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Posts Tagged ‘Writers and Writing’

SS Edmund Fitzgerald underway, photo by Winston Brown

Perhaps the oldest form of poetry in most languages, the art of story-telling in rhyme and meter, has staying power like little else in literary history.  Recording historical events, myths, and everyday happenings—comic, tragic, or somewhere in between—the ballad has traditionally been sung and accompanied by (frequently a stringed) musical instrument.  Yet many unforgettable tales in rhyme and meter stand sufficiently alone on paper, begging to be read aloud.

My English literature background is rich with balladry beginning with that bloody saga of Good vs. Evil, Beowulf.  In the 1990s, when we lived in a home with a vaulted wood paneled ceiling we hung the heads of a Javelina pig and a pronghorn antelope—both hunted, bagged, and bequeathed to me by my father.  As I viewed the mounted heads, I experienced a wash of Beowulf Medieval atmosphere; I just had to get out an old textbook and read parts of that gory drama in the ancestral hall.

Whereas some of the characters in the ballad had grown fuzzy or obscure in my head over decades, the mood and setting were indelible.  Mood and atmosphere are created by music, with or without words.

English literature is replete with balladry.  Some beloveds probably known to most aficionados of poetry are Keats’ La Belle Dame sans Merci and Alfred Noyes’ The Highwayman.  Add The Rime of he Ancient Mariner, by Coleridge and haunting works by America’s own Edgar Allan Poe (examples: Annabel Lee and The Raven) and you have a start toward Balladry 101.  The canon is endless.

The tradition of story-telling via ballads set to music was big in the 1960s, with the popularity of folk music and wrung-out war-protests.  This music continued into the 1970s.  But since then, except in isolated parts of the country where (happily) folk music is inherent to the local culture, the ballad seems to have dropped through the floor—as if someone played a foul trick by suddenly opening up a hidden trapdoor on the floor of a stage, and absconding with a lot of life-quality in the process.

Now fakey-flashing lights, screaming, throbbing, gyrating about in indecent attire, and the glorifying of oblivion—all personified by The Coarse and Obnoxious (as well as The Just Plain Weird!) have supplanted the age-old entertainment mode of telling and re-telling the human story, both epic and everyday, in a format that implants one’s heart and mind forever.  As a society, we have lost the power of the ballad—and the loss is tragic beyond definition!

The stage lights went out and the metaphorical trapdoor opened up shortly after the immense popularity of what I believe to be one of the most significant ballads in contemporary times:  The Wreck of the Edmund Fitzgerald, by Gordon Lightfoot—a multi-gifted composer and troubadour.  With the obvious exception of fictional last minute commentary on the ship, Lightfoot documented the tragedy with careful selection of factual information.

The ballad triggered an inquisitive spirit in me, and in recent years I’ve read everything I could get my hands on concerning the Fitzgerald (pictured above in all its original glory.)  As far as I know, there is still a question:  Did the ship hit an uncharted shoal which jarred the hatches loose, or had they been improperly secured?  God knows.

Shipwrecks are among history’s most horrific events.  I have a penchant for reading about peril on high water, and oddly enough I don’t even like to be tossed about on a small inland lake in a sailboat.

Yes, I do swim and I love water.  Canoes and rowboats are wonderful!  Motors are okay, too.  But flailing in the wind?  No thank you—only in a book.  I have read about many ship disasters, including the Titanic which was massive in scope and devastation compared to the Fitz.  So why is the Edmund Fitzgerald foremost in my head?

Maybe because it happened in my recent lifetime, and less than three hundred miles from home.  Or even more likely, because Gordon Lightfoot wrote and performed an unforgettable song about the Fitz.  It’s all about The Power of the Ballad.

Margaret L. Been — April 23, 2016

Note:  Over decades of serious application to the art of poetry I have written many lyrical, philosophy-of-life pieces.  Ten years ago I decided to try writing a ballad, and I did exactly that.

