(Apparently, I should post pictures of my cats more often—it makes people comment. I like it when people comment. That’s a hint.)
Several days ago, I was going to parse that T.S. Eliot quote, but I’m not sure it would be appropriate to discuss the exact thought process that caused the quote to invade my head, so I’ll just talk about the poem a little as a springboard for a thorough pimping of the magnificent Lori Carson. The poem is called “Portrait of a Lady,” after the Henry James novel (though the poem bears no resemblance to the book). I can’t say it’s my favorite Eliot poem—that would be “Prufrock,” of course—but it’s a poem that meant a great deal to me and made me a little uncomfortable for years and years. It’s about a young man having a relationship of sorts with an older woman, though it’s never made clear how much older she is (I’ve always believed that she isn’t much older than the narrator, and the references to her being “about to reach her journey’s end” are typical of her exaggerated, overdramatic style). The woman is vaguely ridiculous; this comes across when you read the poem in the way she repeats herself and inserts parenthetical phrases and makes dramatic pronouncements, but it was made even more clear to me when I heard a recording of Eliot reading the poem. He doesn’t put on a female voice or anything, but he draws out the syllables of her dialogue, and there’s a distinct note of contempt in his voice. But the narrator is also drawn to her, and the most stunning moment of the poem comes when she kind of puts him in his place:
“Perhaps you can write to me.”
My self-possession flares up for a second;
This is as I had reckoned.
“I have been wondering frequently of late
(But our beginnings never know our ends!)
Why we have not developed into friends.”
I feel like one who smiles, and turning shall remark
Suddenly, his expression in a glass
My self-possession gutters; we are really in the dark.
(That last line may be my favorite in the whole history of poetry, I’m not sure.)
It was written around the same time as “Prufrock,” but where that poem showed how prodigiously gifted Eliot was at 29, “Portrait of a Lady” shows that he was also still a young man, and a little bit of a callow youth. I have sometimes worried about bearing a resemblance to the lady in the poem—a little excessive, a little ridiculous—but I also love the poem. I can recite it from memory, having learned it (along with another Eliot poem—not “Prufrock,” alas, though I’ve tried, but one of the “Ash Wednesday” poems) back when I was a college girl who not only read but, worse, wrote poetry. (It was a bit of a cliché, Barnard girls writing poetry, but I couldn’t help it.) Nowadays, I don’t read much poetry, except when something in The New Yorker catches my eye or I pick up my giant volume of the great Paul Muldoon’s complete poems, but I still make sure I haven’t forgotten “Portrait of a Lady” by reciting it in the car from time to time.
I’d never read any criticism of it till a few days ago, so the preceding paragraph is my own interpretation, but I hunted around a little bit for some academic commentary on it the other day, and the consensus seems to be that the poem is about the impossibility of communication between men and women. (I don’t disagree with that analysis; that’s what “Prufrock” is largely about too, after all.) And that’s pretty much Lori Carson’s great theme too. (How’s that for a smooth segue? Heh.) Her songs are preoccupied—you could even say “obsessed”—with the pursuit of love and the failure of love and the transformative power of love, which is part (okay, most) of what I find so compelling about her songwriting. It’s her great theme. I’m sure she’s not as regularly heartbroken as her darkest songs suggest, though judging by the (highly readable and engaging) journal she keeps on her site, she does go through relationships pretty frequently. But whatever her romantic life is like in the real world, the version of it that is revealed in her songs is exceptionally powerful and moving.
She’s also a perfectly wonderful singer, a breathy but very clear and pure and strong soprano (with the minor caveat that she will occasionally slip into a sort of baby-doll voice, not quite Victoria Williams-like, but still potentially off-putting if you’re allergic to that kind of voice. But she doesn’t do it much, and she’s done it less and less as her career has progressed).
