Monday, January 18, 2010
MOVITS! are reliably and quite curiously upbeat every moment that they are performing. The song titles become indecipherable Swedish words over the roar of the audience, but regardless of the song’s background and intent – one is a love ballad, another a blues song, a third about owing someone money – what follows is a constant stream of high tempo, inflected rap from Johan Jivin' Rensfeldt while his two band mates bounce to the beat.
Their attire is dapper with a hint of a surprise in their sneakers. All three sport tuxedos and bowties, which they fix for each other before bounding onto the stage. Saxophonist Jocke "One-Take" Nilsson and producer / DJ Mördar-Anders Rensfeldt start the familiar and fiery 'Appelknyckarjazz' and Johan leaps into action moments later, wearing his “brand new song hat” and gesturing emphatically with his free hand.
They continue with tributes to James Brown ('Have You Got Soul') and Sammy Davis Jr, and perform Tom Jones as an homage to, well, Tom Jones. Halfway through the concert, Johan free styles the notable Swedish audience acappella, upping the celebrity status of the band’s hometown, Luleå. Jocke enjoys several solos of his own, letting his sax lead him in a catchy swing while he plays.
With windmill moves, spins, arm-linked skips and persistent bouncing, MOVITS! capitalize on their stage real estate. They continue with 'Swing For Hyresgastforeningen', 'Ta Pa Dig Dansskorna' and 'Fel Del Av Garden' while their spiffy tuxedos and impeccable coiffures morph into varying states of disarray. Johan announces the “official dance frame of the evening” and the three cluster together, flapping their arms like wings and staring beyond the audience, intriguing and amusing everyone before performing 'Appelknyckarjazz' as their last and fittingly “danceable” song.
The concert ends with a moment of rare stillness and MOVITS! share an unmic’ed caucus in the corner planning their encore – two new songs, one so new the band invited name suggestions from the audience. Their electric drum set maintains a thumping pulse, keeping them sweating and the audience cheering. You can’t help but wonder if hip hop, as their t-shirts claim, was in fact was born in Sweden.
Friday, January 15, 2010
Dillard gives the reader cheekily accurate glimpses into each character’s mettle without revealing how crucial each heart is to the progress and sustenance of the story. “He fell in love with Lou again and again,” she writes of Toby Maytree, while Lou “seemed, then and now, to roll or float over the world evenly, acting and giving and taking, never accelerating, never slowing, wearing a slip of red or blue scarf,” (46). Just as Toby is distracted by his love for Lou, so is the reader distracted by Toby’s endearing appetite for his new wife, unaware of what happens fourteen years later. However, it is the latter sentence that lasts throughout the book; Lou is guided by her even temper for the rest of her married life – with and without her husband.
Dillard, like the Maytrees, approaches love as an “epistemological tool” (53), comparing emotions and reactions to Jupiter’s moons, constellations and the essence of “beauty laid bare” (The Writing Life). When their son Petie is injured while riding his bicycle, his parents move their bed to the basement where their son can rest. Their bed and its purpose are displaced: it attends to a new resident as Toby attends to another woman – Deary! – in Maine. His insistence that he will always love Lou throws her off her three-wheeled family-circle: “Fast as shock she knew now what, what alone could come next, and her blood in every vessel tripped. Not her Maytree. Never her Maytree, who loved her, as he just unsaid,” (65).
The rift in the Maytree family allows the reader to see each character ponder his / her thoughts without interference from others. Toby repeatedly questions the recurrence of love, partners, companionship. “Her silence was paper on which he wrote. She always thought and felt precisely what he hoped. She loved making him happy. Was he his own or not?” (72) he wonders painstakingly, faced with a “love unlooked-for,” (100) with Deary. Lou erects a routine to replace Toby’s void and climbs Pilgrim Monument daily, to achieve “a grip on letting go,” (93). Petie grows into “Pete, who pondered facts,” (95) and resents his father for the next twenty years. Lou’s death 39 years later is addressed amidst this cacophony of contemplation – Dillard is brief and quiet, upholding Lou’s silent dignity. The section ends with a one-page hint that old friends Deary and Lou are reunited – what about Toby? Their meeting is announced, fittingly, by the clouds, several pages later.
Toby and Deary’s relocation to Maine introduces a new vocabulary to the story. Physically, “Maine’s beauty was not of sky but of earth. Sunlight hit black spruces and died, or sprawled in fields,” (102). Their entrepreneurial relationship means secondary jobs (lobstering, Deary suggests with twinkling eyes) take priority over poetry. Dillard sounds critical of their revamped lifestyle, complaining that they “wasted their many-paned dining room on dinner parties instead of ongoing games and music,” (118). They live a noisier life, but Dillard maintains her muted, descriptive writing filter and the narrative never becomes loud.
Back in Cape Cod, Lou remains connected to Toby. She reads a published poem and notices that from his “usual poetic line he had subtracted a foot. Perhaps the cold took his breath away,” (106), respecting her husband’s adaptation to a new life. Another time,
Lou felt a friendly greeting from Maytree in Maine. She felt his surprise jig several times a year. Did it rebound from that old blackboard the moon? Hallo, she said back like Toad, amused. (133)
Petie-turned-Pete-turned-father finally visits Toby and Deary and is a new man before returning to his boat, wife and child.
Inevitably, Toby returns to his wife and child, too with an ailing Deary. Toby is injured and knows his only hope is to ask Lou to help him care for Deary, but he arrives at his decision after futilely muddling through non-existent options. He returns to his beaches to appeal to his wife. Lou has already felt something stirring in the sky earlier that day; a “flying wedge of cirrus was coming in high,” (157). The tables have turned: Toby is speechless and Lou wraps his silence with her words of welcome and familiarity. Dillard expertly depicts a worn out Toby, unsure of a woman he last saw twenty years ago: “Come in, his ex-own Lou said, and he saw her oval face, her wide eyes still affectionate, or affectionate again, or affectionate by habit. Or she didn’t recognize him,” (197).
The Maytrees’ bed hosts its next patient for the eight weeks Deary competes with life before losing. As her health declines, Toby and Lou revive their dormant relationship, pausing their inevitable companionship to take out the garbage and “breathe[d] the wind," (176). Pete’s family assists with caretaking and the Maytree family regularly gather around the woman who first rendered them apart; she refused to fight love and now refuses to fight death. Dillard pays homage to the town’s bay tides, which “amazed them again. Bay tides re-created the world, stink and all,” (204) and revives the friendship and natural passion Toby, Lou and the rest of Cape Cod live by for a reflective, sound ending to a timeless love story.
Book: THE MAYTREES by Annie Dillard. Published by Harper Collins, 2007.