The ballad is titled:  The Summer of Horses, and it is kind of a metaphorical-epiphany thing.  I was pleased with the effort, and the ballad won 1st Honorable Mention in the 2006 Wisconsin Writers’ Association Annual Jade Ring Contest.

God willing, and the creeks don’t rise, AND providing the days do not suddenly go berserk and hit 70-80° F., I will post The Summer of Horses on this site before National Poetry Month morphs into the Merry Month of May.

But please don’t hold your breath!  🙂

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blue and old pottery 2

Friends sometimes question me with concern when I haven’t posted for awhile on this site.  I’m always deeply touched when this happens.  One friend asked our daughter if I was okay, because she had not seen any fresh Northern Reflections for some time.

I’ve been aware that each of my five blogs has different readers, and many do not realize that the other blogs even exist.  You can check the Blog Roll for my other URLs and topics.  But in recent months, my art blog:  http://www.northernview.wordpress.com/ — i. e. “The Messy Palette . . . Growing through Art” has been most frequently updated.

I intend to continue this blog whenever and however.  But, after decades of words and writing for publication, NOW MY HEART IS IN THE ART.  If you wonder why I have not been posting new Northern Reflections, you might just check out the Northern View (Messy Palette) site and see how my world is viewed at present.

I have been reflecting on the language of the arts.  Through the “Likes” on my art site, I found a lady in Italy whose paintings thrill me to the core.  Truly a kindred soul!  Her bio is in Italian which is (metaphorically speaking) Greek to me.  I’m comfortable with reading French, but there my foreign language skills rest.  Yet this woman’s paintings speak volumes, and words are not necessary when I view her art.  Thus the centuries of art and music cross every culture and can potentially dissolve barriers between those who love creative expression.

Have you ever had the experience of feeling terribly embarrassed when trying to communicate with someone whose language you do not know—given the fact that the “someone” is out to sea with your language as well?  This has happened to me on numerous occasions.  There is a lot of apologetic head wagging and pasted-on smiles as we try to convey friendship and find some common ground.  You want to communicate to the other person that you like him or her and want to be a friend.  But the smiles and head wags can be borderline inane—like Bobble Heads in the back window of a car.

Try art.  Try music.  Although our worldview, moral and ethical values, and political leanings must articulate clearly in words, no verbal language is needed to build bridges to simple, every-day friendship—when a passion for the arts is the major motivator.  My love for Verdi has long given me insight and appreciation for the pulse beat and intensity of Italy.  Viewing Oriental art yields even more regard for Chinese culture than a plate of Egg Rolls (although food works too).  Beethoven and Bach are a part of my American family heritage, bringing me closer to my German speaking ancestors:  German, German Swiss, and Alsatian.  Like nothing else on earth, Celtic harp ballads stir my racial memory and resonate in my Celtic genes.

So through art and music, we can indeed be multi-lingual.  If so inclined, or if I don’t post again for sometime on this site, just visit my Messy Palette.      🙂

Margaret L. Been, September

NOTE:  I just updated the ekphrasis page.  With the onset of Autumn, I sense the poet is coming out of hibernation, rather than going in.  Check out my “Tatters of Time”. 

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Reflections on Home

®®New Play Area

My philosophical mother left me with many quotes on which to ponder, one of them being:  “It takes all kinds of people to make a world.”

That certainly is a fact, as each of us was created to be unique.  Each of us is an original piece of art.  Although we may have similarities we were not intended to be prints or reproductions of another human.

I try to understand other people whose style and preferences differ from mine, and it’s just plain fun to discover whom people are and what “makes them tick”.  Perhaps the best way to get acquainted with another person is by visiting in that individual’s home.  I want to believe that most people who spend considerable time in their homes have some pastime they love, some kind of a life within their walls.  This life may be reflected via the books on the shelves, the cookbooks and appliances in the kitchen, baskets and tables overloaded with crafting supplies, the presence of houseplants indoors and gardens outside the windows, a dog or cat (or both), and of course a musical instrument—perhaps more than one.  The presence of art on the walls and family photos on shelves and tables says a lot—if indeed the walls, shelves, and tables are laden with pictures which are worth a thousand words.