Lori holds a place in my heart because her second album, “Where It Goes,” was my soundtrack/security blanket during the year that my first marriage was falling apart. When I think of that year, the first image that comes to mind is me on the train ride from Park Slope into the city, listening to the first four songs on “Where It Goes” over and over and over again. (It was a while before I learned the rest of the record as thoroughly as those four songs.) It’s really an extraordinary run of songs (and very well sequenced, too). The first song, “Down Here,” is addressed to a lover who has died, and it’s wrenchingly beautiful:
“Down here itâ??s as you left it
Iâ??m waiting for the grey to clear
Donâ??t know what Iâ??m running on
But some time ago all hope was gone”
That’s followed by the upbeat-sounding (but heartbreaking) “Waking to the Dream of You,” which is about surviving the aftermath of a breakup and the advice that you get from friends who want to help you get through it. After that is a very passionate and romantic song about new love after old, “You Won’t Fall,” in which she promises,
“You can rest easy
Your beauty is clear to me
You wonâ??t fall
You wonâ??t fall”
I could quote the full lyrics from all four songs, because they’re marvelous, but I won’t; I’ll just quote the fourth song, which so perfectly captured how I felt that year—bruised and battered (emotionally, that is) from one major relationship ending and simultaneously hopeful and terrified and thrilled at the new relationship that was starting up—that I could hardly bear to listen to it, and I couldn’t stop listening to it. It’s called “Petal,” and it’s one of my all-time favorite songs ever ever ever.
“Iâ??ve been looking for it all my life
But never found it
I got used to being alone
I know how and I do it so well
Even if we learn to speak the same language
How long can it last
You know as well as I do
How it goes
The way it goes
You are the petal in the rose
But watch out for those thorns
You are the petal in the rose
But watch out for those
Iâ??ve changed my mind, Iâ??ve changed my mind
Iâ??ve changed my mind, Iâ??ve changed my mind
Iâ??ve been waiting for it my whole life
And so many times I thought
Hey this is it
Iâ??m ready letâ??s go baby
But it all led nowhere
Turned out wrong
And I still believe in it
But not much
I know Iâ??m strong enough to fall again
But isnâ??t it just foolishness
Knowing how it goes
The way it goes
You are the petal in the rose
But watch out for those thorns
You are the petal in the rose
But watch out for those
Iâ??ve changed my mind, Iâ??ve changed my mind
Iâ??ve changed my mind, Iâ??ve changed my mind
So, should we give it
Just another chance
Although I know the odds are against us
We know how to fuck it up
We do it so well
And even if we love each other so much
And plan our lives like we will stay together
Make a home and a family
Can we change the way it goes
How it goes?
You are the petal in the rose
But watch out for those thorns
You are the petal in the rose
But watch out for those…”
And then there’s “Little Suicides,” a song that Lori co-wrote with Anton Fier. They recorded it during her tenure with the Golden Palominos, and it’s pretty much a perfect song, one that kills me every time I hear it, no matter how many times I hear it, with its repeated theme of “Can’t I (/we) just be happy for a while?/It happens all the time,” and my favorite line, “If love heals anything at all/We should be flying.” Not to mention the chorus:
“All these little suicides
They hardly make a mark
I can take these funhouse rides
I’m a natural in the dark
I’m a natural in the dark
In the dark…”
Lori’s best records, I think, are “Where It Goes” and “Everything I Touch Runs Wild,” but her more recent work is worth paying attention to also. The most recent record, “The Finest Thing,” is all textures and soundscapes and might be best suited for people who are already converts, but it’s still worth picking up. And “Stars,” which came out in 1999, is seriously underrated. Still, I’d start with “Where It Goes” and/or “EITRW,” and go from there, if I were you. So go buy them, right now. You can find them used all over the place, unfortunately.
(It’s a little odd to be writing about Lori Carson when my head is still completely possessed by Patty Griffin’s most recent album, and especially by the song “Useless Desires,” which I listened to no fewer than four times today. They’ve actually got a few things in common musically, Griffin and Carson. But I came late to the party with Patty Griffin, and I can’t say anything very well-informed about her; I can only talk about how powerfully her songs have affected me lately. I’ve been a Lori Carson fan for a lot longer, so there’s more to say.)
Oh, and while I’m going on and on and on, I have an actual movie recommendation: “Kiss Kiss, Bang Bang,” a new noirish movie that is both homage to and parody of the noir genre but is also an insanely clever and entertaining film on its own. It helps that the cast is so great: Robert Downey, Jr., whom I love and always root for (geez, if anyone ever needed evidence that addiction is a real, and incredibly challenging, disease…), is at the top of his game, and Val Kilmer is equally good, just note-perfect. I’d never heard of the female lead, Michelle Monaghan, before, but she’s one to watch—she handles a not particularly easy role with aplomb. The movie stops just short of being too clever for its own good, but it is very, very clever, and hysterically funny in places. I expect we’ll see it again when it comes out on DVD. Go see it after you buy those Lori Carson records.






