Authors: Charles Baxter
“I should be offended by this line of questioning.”
“But you’re not. You know why? Because I’m interested in you. I hardly know you, but I like you, what I can see. Don’t you have any trust?”
“Yes,” I said finally.
“So answer my question. Why don’t you look very anything?”
“Do you want to hear what my piano teacher once said?” I asked. “He said I wasn’t enough of a fanatic. He said that to be one of the great ones you have to be a tiny bit crazy. Touched. And he said I wasn’t. And when he said it, I knew all along he was right. I was waiting for someone to say what I already knew, and he was the one. I was too much a good citizen, he said. I wasn’t possessed.”
She rose, walked around the table to where I was sitting, and stood in front of me, looking down at my face. I knew that whatever she was going to do had been picked up, in attitude, from one of her songs. She
touched the back of my arm with two fingers on her right hand. “Well,” she said, “maybe you aren’t possessed, but what would you think of me as another possession?”
In 1618, at the age of seventy, Katherine Kepler, the mother of Johannes Kepler, was put on trial for witchcraft. The records indicate that her personality was so deranged, so deeply offensive to all, that if she were alive today she would
still
be called a witch. One of Kepler’s biographers, Angus Armitage, notes that she was “evil-tempered” and possessed an interest in unnamed “outlandish things.” Her trial lasted, on and off, for three years; by 1621, when she was acquitted, her personality had disintegrated completely. She died the following year.
At the age of six, Kepler’s son Frederick died of smallpox. A few months later, Kepler’s wife, Barbara, died of typhus. Two other children, Henry and Susanna, had died in infancy.
Like many others of his age, Kepler spent much of his adult life cultivating favor from the nobility. He was habitually penniless and was often reduced, as his correspondence shows, to begging for handouts. He was the victim of religious persecution, though luckier in this regard than some.
After he married for a second time, three more children died in infancy, a statistic that in theory carries less emotional weight than one might think, given the accepted levels of infant mortality for that era.
In 1619, despite the facts cited above, Kepler published
De Harmonice Mundi
, a text in which he set out to establish the correspondence between the laws of harmony and the disposition of planets in motion. In brief, Kepler argued that certain intervals, such as the octave, major and minor sixths, and major and minor thirds, were pleasurable, while other intervals were not. History indicated that mankind had always regarded certain intervals as unpleasant. Feeling that this set of universal tastes pointed to immutable laws, Kepler sought to map out the pleasurable intervals geometrically, and then to transfer that geometrical pattern to the order of the planets. The velocity of the planets, rather than their strict placement, constituted the harmony of the spheres. This velocity provided each planet with a note, what Armitage called a “term in a mathematically determined relation.”
In fact, each planet performed a short musical scale, set down by Kepler in staff notation. The length of the scale depended upon the eccentricity of the orbit; and its limiting notes could generally be shown to form a concord (except for Venus and the Earth with their nearly circular orbits, whose scales were of very constricted range) … at the Creation … complete concord prevailed and the morning stars sang together.
We began to eat dinner together. Accustomed to solitude, we did not always engage in conversation. I would read the newspaper or ink in letters on my geometrically patterned crossword puzzles at my end of the table, while Karen would read detective novels or
Time
at hers. If she had cooked, I would clear and wash the dishes. If I had cooked, she did the cleaning. Experience and disappointments had made us methodical. She told me that she had once despised structured experiences governed by timetables, but that after several manic-depressive episodes, she had learned to love regularity. This regularity included taking lithium at the same time—to the minute—each day.
The season being summer, we would pack towels and swimming suits after dinner and drive out to one of several public beaches, where we would swim until darkness came on. On calm evenings, Karen would drop her finger in the water and watch the waves lap outward. I favored immature splashing, or grabbing her by the arm and whirling her around me until I released her and she would spin back and fall into the water, laughing as she sank. One evening, we found a private beach, two hundred feet of sand all to ourselves, on a lake thirty miles out of town. Framed on both sides by woods and well hidden from the highway, this beach had the additional advantage of being unpatrolled. We had no bathhouse in which to change, however, so Karen instructed me not to look as she walked about fifty feet away to a spot where she undressed and put on her suit.