But occasionally when visiting a home I draw the proverbial blank.  No books, no projects, no art to reveal a period or style of interest, no messes, no pets, no plants beyond the “tastefully correct” one or two—potted in matching, stylized planters rather than those ice cream buckets and COOL WHIP® containers which frequently hold my overflow of greenery.  Not even a happily messy computer corner!  Sadly, only one piece of equipment normally characterizes the apparently wasteland homes:  that ubiquitous television.

Quite possibly, the homes which appear sterile, sans personality, may not actually be like that at all.  When one is a guest, one seldom sees all the nooks and crannies.  In the most generic of furniture store homes, there are apt to be hidden away places where the residents read, craft, make music, or whatever.  As interested as I am in people and their lifestyles, I certainly don’t want to be crass and ask to see their hidden recesses—the NO ENTRY zones of a house.  So I give my host or hostess that benign benefit of the doubt.  Certainly they have some life passion, some activity that causes them to jump out of bed each day and say “HELLO, WORLD!”  Probably my host and hostess simply have chosen not to divulge exactly whom they are and what they are about.

I accept the preference for anonymity, and I understand that I may be the odd one in today’s world.  I LOVE to share.  I love to be transparent—an open 1000 page book with loads of information on every page.  As much as I love to know, I love to be known.  And as far as I know, that’s the way life was originally intended to be!  Unlike that pair in the Garden after the fall, I have absolutely no desire to hide from God or anyone else!

Meanwhile, since Joe and I have moved into a four room condo it is easier than ever for visitors to ascertain what we are all about.  Our interests pervade every corner of our home, for all to see and enjoy.  We have never had more of ourselves on our walls, tables, shelves, and floors—and we are delighted beyond expression with the overflowing abundance of our current time of life.  Crowded, YES!  Even CLUTTERED—although to me “clutter” bespeaks random chaos, and I will have none of that.

Tidiness and order rule the day, and we can always stuff one more meaningful object into the order of our home.  Minimalist gurus (who for some odd reason find no significance in memories manifested all around them, no joy in the colors and textures of a life well-lived) will call us “hoarders”.  I call us “LOVERS OF LIFE”!  Thus the spinning wheels (which really spin beautiful yarn from luxuriously fleeced sheep’s wool) lurk behind a favorite easy chair, accompanied by baskets of wool and more baskets of yarn—plus needles and other accoutrements of knitting.

My piano hosts an assortment of music books—and musical scores printed out and taped together so that I can play without turning pages.  Our kitchen contains the necessaries—toaster, coffee pot, blender, crockpot—plus a representation of bygone eras in funky kitchen collectibles.  Our dining area buffet serves as a display area for my soap industry—while hundreds more soaps are stacked in drawers and stored in huge plastic bins under furniture and in closets.

Our bedroom is also my art studio, with a messy table for acrylics, collaging, etc., and another table for watercoloring.  Crammed into a bedroom corner is my writing studio with my very own laptop, printer/scanner, and voluminous files (I will always love paper).

My husband’s den is his bit of Heaven on earth with the TV, his own computer/printer/scanner, filing cabinet, posh reclining chair (suitable for snoozing on), and even a daybed for that occasional afternoon “lie down”.  Joe keeps his clothes in a dresser and closet in his den, while our enormous bedroom closet houses my clothing plus bins and shelves laden with more soap and somewhere between 600 and 800 paintings.  I tell our children they’ll have a post-humous fortune on their hands some day.  (Obviously, I’m joking!  My art is amateur stuff, paying dividends of endless and infinite fun!)

Both living room and bedroom have indoor garden areas—with tropicals in the east facing patio door, and succulents in our south facing bedroom window.  And everywhere are BOOKS, BOOKS, BOOKS.  Shelves groan with books, tables support the weight of them, and floors feature book towers in every room.

