“Throwing out the notion of binary happy-or-sad songs, [The EP] opts for something in between, or rather everything at once. Samantha is happy, sad, optimistic, pessimistic, cynical and hopeful within each song… and if you want your art to somehow imitate or represent life then surely that’s the only way to go.”

However, there is one drawback to having strong, literary writing (and a book-heavy music video) – you become a prime target for the Lit Links strand of our Quiet, Constant Friends project. So, I started bugging them by email and, luckily, lead Eric Krewson was more than happy to contribute.

Marilynne Robinson’s Home
by Eric Krewson

Marilynne Robinson is no stranger to success. Her first novel, Housekeeping, won the PEN/Faulkner Award; her second, Gilead, took home the Pulitzer. Even those outside her field have taken notice: President Obama, for example, honored her with a National Humanities Medal and, just two months ago, interviewed her for the New York Review of Books. (That is correct. The President of the United States of America interviewed Robinson, not the other way around.)

And yet, despite these achievements and brushes with fame, despite Faber & Faber recently reprinting Housekeeping as part of its Modern Classic series, Robinson is—by any polling of the public consciousness—largely unknown, unread. My goal is to give a brief primer of her books and, because each differs significantly in tone and content, suggest a starting point for potential readers based on their interests.

Philosophers – Do you spend your days marveling at the world, the seen and unseen? Do you love literature, metaphysics, science, art? Ah then the place to begin is Robinson’s essays, and I suggest the collection The Death of Adam, which includes an illuminating essay—illuminating, especially, for us progressives—about the writings of Charles Darwin. A progressive herself, Robinson muses on the fact that we moderns have rescued Darwin from his own bigotry, rescued him from his own abominable conclusions. From Darwin’s Descent of Man:

At some future period, not very distant as measured by centuries, the civilized races of man will almost certainly exterminate, and replace, the savage races throughout the world. At the same time the anthropomorphous apes. . . will no doubt be exterminated. The break between man and his nearest allies will then be wider, for it will intervene between man in a more civilized state, as we may hope, even than the Caucasion, and some ape as low as a baboon, instead of as now between the negro or Austrailian or the gorilla.

Dreamers – Do you while away your weekends writing poetry? Do you bore your friends with lines from bards? Do your favorite books collapse the boundaries of time and space, presenting a world that, while anathema to journalistic objectivity, is much more real, much truer than the one reported on the evening news? Well then, Housekeeping and Lila are for you. All of Robinson’s novels are poetic, at times ecstatic, but thanks to luminous female narrators, every page of these books is bathed in mystic light.

Hybrid – Do you enjoy poetry and essays equally? Did you get a B+ or higher in both History and English? We are alike, my friend, and the books most suited for us are Gilead and Home. The latter, my favorite Robinson work, is narrated by Glory Boughton, who is herself both a dreamer and a philosopher. (She is, by profession, a teacher.) In the novel she narrates, Glory has moved home, both to regain her footing after a failed relationship, and to care for her elderly father who has grown impossibly frail since the death of his wife. From the first pages of Home:

Their father said if they could see as God can, in geological time, they would see [the oak] leap out of the ground and turn in the sun and spread its arms and bask in the joys of being an oak tree in Iowa. There had once been four swings suspended from those branches, announcing to the world the fruitfulness of their household. The oak tree flourished still, and of course there had been and there were the apple and cherry and apricot trees, the lilacs and trumpet vines and the day lilies. A few of her mother’s irises managed to bloom. At Easter she and her sisters could still bring in armfuls of flowers, and their father’s eyes would glitter with tears and he would say, “Ah yes, yes,” as if they had brought some memento, these flowers only a pleasant reminder of flowers.

I first read Home in 2008, a few months after my twenty-second birthday. The world economy was bottoming out, and my peers and I were overwhelmed by a very urgent, very real anxiety to find a livelihood where no livelihood existed. We were encouraged to snatch at any flake of subsistence, to wrest it out of the hands of one’s neighbor, if necessary. I had been putting off writing music, which is, if not my calling, certainly my joy, in order to appease this anxiety. Glory spoke to me in reasonable, calm, motherly tones. She taught me that it was OK—even good and right—to stop, to assess. And more importantly, she taught me that it was OK to make art, to say “no” to the zeitgeist and “yes” to my curiosities and convictions. I remember the day I stopped applying to jobs I didn’t want. I wrote a song.

