i've got blisters on my fingers!!!!
I.
I judge people who nail carpet down over hardwood floors. Especially when those people were the former owners of my house.
Today's project was pulling up the carpet from the toddler's room, to reveal the wood floor underneath. I have to say, I really don't understand the logic behind covering up lovely, vintage wood flooring with carpet in the absence of irreparable damage to the wood. (Even in a kid's room, whcih is clearly what this space was designed to be and has always been: I mean, that's why Jesus invented area rugs, right? Particularly when it's the blandest, run-of-the-millest carpet you can get at any big-box home improvement store in the coutry, as opposed to, say, carpet form the sixties or the seventies, when the world was resplendent in shag pile several inches deep.
II.
Again, though, it should be said that, although my fingers ache terribly from working the staples out of the wood, and my arms are sore from lugging the discarded carpet down two flights of stairs, the iPod saved the day.
Somewhat unusually for me, I've been listening to a log of "sacred" classical music lately. I'm not sure why. It started with remembering that the CD we had of Allegri's Miserere, which is a piece of music I do not wish to live without, was scratched up beyond all playability; so I looked on iTunes for a good recording. I ended up with the Tallis Scholars' 2007 recording, which also includes Palestrina's Missa Papae Marcelli. Our old recording of the Miserere also had some Palestrina on it, but at the time we bought it, which was several years ago, it didn't do much for me: it was pretty enough, but it didn't really hold my attention.
This time, however, the Palestrina just--opened up. I'm not quite sure how else to put it: like a flower, or like a good Scotch. It was suddenly deep and complex and beautiful, something to be savored and enjoyed and marveled at. You could use the word "spiritual."
It got me to thinking about how with few, if any, exceptions, the music I love most, my "desert island music," has been music that I've had to grow into, to listen to multiple times, sometimes over the course of years, to really enjoy. From being a high schooler listening to my father's tape of Kate Bush's Hounds of Love to picking up The Essential Leonard Cohen out of a "free" bin at a yard sale to deciding to take the Cocteau Twins' Four Calendar Cafe out of a pile of CDs I was planning to sell even though I hadn't listened to it since buying it, the pattern seems to be the same, and I can identify four basic stages: First I was attracted to the music, allured by it. Then after a listen or two I was repelled by it, headed off by some "difficulty" or lack of accessibility in the music. Then the music lay dormant--or seemed to; it might be more accurate to say that it was taking root in me all along. Then, finally, through some happenstance or synchronicity, I rediscovered the music and it opened up to me.
Of course, the music didn't change: the notes, the lyrics, the recordings were all the same.
Some music, I suppose, waits up ahead for us, until we catch up; and well it should.