All of that—including a zest for collecting with a partiality for Victorian era art glass produced by our great American 19th century glass companies, English china, and most anything vintage and funky—goes a long way toward telling our guests whom we are, in this happiest of homes which I’m inviting you to tour with me today!

The above play area is a magnet for our great-grandchildren (16 children, ages 10 and under) who visit whenever they can.  And my happy little kitchen beyond.  (Actually, it’s Joe’s kitchen for the duration of my post-surgical, arm-in-sling adventure.)

Fiber studio

My fiber studio resides behind a living room easy chair.  The spinning wheels are not for “show” (although they are very beautiful, made from cherry wood).  The spinning wheels spin, and produce luxury yarns for sweaters, scarves, and hats.  Years ago, Joe made the pine dry sink for me.  It houses my collection of English flow blue china and my Grandma Kate’s English (Aesthetic Period—circa 1885) Indus wedding dishes featuring graceful birds and foliage reminiscent of the British Empire in India.

Most of the baskets in our home are homemade.  The one with the coral insert is an Irish potato basket, and below it with gorgeous ultra-marine blue/violet fleece inside is an egg basket—both crafted by moi.  The larger basket, in the style of Wisconsin Native Americans’ basketry, was woven by our daughter-in-law, Cheri Been.

make art

One of the many perks in our condo home is the fact that Joe and I each have our very own bathroom.  What fun is that!  Joe’s is the larger of the two, and it contains a shower which he loves.  (I HATE showers, probably because they remind me of that most detested of all scenarios—high school gym class!)  I have a tiny bathroom, but it contains a TUB (one of the great loves of my life).

I painted the blotchies on the upper walls, and our grandson, Tyler Been, painted the gorgeous New Mexico-ish red lower walls.  This is my Louis L’Amour bathroom—replete with cowboy pictures, and photos of family members on horseback.  As you can see on the above left, I have hung some of my own Southwestern art here as well.

TPJ 2

Here is another shot of my sweet loo.  The Civil War era folding chair is a family heirloom, with needlepoint painstakingly stitched by my mother many decades ago.  I treasure the no-longer-available glass ARIZONA TEA® bottles, plus my collections of all things horsey and Western.  (The oil painting on the left is not mine.  It was a rummage sale prize, unearthed a few years ago.)

Art 3

The messy inner sanctum of my studio is open to all who venture here, since we always have our company put their wraps on our bed.  That’s an old fashioned thing to do, perhaps dating back to when closets were not so prevalent as they are today.  To me, wraps on the bed are the most gracious way to go.

soap 5

No home photo shoot would be complete without a glimpse of my soap.  I brag about my soap way too much.  It’s excellent, and we have used nothing but my home made soap since 1976.  Today my soap is far removed from that crude stuff the pioneers made over an open fire, using fat drippings from their slaughters and kitchen grease cans.

I use the finest vegetable oils (olive being the Lamborghini of oils!) and pure, rendered tallow—all of which I purchase online from COLUMBUS FOODS in Chicago.  High grade cosmetic pigments go into the soap for color, plus quality fragrance oils.  I have online sources for these ingredients, as well.  Soap making is an expensive hobby, well worth ever drop of cash and elbow grease involved!  And we saponifiers always have a beautiful gift to offer our family members and friends—the gift of the finest soap.

Ambience (2)

Old painted furniture, dried hydrangeas, British India style shelves, platters and bowls which don’t fit in cupboards and thus are relegated to the floor, family photos, sparkling glassware including Vaseline glass with glass fruit, cookbooks, a teapot and cups and saucers (just a few of a plethora about the home), and a toy bear (also one of many) co-exist in happy harmony.

Now if you happen to be thinking, “This is really weird!” just remember:  “It takes all kinds of people to make a world!”