But I still haven’t convinced you to read Robinson? Well then, here is a musical representation of Home, culled from my modest library. Perhaps it will sway you.

You can buy Samantha Says now from The Chairman Dances Bandcamp page.. The Quiet, Constant Friends compilation is available on our Bandcamp page, including the limited edition tape and art print bundle.

The post Lit Links: The Chairman Dances appeared first on Various Small Flames.

Hip Hatchet

“Speak[s] of that vulnerable core at the heart of every man, and the desperate, ridiculous attempts to suffocate it with cigarette smoke or drown it in whiskey or cover it over with scars”- Philippe Bronchtein weaves timeless folk tales about the vanity and pride of tough guys who have been on the road too long.

Frog

“The U S of A in eleven songs – quirky, joyous, breathless, exhausting, addictive, heartbreaking and downright weird, accelerating towards a distant horizon while keeping its eyes firmly on a halcyon past that sure seems like it should have been more fun.” – some words about Kind of Blah, the excellent, endlessly quotable album from Frog out now on Audio Antihero.

The Modern Folk

“Folk songs don’t require banjos and fiddles, it’s something a little deeper than that” – some bona fide folk music from The Modern Folk.

Kathryn Joseph

“A simple album about things so complicated that it’s almost impossible to put them into words” – we used Marilynne Robinson to describe what makes Kathryn Joseph’s Bones You Have Thrown Me and Blood I’ve Spilled so special.

Island Eyes

“Confronts the uncertainty of every life, admitting his fear about pretty much every possible scenario while finding solace in the fact that this uncertainty binds us all” – The self-titled album from Derek Janzen’s Island Eyes is an epic metaphor for your everyday quests.

Adam Stafford

“Could quite easily make solid, radio-friendly, painted-by-numbers pop music that would be lapped up by the undiscerning masses, but instead endeavours to make innovative, progressive music” – Adam Stafford’s new single ‘Atheist Money’ bodes well for his forthcoming album on Song, By Toad.

Bobby’s Oar

“If you placed Nana Grizol, The Front Bottoms and The Hotelier in a blender and seasoned them with acoustic guitars, throaty emo vocals and the odd mathy flourish…” – The Weeds in Your Garden by Bobby’s Oar is a passionate, defiant slice of pop-punk-folk.

Debris Slide

“Lo-fi rock music that sits at a crossroads between shimmery shoegaze, oddball experimentalism and early nineties noise pop” – some noisy, deranged pop songs from Nottingham’s Debris Slide.

Women in Music Journalism

‘“What’s the big deal? You’re a groupie.” She replied, “I’m a woman who writes about rock and roll.” His answer: “Same difference.” Groupies have proved an enduring stereotype of women’s participation in rock: worshipful, gorgeous, and despised.‘ – Anwen Crawford explains why the world needs female rock critics in The New Yorker.

Spotify: a Good Thing?

“As both an independent musician and a music fan, I’m here to give you a new headline: I believe Spotify is saving the industry” – David McMillin of Fort Francis writes for PopMatters on how Spotify might not be as bad as some would have you believe. We don’t know what to think anymore…

The State of the Music Industry (or, Goodbye Thrash Hits)

“It still pains us to see other, larger organisations dumping content online with little thought to the medium they’re working in or the audience they’re speaking to” – Thrash Hits went on an indefinite hiatus with this closing piece on the state of music industry and journalism in 2015.

Henry Demos / Lewtrakimou / Nice Legs

“I could be wrong here but I have a theory that people want to make loud music everywhere in the world” – START-TRACK spoke to Henry Demos & Lewtrakimou about Nice Legs, solo work and the South Korean music scene.

Fields / Molina

Another week, another great Jason Molina tribute article over at Common Folk Music, this time courtesy of Jeffrey Fields of The Morning River Band. Be sure not to miss the cover of ‘Whip-Poor-Will’ while you’re there.

Casiotone For The Painfully Alone

“I was pretty much always nervous in those days. The memories of my awkward, fidgety & depressed early 20’s have come rushing back to me, leaving me feeling awkward, fidgety & depressed all over again” – Owen Ashworth, now of Advance Base, came across an old CD of a radio session he did as Casiotone For the Painfully Alone back in 2001. Check it out on Bandcamp.