Though we had been intimate for at least a week, I had still not seen her naked: like a good Victorian, she demanded that the shades be drawn, the lights be out, and the covers be pulled discreetly over us. But now, with the same methodical thoroughness, she wanted me to see her, so I looked, despite her warnings. She was bent over, under the tree boughs, the evening light breaking through the leaves and casting broken gold bands on her body. Her arms were delicate, the arms of a
schoolgirl, I thought, an impression heightened by the paleness of her skin; but her breasts were full, at first making me think of Rubens’s women, then of Renoir’s, then of nothing at all. Slowly, knowing I was watching her, she pinned her hair up. Not her breasts or arms, but that expression of vague contentment as she looked out toward the water, away from me:
that
made me feel a tingling below my heart, somewhere in an emotional center near my stomach. I wanted to pick her up and carry her somewhere, but with my knees wobbly it was all I could do to make my way over to where she stood and take her in my arms before she cried out. “Jesus,” she said, shivering, “you gave me a surprise.” I kissed her, waiting for inspiration to direct me on what to do next: Pick her up? Carry her? Make love to her on the sand? Wade into the water with her and swim out to the center of the bay, where we would drown together in a Lawrentian love-grip? But then we broke the kiss; she put on her swimsuit like a good citizen, and we swam for the usual fifteen minutes in silence. Afterward, we changed back into our clothes and drove home, muttering small talk. Behavior inspired by and demonstrating love embarrassed both of us. When I told her that she was beautiful and that I loved her, she patted me on the cheek and said, “Aw, how nice. You always try to say the right thing.”
The Maple Street angle for
Harmony of the World
ran as follows:
SYMPHONY OF FAITH IN A FAITHLESS AGE
. Hindemith, I said, wished to confound the skeptics by composing a monument of faith. In an age of organized disharmony, of political chaos, he stood at the barricades defending tonality and traditional musical form. I carefully avoided any specific discussion of the musical materials of the symphony, which in the Schott orchestral score looked overcomplex and melodically ugly. From what I could tell from a sight-reading, Hindemith had employed stunning technique in order to disguise his lack of inspiration, though I did not say so in print. Instead, I wrote that the symphony’s failure to win public support was probably the result of Hindemith’s refusal to use musical gimmicks on the one hand and sticky-sweet melodies on the other. I wrote that he had not been dismayed by the bad reviews
Harmony of the World
(both the symphony and the opera) had received, which was untrue. I said he was a man of integrity. I did not say that men of integrity are often unable to express joy when the occasion demands. Cascadilla liked my article. “This guy sounds like me,” he said, reading my copy. “I respect him.” The article ran five days before the concert and
was two pages away from the religion-and-faith section. Not long after, the symphony ticket office called me to say that my piece had caused a rush of ticket orders from ordinary folk, nonconcert types, who wanted to hear this “religious symphony.” The woman from the business office thanked me for my trouble. “Let’s hope they like it,” I said.
“Of course they will,” she assured me. “You’ve told them to.”
But they didn’t. Despite all the oratory in the symphony, it was as spiritually dead as a lampshade. I could see why Hindemith had been shocked by the public reaction. Our audience applauded politely in discouragement, and then I heard an unusual sound for this anonymous city: one man, full of fun and conviction, booing loudly from the balcony. Booing the harmony of the world! He must be a Satanist! Didn’t intentions mean anything? So what if the harmony and joy were all counterfeit? The conductor came out for a bow, smiled at the booing man, and very soon the applause died away. I left the hall, feeling responsible. Arriving at the paper, I wrote a review of crushing dullness that reeked of bad faith. God damn Hindemith! Here he was, claiming to have seen God’s workings, and they sounded like the workings of a steam engine or a trolley car. A fake symphony, with optimism the composer did not feel! I decided (but did not write) that
Harmony of the World
was just possibly the largest, most misconceived fiasco in modern music’s history. It was a symphony that historically could not be written by a man who was constitutionally not equipped to write it. In my review, I kept a civil pen: I said that the performance lacked “luster,” “a certain necessary glow.”