Margaret L. Been, 2013

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I wrote the following lines, thinking they might make a good epitaph:

I’ve always needed something in my hands . . .

a doll, a Teddy bear, kitten, puppy, infant,

new-born lamb, bread dough, yarn and knitting needles, 

a teacup, pen and paper, book, steering wheel, handkerchief,

a piece of quartz, an oak leaf, acorn, chestnut,

bouquet of daisies, dried hydrangeas . . .

EARTH! 

I’ve always needed something in my hands, and will

until You pry my fingers loose and lead me, empty handed,

HOME!

© Margaret Longenecker Been

Everyone knows I love words.  I never bothered to talk as a toddler, and until I turned two years old my parents were afraid I’d never talk.  Then I turned two, and my parents were suddenly afraid that I’d never stop.  I recall my mother telling someone: “Margaret can talk a bird down out of a tree”!

Shades of loquacity notwithstanding, what may be an even stronger trait exists in my DNA—the tactile gene.  This gene is an actual hunger at all times of the year.  Indeed over the winter holidays, when much of our time is occupied with pleasant social gatherings, the hunger intensifies to a point where I realize I HAVE to take my knitting along to group occasions in order to maintain soul balance—and also that I will not eat all the available goodies.  I must have something in my hands.

The hunger continues, rampantly noticeable, throughout the rest of the winter as I dream of the gardening season ahead—when bare hands in earth will be satisfied and filled with rejoicing.  Meanwhile, I repot houseplants—taking special care to get some of the soil under my fingernails while indulging my sense of smell in the heady fragrance of green roots in wet earth.  I paint with a paintbrush, but relish the traces of alizaron crimson and French ultramarine on my fingers.  I stroke my doggie’s back and pat his head, while revelling in the softness of his fur and the smoothness of his velvety ears.

And I knit!  Yarn has special appeal as each variety has its own texture.  Without looking I can differentiate between silk yarns, factory spun acrylic blends, and those precious yarns which I’ve spun from my own (long ago) sheep.  There is a distinct difference in sheep wools:  I still have a soft Shetland batt, and some Border Leicester wool which is lustrous and coarse—fine for my sun weathered skin, but frowned upon by many folks who can’t handle a bit of the scratch on their delicate bodies.

The first full blown realization of my abject need for tactile experience came to me over a couple of decades when I frequently attended workshops and conferences.  Many of these were focused on writing, and no matter how helpful and informative they were I would come home drained and stressed—wanting to scream but not knowing exactly why.  I may have been inspired and challenged, but I also felt kind of “ill”.  I was sick of words—and weary of the competition and drivenness commonly exhibited at conventions of writers!

Also in those years, I attended woollie gatherings—spinners’ conventions and knitters’ gatherings.  I came home from these occasions with an overflowing cup of contentment and well being!  The diverse textures of the subject matter were accompanied by the glorious scent of wool and high stimulation of COLOR—all set against a background of pleasant conversation.  To this day I feel healthy and strong in the wake of a spinners’ or knitters’ gathering—where all levels of “art” are welcome and respected, and participants are bonded in their shared love of a hands-on project.

Oddly enough, I can read a fine quality 600 or 700 page book (and often do) without that burnt out feeling that I get from a writers’ gathering.  Somehow, the aptly written word fulfills, challenges, soothes, and satisfies while building rather than depleting my soul.  So can words spoken by a teacher, preacher, or friend.  Quiet, one-on-one conversation with a friend or family member refreshes me.  And I can write volumes, with impunity. 

It is the cacophony of many competitive people talking that jars me to the core—along with the above mentioned drivenness that motivates (and sadly afflicts!) many writers in a group of their peers.  I’m settled and fulfilled whenever I have something in my hands! 

Margaret L. Been, ©2012

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“There are strange things done in the midnight sun

By the men who moil for gold;

The Arctic trails have their secret tales

That would make your blood run cold;

The Northern Lights have seen queer sights,

But the queerest they ever did see

Was that night on the marge of Lake Lebarge

I cremated Sam McGee.”

