The first Friday of every month sees many New York City museums waiving admission fees.
Keen on seeing the newly opened Kandinsky exhibit at the Neue Galerie (a spot I have some history with
), I rushed to catch the uptown train, amidst a sticky, stinky, mid-autumn heat wave. Several stops later, with sore feet and aching shoulders, I exited, and found myself nearly running along 86th Street; it was getting onto 6:30pm and I knew the lines might be fierce. Worst fears were confirmed with three-plus blocks of eager, sweaty faces and shuffling sneakers.
Not being keen to deal with the suffocating effects of the oppressive humidity (bugs! sticky armpits! ruined hairdo! oh yes… asthma!), I decided I’d keep on the Fifth Avenue path, and take another look at the Balthus exhibit
on at the Met (review forthcoming). The cool air of the Met was a beautiful respite from the heat, and Balthus’ beautifully geometric paintings were a sight for my over-computer-monitored eyes.
Notes duly taken, I sauntered, enjoying the dusky quiet, and just …looked, a pleasure I rarely allow myself in the cultural realm anymore; it feels like a luxury, dawdling amongst artful things. And yet, as Guardian
editor (and part-time classical pianist) Alan Rusbridger writes
in his recent memoir, there is “a mundane need to have moments off the hamster wheel of editing [… an] instinct to wall off a small part of my life for creative expression, for ‘culture.’ ”
Serious, capital-J journalism -and its study for me, right now, at NYU -has been eating up every available ounce of creative/mental/emotional/intellectual energy the last five weeks or so. I’m beginning to resent something so central to my being – my arts passion -being ripped away from me, and the chorus of quiet, snarling voices of doubt uttering some uncomfortable phrases: no one’s interested in culture; the arts isn’t real news; you’re wasting your time; no one cares.
And yet, Friday night’s visit to the Met reminded me of the fallacy of those statements, but underscored my determination to find new ways of sharing my passion, and blending that with my writing. Some of you seem to like it. (Thank you to those readers who’ve followed me through the years.) My artsy walkabout allowed me to stare, in the face, two truths: I need to keep writing, in my own way, about culture. There’s a certain sort of longing I’m experiencing, between past and present and future, between what I want and what’s in front of me, to try to take this passion somewhere else, somewhere higher and more powerful and… to be remembered, appreciated, loved in grand and intimate ways, probe, create, fail, and always, always stay authentic to who and what I am.
“Saudade” is a Portuguese word which, roughly translated, means “longing” or “nostalgic longing.” I first heard it used at a lecture in Dublin given by singer/writer Nick Cave. He defined it thusly:
We all experience within us what the Portuguese call “saudade”, an inexplicable longing, an unnamed and enigmatic yearning of the soul, and it is this feeling that lives in the realms of imagination and inspiration, and is the breeding ground for the sad song, for the love song. Saudade is the desire to be transported from darkness into light, to be touched by the hand of that which is not of this world. The love song is the light of God, deep down, blasting up though our wounds.
Whether or not you believe in God doesn’t matter in order to understand saudade, or to appreciate its power in a writer’s (or creator’s) life. The idea (and experience) of longing is a very, very old thing, one expeirenced in the biblical cry, “why hast thou forsaken me?“; it also colors the entirety of Psalms, in fact, and is glimpsed in the hieroglyphic scenes of ancient Pharoahs raising their hands in praise of the sun. In the act of worship (surely a consummate act of love joined with faith), or musing on the nature of the divine, or amidst faulting that which we love and want to be joined with, we express our nostalgic longing for something beyond ourselves, and yet, deeply of ourselves.
Like the German “sehnsucht,” saudade has deep, earthy roots, and divine, heavenly aspirations. The calm and cool of the museum, its lack of usual noisy visitors, the enveloping darkness and the shadows cast by the strategic, subtle lights, all created the contemplative environment I so craved, one where I wondered at the role of this oldest of emotional experiences, and its role in creation: of life, ideas, even… hey, new, artistic ways of telling and sharing stories.
Saudade sits at the heart of the art I love most: it is a longing for something beyond itself. That “thing” -historically expressed as an old man with a beard, a round disk, elements of the earth – doesn’t have to be specifically religious. Lately I’ve wondered at the line between the earthly and the divine, and how it finds expression: marble, ivory, ink, oil, bronze, walnut, granite, graphite, silver, glass. Then there’s sound (singing, music, the plucking of strings, the beating of drums) and of course, bytes and pixels. We engage these things out of a certain love. Don’t we?
What is longing? Why do humans engage in it? There are no concrete answers, but again, I think such a feeling has to do with trying to scratch at the transcendent – something beyond us, past us, past our comprehension, and yet of us, with a certain familiarity and perhaps, a certain chemistry. Maybe it’s canvas, a slab of marble, maybe it’s the act of creating itself, maybe it’s God’s face, a lover’s face, our newborn’s face, the sunrise… the sunset. The cycles of life, death, sex, regeneration. We long for this kind of connection – to divine things, human things, beauty and pain wrapped together. Some of the best love songs capture this with a swoon-worthy precision (listen to anything by the aforementioned Mr. Cave or Leonard Cohen); other works of art -whether they be religious or secular -also distill this “saudade” into a grand, and yet deeply intimate, experience that whispers secrets of that most bewildering of trinities: love, lust, longing.
Bellini’s Norma, which I had the pleasure of seeing recently at the Metropolitan Opera, offers a heartbreaking portrait of just that trinity, with generous dollops of transcendent belcanto splendor. There’s something about the title character that seeks something beyond herself, her distant lover, the friendship of her handmaiden, the power of her tribe; it’s only when she is burned (with her beloved, no less) that she will come to be joined in a kind of union with divinity. Even as she faces disgrace and punishment, there is a discernible quality of saudade -in the libretto as well as the music -that lifts the opera out of the tawdry and into the realm of awe-inspiring beauty. There’s something divine about not only the story but the music, in and of itself. It scratches at a divinity it channels, pouring out its longing for a sort of union that is expressed physically in the love between the two main characters at the opera’s end.
|Diptych with Scenes of the life of Christ, Carved in Germany, 14th century
The opera whispered the questions; Friday night’s museum walkabout said them right out loud, confronting me with some uncomfortable feelings. Not only did I need to be reminded of my passion for arts and culture, but to underline the role of saudade in my life and work. There’s something magical about visiting dark places you’re familiar with; you know what’s around every corner, but you’re not quite sure how it’ll present itself without the safe filter of daylight. Darkened corners provide opportunities for dalliances, an empty tomb brings thoughts of permanency, changeability, communion with divinity and the folly of desiring such a thing. Beautiful sculpted faces remind one of a lover both human and divine. Night whispers its sad, beautiful song of saudade through such moments, and such intimacy with art, old and new, solid and not. It colors everything, personal and professional. Living with saudade feels like the right position for the artist -and the journalist -living, sometimes battling, inside of me. Experiencing the feeling of intense longing – for God, for blessings, for perfection, for failure, for permanence, for change, for flesh, for spirit, for love… for creation itself.