HI54LOFI’s Mix Tape Radio

Jeremy over at HI54LOFI posted episode 55 of his Mix Tape Radio series and it’s brilliant as usual.

Swell Tone’s MEGA SUMMER BABES

The cool people over at Swell Tone have put together a great summer playlist which should see you set for the coming months.

And Finally… the 8tracks Playlist of the Week

It’s this one by Annievain. I stumbled across it and it’s really dreamy and cool.

we’re changing from annievain on 8tracks Radio.

The post Week in Review: #3 (25-29th May) appeared first on Various Small Flames.

The record opens with ‘the bird’, a song that utilises animal analogies to describe the strange intimate-yet-remote relationship we share with loved ones. “You bring me dead birds and then you go” sings Joseph, “and it sounds like all our lives and it sounds like you do not know me and never will.” The track is both unsettling and comforting in its honesty, facing up to the awful truth that we will always be separate and distinct, even from those we love the most. While this is something that is usually ignored (for the sake of our sanity) or magnified into melodrama (quite probably also for the sake of our sanity), Joseph (paradoxically, I know) lets the listener into her innermost thoughts in a way normally only possible in the strongest, most unflinching of novels.

In this way Bones You Have Thrown Me and Blood I’ve Spilled brings to mind Marilynne Robinson‘s Housekeeping. At various points during the novel the narrator Ruthie finds herself alienated from-/abandoned by her mother and sister and aunt, leaving her alone in the world. Rather than write this as the the usual hard-luck-with-happy-ending Hollywood story, Robinson’s character confronts and travels through confusion and grief and studies them from the other side, coming to appreciate the fragility of human relationships and realise that our desire to maintain them is what makes life so beautiful:

“They walk ahead of us, and walk too fast, and forget us, they are so lost in thoughts of their own, and sooner or late they disappear. The only mystery is that we expect it to be otherwise.”  

But before the clarity, Ruthie sees and does a lot of strange things, actions which barely make sense to her or those involved, let alone others around them. You get the impression that the characters are subject to forces larger than themselves, things they are not equipped to understand. With this album, Joseph paints a similar picture by presenting her feelings straight, appreciating their importance without being able to grasp their context, an autobiography that goes beyond superficial times and places. Poetic and strange but never contrived, she appears to be trying to convey something that sits just outside of her view, or else is so large that it is only possible to see a small speck at any given time. What’s more, she seems to realise that what feels vital to her is foreign to others, but, without any other option, strives on regardless, surrendering to a diligent ignorance, a promise to try and to love in a world too detailed and complex to understand.

To write about something so deep requires a skilful balance between the explicit and implicit, lyrical and beautiful yet clear and true. Thankfully, like Marilynne Robinson, Joseph proves more than capable. By knitting together abstract imagery and phrases, she crafts something larger than the sum of its parts, forgoing clear song structure and even good grammar in a way which accentuates the deeply personal feel. “I hear your babys here your babys here your babys hear your babies,” she sings on ‘the blood’, “and the wind will blow and the seed be sown and the made of blood is the only loved.” Every song contains similarly striking language, and Joseph’s voice and melancholy piano make the whole thing creepy in the way that we all secretly think we’re creepy . Take ‘the bone’ for example:

“Under the bird of the prey and black hole made of what will not grow back still and the born of the loved and lost heart hard of stone and mouth of dust you are the bone sticking in my throat”

This is a simple album about things so complicated that it’s almost impossible to put them into words. It’s about those thoughts and feelings that we all experience but never admit, the things that we, be it through etiquette and embarrassment and fear, dare not confess to others or even ourselves. Bones You Have Thrown Me and Blood I’ve Spilled is an album about people: lonely and loved, corporeal and divine, mortal and terrified yet enduring with a resilient hope that never quite goes out.

You can buy Bones You Have Thrown Me and Blood I’ve Spilled now via Bandcamp (and via Hits the Fan Records).

P.S. Bones You Have Thrown Me and Blood I’ve Spilled is up for the Scottish Album of the Year award. Joseph has some stiff competition (we really like The Twilight Sad) but gets the nod from us. You can vote too, so head on over to the website before the polls close at midnight tonight to make sure your favourite (*whispers* Kathryn!) lifts the cup.

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