Robert Service, “The Cremation of Sam McGee”

For some unfathomable reason, every year about this time I get out my COLLECTED POEMS OF ROBERT SERVICE and read through the selections night after night—especially those narratives set in North America’s last frontier.  There is something infinitely exciting and wonderful in reading about the utterly frozen northern reaches of the world—when winter gales are howling outside our windows and we are snuggly secured in a warm bed, in a warm house.

My love for Robert Service goes back to the 1940s, and my Wauwatosa High School days.  Forensics were big in schools back then, and each year I competed in the dramatic reading division.  Always, someone would recite from Robert Service—choosing “Sam McGee” or the “The Shooting of Dan McGrew, and presenting these narratives with hilarious tonal effects as well as body language.

I wonder if (and seriously doubt that) contemporary young people have ever heard of Robert Service, let alone read him!  Do today’s students even know what a narrative poem is?  If not, I wonder if they have a gnawing sense of missing something vital—some integral aspect of the human experience!  The oral tradition of the narrative poem predates written history; it is as essential to the whole person as those material basics of water, food, and air.  Like music, the narrative poem is ancient and universal! 

I grew up on English language poetry—line upon line, volume upon volume, year upon year of it.  Ingrained in my soul are lines from classic narratives such as:

“The wind was a torrent of darkness among the gusty trees,

The moon was a ghostly galleon tossed upon cloudy seas,

The road was a ribbon of moonlight over the purple moor,

And the highwayman came riding . . .

Riding . . . riding,

The highwayman came riding, up to the old inn door.”

Alfred Noyes, “The Highwayman”

The spell binding quality of the narrative is unknown to many today; yet it is familiar to the youngest child whose parents have the good sense to read aloud to him or her from small babyhood on.  I have grandsons who love poetry, and write verses with ease, because their mother read to them from Day One—as she nursed them.  Children love narratives and any other poetry containing rhyme and meter.  Even an extremely active child will slow down and go dreamy eyed in the presence of a real poem—which, when read with sensitivity, is a form of music!

Perhaps many of us who write poetry today tend to eschew structure in our lines because of the Greeting Card Phobia!  Greeting cards are fun to receive, and I confess I sometimes send them to friends and family members.  But what is inside a greeting card is normally so generic and predictable, it deserves the classification of TRITE!  We poets tend to shrink from producing anything that might read like a greeting card! 

I know that I have written a number of “poems” which are not really poems at all; rather they are prose paragraphs strung out in lines to resemble a poem!  Contemporary poetry can abound in figurative language, apt metaphors, and depth of content.  Yet if you were to unstring some of my poems, and format them into paragraphs, you would be  struck by their “prosy-ness”!

Surrounded in my home by stacks and shelves laden with centuries of great poetry, I continually fill my hunger with pages from the past.  I honor my “debt” to our English language heritage by immersion—and thereby feed my eager soul in the process!

Margaret L. Been, ©2012

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September 2011 marks the third anniversary of my online writing adventure.  Northern Reflections began when we lived up north by the above-pictured wild woods and water.  Shortly after that, I added God’s Word is True, Grace with Salt, and Riches in Glory.  A year later Joe and I moved to the (not-so-wild) woods and water of Southern Wisconsin and I added Northernview (now The Messy Palette) to the mix.

Obviously, Northern Reflections leads the pack in number of readers.  God’s Word Is True and Grace with Salt are close to each other in numbers of viewers, amounting to second and third place respectively.  Riches in Glory comes next, followed by the “new kid on the block” Northernview/alias The Messy Palette.

It’s fun to go back to square one and view the search terms used to access these sites.  The stats show which entries are most frequently read.  Blogging is rewarding for me as a free lance writer, because things I wrote online many months ago are still being read. 

