“‘Tis the gift to be simple, ‘Tis the gift to be free, ”Tis the gift to come down where we ought to be…”
When we are lucky enough to choose and be able to navigate our paths, we will always find simple gifts there. A single starling or bud. A cove of cairns. Storm-fallen leaves gathering themselves into a tree formation. A cluster of burnished yellow leaves shaped like a lone heron in a field of pure green.
Glowing lilac petals on two continents and a tiny balletic figure trying to dance out and away from a July flower’s sodden plum-yellow skirt. Reflections rendered in brass ribbons by a dropping sun. Sunny buds singing from limestone seams.
Weathered wood. A slumbering canvas sail about to be unfurled to catch the wind. Each of the infinite time-rounded stones beneath my feet.
Such gifts can be gathered almost everywhere.
Every time I consciously think of the simple gifts around us, I hear a single verse in Alison Kraus’s voice, accompanied by Yo-Yo Ma. And an undertone of Raffi, from a time when my children were young and safe with my husband and me during some of the best days of our lives. Woven into those glorious days, for me alone now, is the lacerating beauty of the music Yo-Yo Ma played at my son’s graduation, two months to the day after his father’s death. The first of so many graduations, including one only weeks ago, which my husband ought to have been able to attend in the more traditional way.
Such Tralfamadorian layering is not only part of each simple earthly gift, but is its essence.
In his introduction to the time traversed and gifts lost and regained in TransAtlantic, the late, great Colum McCann quoted Eduardo Galeano’s exquiste observation about the give-and-take among and melding of memories and moments and movements: “the time that was continues to tick inside the time that is.”
And so it does.
McCann’s novel has ties to New England, particularly the state of Maine. Perhaps it is not a coincidence that Simple Gifts originated there, too, in a mid-coastal Shaker community where it was thought to have been written by Elder Joseph Brackett of Alfred, who was called to the ministry in 1848.
Almost a century later, Aaron Copland used it in scoring a 1944 ballet, Appalachian Spring, and in 1950 he repurposed it among his Old American Songs. From there, it was a hop, skip, and a few generational jumps to the embedded memories of the parents and children who raptly listened again and again to the old-school Raffi cassette tapes and CDs which carried us into the next century.
“When true simplicity is gained,
To bow and to bend we shan’t be ashamed,
To turn, turn will be our delight,
Till by turning, turning we come ’round right.”
McCann wrote a lesser-known TransAtlantic in the same year he published his historical fiction: the lyrics to the eponymous song in Clannad’s album Nádúr. In it the singer describes walking among the ordinary sights along the roads of her home country, in whose “shadows, a light of” someone absent “flared.” Across the Atlantic again, she walks along the water where “dreams were calling out/ Of sky and stone.”
Simple elements and offerings in complicated and transformative layers and combinations.
From Cóbh to New York, blood and shadows and dreams and memory, water and stone and sky, regrouping and reshaping themselves and us for as long as we are here.
And perhaps long afterwards.
Love in the Spaces 