and fro down below. Droz wasn’t massive, but it wasn’t empty, either; it teemed with life. There were districts and people Minette had never ventured to or met. She’d been relegated to her little corner, her little life.

She’d never made it past the walls. The gates were always guarded, and if she went too close, her parents screamed at her about the dangers of the Outside World. Drozians rarely left, and when they did, it was for essential reasons, not because of some secret, hard-to-describe yearning.

Her parents had set her up on playdates with other children in town, but the boys she’d played with were all so rough, so violent. She didn’t understand them or their equally brutish fathers. Some of the people in Droz motivated Minette to just stay home, cooped up inside of walls upon walls.

Maybe her parents were right. If she could barely handle Droz, would she even be remotely prepared for what lay beyond its walls?

Minette admired the tenacity of the weary blue sky and the stubbornness of the dying, tawny grass stalks, the exhausted bumble bees searching bravely for the last of the late summer flowers to pollinate. They all persisted despite the heat and dryness. She understood them, the effort it took just to grow.

A titter grabbed her attention.

A real, actual, dictionary-definition titter.

She looked up and found two ladies walking past, staring right at her. What they were doing all the way out here where the streets were mud was a mystery. They stood out in this tired landscape like gemstones among pebbles.

She didn’t know how old they were, or who they were, or where they were from, only that they wore maroon dresses and high stockings and boots. They carried a parasol between them, keeping fair, unlined skin from the sun, and they smiled over at Minette when she caught their eyes.

Minette was enthralled. Just like with Sir Edric, the sight of them drew her into vivid, rose-tinted fantasies. Their very existence spoke of a different world, a different reality that called to Minette in dulcet tones.

My Name is Minette, Chapter Six: Irons

She couldn’t see any alternatives, though, as she was the eldest Coppersmith, their proud “son,” their strong heir. She’d worked in the smithy for years already and knew it well. Paw never smiled, except for when he talked about when Morty would take over the family business one day. 

One day soon.

And, of course, Minette could only do that with a good wife who had child-bearing hips.

Those were the thoughts that made her particularly dizzy, and being dizzy in a tiny dark room full of liquid copper was not a winning combination.

Minette forced herself to ignore her brain once again, grabbing one of the broad mallets from the tool bench and putting her smithing helmet on. Paw poured copper into the cauldron above the flames, and off to work they went.

It was silent in the smithy, the way Paw preferred it. He considered words a woman’s tool, and was expertly talented at never giving voice to the worries and grumps that ran around inside his head like hungry voles. Trying to talk to him about anything important was like trying to stuff your hand into the dirt and catch one of those voles without looking.

So Minette worked in silence alongside her father.

The process was, of course, all strength and brutishness and griminess, but Minette didn’t really mind the end product. The delicate, beautiful art they wrought from tough, raw, hot metal was something to behold.

Their first order today was one they’d done together millions of times: a weathervane.

Farmer Foster wanted a cow-shaped weathervane to sit atop the barn on his dairy farm. Paw did all the grunt work, slamming and shaming copper into delicate sheets, and Minette helped work it into art, into something tangible: two interconnecting pieces that looked like delicate cows with the cardinal directions sitting atop their backs. She etched the fine details, drawing twin, smiling faces on the cows.

It was an everyday item, something so commonplace that most people never gave it a second glance, but Minette appreciated it. She found it beautiful, magical, even, knowing the work and care that went into it. They made a lot of household items and decorative pieces, things that others saw only the utility in, but she saw the art in them.

Plus, they were getting paid to make it. Nothing fostered a sense of appreciation more than a gold Drune.

All that was left was the crafting of it: heaving it onto a stake, adding decorative marbles, and all that. Paw did that work–he was still too particular about it to let Minette do it on her own–so Minette wandered to the forge’s mouth for a breath of fresh air.