Communication is my whole purpose for writing!  For many years I wrote articles and essays for magazines and newspapers—not nearly so satisfying as web writing because:  1)  When writing for publications, I never knew if anyone actually read my published pieces—feedback was rare; 2)  Magazines and newpapers get discarded, whereas cyberspace writing lingers on!  Writers have to LOVE this technology!  🙂

Here are the topics most frequently accessed, per search terms, on my blogs. 

1)  Northern Reflections:  Life before Antibiotics, Polio and Dr. Salk, English Country Decor, Flea Markets and Garage Sales, Edith Schaeffer, Circus Lore and Circus Topics, Decorating with Junk, and Joyce Kilmer’s Poem about Trees.   2)  God’s Word Is True:  “Converge Worldwide”, Purpose Driven Apostasy, The Emergent Church, Israel/God’s Chosen, and Psalm 23.  3)  Grace with Salt:  Scriptures about Forgetting, Scriptures about Pressing On, Dealing with Toxic Relationships, and Dealing with Verbal Abuse.  4)  Riches in Glory:   Most People Don’t Understand Chronic Illness and Pain, Invisible Illness, Introverts and Extroverts, and (this one cracks me up!) Humphrey Bogart Smoking.  5)  Northernview/The Messy Palette:  English Country Gardens, Garden Junk, and Soap.

What a great adventure!  I enjoy the contacts I make through my sites—the responses from family members and friends, and comments received from new kindred-spirited friends as well.  WordPress is a fantastic web host!  The support people are ever-ready, and have helped me wade through a lot of my cyber confusion. 

Thank you, readers—and thank you, WordPress! 

©2011, Margaret L. Been

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I have loved this author ever since I can remember.  As a child, I loved (and still do!) Robert Louis Stevenson’s A CHILD’S GARDEN OF VERSES.  Who wasn’t raised on TREASURE ISLAND, KIDNAPPED, AND THE STRANGE CASE OF DR. JEKYLL AND MR. HYDE?  I certainly hope most of us were!

According to Wikipedia, Stevenson ranks in the 30 most extensively translated authors in the entire world—just below Charles Dickens.  Stevenson’s adventure stories and robust poetry are full of life.  One would never guess from reading this author that he was extremely “sickly” as a child and adult.  He was frequently bedridden with severe respiratory ailments (common in the industrial areas of England and Stevenson’s native Scotland). 

Stevenson’s last years were spent on a Samoan island, where he was loved by the natives for his sociable personality and gift of storytelling.  He died there, in 1894.  The inscription on his tomb bears Stevenson’s lines: 

“Home is the sailor, home from the sea,

And the hunter home from the hill.”

Of all of Stevenson’s works, I love his poem The Vagabond best.  The exuberance of this poem expresses the author’s outgoing, life-affirming spirit.  Paired with a Schubert melody by Vaughan Williams in the early 1900s, The Vagabond is a popular art solo selection at vocal recitals.  Many a time over the years, I attended regional and state music competitions where I enjoyed hearing The Vagabond sung by young high school men.  It’s a classic!  

 The Vagabond
 
Give to me the life I love,
Let the lave go by me,
Give the jolly heaven above
And the road below me.  
Bed in the bush with stars to see,
Bread I dip in the river —
There’s the life for a man like me,
There’s the life for ever.  
Let the blow fall soon or late,
Let what will be o’er me;
Give the face of earth around
And the road before me.  
Wealth I seek not, hope nor love,
Nor a friend to know me;
All I seek, the heaven above
And the road below me.  
Or let autumn fall on me
Where afield I linger,
Silencing the bird on tree,
Biting the blue finger;  
White as meal the frosty field —
Warm the fireside haven —
Not to autumn will I yield,
Not to winter even!  
Let the blow fall soon or late,
Let what will be o’er me;
Give the face of earth around,
And the road before me.  
Wealth I ask not, hope, nor love,
Nor a friend to know me.
All I ask, the heaven above
And the road below me.  
 
Robert Louis Stevenson, 1850-1894 

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