“I’m worried about the recital tomorrow.”
“Aw, don’t worry. Here, kiss me. Right here.”
“Aren’t you listening? I’m worried.”
“
I’m
singing. You’re just accompanying me. Nobody’s going to notice you. Move over a little, would you? Yeah, there. That pillow was forcing my head against the wall.”
“Why aren’t you worried?”
“Why should I be worried? I don’t want to worry. I want to make love. Isn’t that better than worrying?”
“Not if
I’m
worried.”
“People won’t notice you. By the way, have you paid attention to the fact that when I kiss you on the stomach, you get goose bumps?”
“Yes. I think you’re taking this pretty lightly. I mean, it’s almost unprofessional.”
“That’s because I’m an amateur. A one hundred percent amateur. Always and totally. Even at this. But that doesn’t mean I don’t have my moments. Mmmmmm. That’s better.”
“I thought it would maybe help. But listen. I’m still worried.”
“Uhhhh. Oh, wait a minute. Wait a minute. Oh, I get it.”
“What?”
“I get it. You aren’t worried about yourself. You’re worried about me.”
Forty people attended her recital, which was sponsored by the city university’s music school, in which Karen was a sometime student. Somehow we made our way through the program, but when we came to the Chanler settings, I suddenly wanted Karen to sing them perfectly. I wanted an angel to descend and to take away the Gypsy’s curse. But she sang as she always had—off pitch—and when she came to “Ann Poverty,” I found myself in that odd region between rage and pity.
Stranger, here lies
Ann Poverty;
Such was her name
And such was she.
May Jesu pity
Poverty.
But I was losing my capacity for pity.
In the green room, her forty friends came back to congratulate her. I met them. They were all very nice. She smiled and laughed: there would be a party in an hour. Would I go? I declined. When we were alone, I said I was going back to my place.
“Why?” she asked. “Shouldn’t you come to my party? You’re my lover after all. That
is
the word.”
“Yes. But I don’t want to go with you.”
“Why?”
“Because of tonight’s concert, that’s why.”
“What about it?”
“It wasn’t very good, was it? I mean, it just wasn’t.”
“I thought it was all right. A few slips. It was pretty much what I was capable of. All those people said they liked it.”
“Those people don’t matter!” I said, my eyes watering with anger. “Only the music matters. Only the music is betrayed; they aren’t. They don’t know about pitch, most of them. I mean, Jesus, they aren’t genuine musicians, so how would they know? Do you really think what we did tonight was good? It wasn’t! It was a travesty! We ruined those songs! How can you stand to do that?”
“I don’t ruin them. I sing them adequately. I project feeling. People get pleasure from them. That’s enough.”
“It’s awful,” I said, feeling the ecstatic liftoff into rage. “You’re so close to being good, but you
aren’t
good. Who cares what those ignoramuses think? They don’t know what notes you’re
supposed
to hit. It’s that goddamn slippery pitch of yours. You’re killing those songs. You just
drop
them like watermelons on the stage! It makes me sick! I couldn’t have gone on for another day listening to you and your warbling! I’d die first.”
She looked at me and nodded, her mouth set in a half moue, half smile of nonsurprise. There may have been tears in her eyes, but I didn’t see them. She looked at me as if she were listening hard to a long-distance call. “You’re tired of me,” she said.
“I’m not tired of you. I’m tired of hearing you sing! Your voice makes my flesh crawl! Do you know why? Can you tell me why you make me sick? Why do you make me sick? Never mind. I’m just glad this is over.”
“You don’t look glad. You look angry.”
“And you look smug. Listen, why don’t you go off to your party? Maybe there’ll be a talent scout there. Or roses flung riotously at you. But don’t give a recital like this again, please, okay? It’s a public disgrace. It offends music. It offends
me.
”
I turned my back on her and walked out to my car.
After the failure of
Harmony of the World
, Hindemith went on a strenuous tour that included Scandinavia. In Oslo, he was rehearsing the Philharmonic when he blinked his bright blue eyes twice, turned to the concertmaster, and said, “I don’t know where I am.” They took him away to a hospital; he had suffered a nervous breakdown.