The Thoreau You Don't Know by Robert Sullivan: Music

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In Spite of Ourselves

This is it! Tonight's the night. This is what you've all been waiting for. Well, maybe not all of you have been waiting for it. OK, maybe some of you have been dreading it, but still, nonetheless it's here—the Brooklyn reading of the Thoreau You Don't Know, featuring the Washington Square Harp and Shamrock Orchestra. Why an orchestra, when talking about Thoreau? Because Thoreau is not a stick in the mud. He's really about joy, which, for him, is nicely epitomized in music, as some of these notes would indicate—he seems to be saying that we can be happy, in spite of ourselves, to kind of quote John Prine:

When I hear music I fear no danger, I am invulnerable, I see no foe. I am related to the earliest times and to the latest. (From his journal on January 13, 1857.)

A thrumming of piano-strings beyond the gardens and through the elms. At length the melody steals into my being. I know not when it began to occupy me. By some fortunate coincidence of thought or circumstance I am attuned to the universe, I am fitted to hear, my being moves in a sphere of melody, my fancy and imagination are excited to an inconceivable degree. This is no longer the dull earth on which I stood. (From his journal on on August 3, 1852.)

What is there in music that it should so stir our deeps? We are all ordinarily in a state of desperation; such is our life; ofttimes it drives us to suicide. To how many, perhaps to most, life is barely tolerable, and if it were not for the fear of death or of dying, what a multitude would immediately commit suicide! But let us hear a strain of music, we are at once advertised of a life which no man had told us of, which no preacher preaches. Suppose I try to describe faithfully the prospect which a strain of music exhibits to me. The field of my life becomes a boundless plain, glorious to tread, with no death nor disappointment at the end of it. All meanness and trivialness disappear. I become adequate to any deed. No particulars survive this expansion; persons do not survive it. In the light of this strain there is no thou nor I. We are actually lifted above ourselves. (From his journal on on January 15, 1857.)

88 Keys Below W 4th

This is what we at The Thoreau You Don't Know are talking about, and it comes via Flicker as first spotted on Gothamist.

Æolian Art

Tonight, in Brooklyn, at Third Ward, there is an inflatable sculpture show. Inflatable sculpture is a lot like an Aeolian harp. Thoreau talked a lot about Aeolian harps. He loved Aeolian harps. The transcendentalists all seemed to love Aeolian harps, in fact. The Aeolian harp--the instrument of the god Æolus, god of wind--is a harp of just a few strings that makes sounds as a result of wind. Often, the Aeolian harp was placed in a window, the way we would fit a small air conditioner in a window today, and the wind running through the window would vibrate the strings, which were tuned, which would in turn vibrate the wooden base, which would in turn vibrate into the wall of the house, the wind making music with the house, the house a musical instrument. Thoreau liked to joke about how the telegraph wire running through the woods around Walden Pond was like a giant Aeolian harp. Here is another version of an Aeolian harp, using the wind of the subway to charge the art with life, or our street life with art:

The challenge that Thoreau sets in Walden is to figure out how to make your self into an Aeolian harp, rather than just an airconditioner. From Walden: There can be no very black melancholy to him who lives in the midst of Nature and has his senses still. There was never yet such a storm but it was Æolian music to a healthy and innocent ear.

Available now from Robert Sullivan, the New York Times best selling author, and published by Harper. A description from the publisher:

What if Henry David Thoreau—America’s pioneering nature lover, the man who famously lived in a little house of his own construction—was actually pro-city rather than just a monkish introvert who wanted to be left alone in the woods? What if the man we think of as so serious and introspective was really a joker, a bit of clown, a kind of stand-up comic in his day? And what if the fact that he often went home to his family or into town for supper didn’t show him to be a cheater or a fraud as far as self-reliance goes? What if spending time with his friends and family—i.e., community—was his point all along?

Reasons that Thoreau is maybe more applicable to these troubling times than you may imagine

¶ He was living not in a peaceful time where he could just sit there and look at a pond but at a time of financial crisis, panics, even, when unemployment was first being recognized as a crisis, when people began to think that the economic system was broken—to wit, there were unemployed workers often living at Walden Pond.
¶ He was not just writing about butterflies (though he uses one to excellent, redemptive effect at Walden's end) but about how work was taking over our lives, how play was disappearing, how things like conversation were disappearing, along with sympathy, empathy and gratitude.
¶ He was very interested in gadgets, being an engineer himself--no technophobe--and living at a time of intense technological excitement.
¶ He was big on tunes, as in music, as in having a playlist, though in those days it was called a repertoire—he played a mean flute.

A Review

A mischievous reporter on the universe, Sullivan has found beauty in a notorious swamp in The Meadowlands (1998) and wisdom in an alley in Rats (2004). In his latest slyly philosophical inquiry, he endeavors to free Henry David Thoreau from his calcified reputation as a cantankerous hermit and nature worshipper. Sounding like your favorite teacher who manages to make history fun and relevant, Sullivan vibrantly portrays the sage of Walden as a geeky, curious, compassionate fellow of high intelligence and deep feelings who loved company, music, and long walks. An exceptional writer mad for puns, Thoreau
was also a bold social critic and—the crux of Sullivan’s stimulating argument—a brilliant, tongue-incheek
humorist. Sullivan, himself plenty saucy, also elucidates Thoreau’s radical focus on “man’s
interaction with nature.” In command of a great diversity of fascinating material, Sullivan succinctly illuminates the striking parallels between Thoreau’s time and ours—foreclosures, lost jobs, and rapid technological change. Thoreau remains vital and valuable because of his acute observations, wit, and lyricism and his recognition that the “force of life is everywhere,” a perception even more essential now that the consequences of the societal choices Thoreau prophetically critiqued have reached staggering proportions.--Donna Seaman, in Booklist

More from the publisher:
Henry David Thoreau is one of those authors that readers think you know, even if they don’t. He’s the solitary curmudgeon with the shack out in the woods, the mystic worshipping solemnly in the quiet church of nature. He’s our national Natural Man, the prophet of environmentalism. But here Robert Sullivan—who himself has been called an “urban Thoreau” (New York Times Book Review) presents the Thoreau you don’t know: the activist, the organizer, the gregarious adventurer, the guy who likes to go camping with friends (even if they sometimes accidentally burn the woods down). Sullivan argues that Walden was a book intended to revive America, a communal work forever pigeonholed as a reclusive one, and that this misreading is at the heart of our troubled relationship with the environment today. Sullivan shows us not a lonely eccentric but a man in his growing village, a man who danced and sang, who worked throughout his short life at the family pencil-making business, and moved into his parents’ house after leaving Walden Pond, but always paid his father rent. Passionate yet whimsical, The Thoreau You Don’t Know asks us to re-examine our everyday relationship with the natural world, and one another.