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An Occurrence of Grace at a Bartók Concert, and: Riffs Thelonius Put Down, and: Memory and Mozart, and: The Insistence of Water

An Occurrence of Grace at a Bartók Concert, and: Riffs Thelonius Put Down, and: Memory and... AN OCCURRENCE OF GRACE AT A BARTOK CONCERT/ This concerto could cripple a sky. The woman m the wheelchair wants her voice to be the viola and, for a moment, it is. Beautiful, its guttural tone, from enough distance, could be mistaken for the rosined scrape of the bow. What is love for this woman, her hands demented buzzards flapping in her lap, her body a kind of grave carnival-mirror imitation of a body? Without enough control to form words, her mouth has gone slack, a bitter cavern, the acoustics no consolation. Music's impossible without pain, a dead composer said alive. If he was right, this woman's crippled body could be the most beautiful quartet ever composed for strings, unplayable, perfection no one living can appreciate. No one has heard the viola In her voice before. At the beginning of this century, she'd have been The Missouri Review · 69 doUed up in scales, and factory workers, their drab wives left home, would have paid pennies to see her flap around In a shallow pool, the Fish-Woman. They'd have heard whales In her voice, seaweed and rust, not Bartók. Those vain hawkers of deformities, who charged men to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Missouri Review University of Missouri

An Occurrence of Grace at a Bartók Concert, and: Riffs Thelonius Put Down, and: Memory and Mozart, and: The Insistence of Water

Looney, George, --
The Missouri Review , Volume 26 (1) – Oct 5, 2003
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Publisher
University of Missouri
Copyright
Copyright © The Curators of the University of Missouri.
ISSN
1548-9930
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Abstract

AN OCCURRENCE OF GRACE AT A BARTOK CONCERT/ This concerto could cripple a sky. The woman m the wheelchair wants her voice to be the viola and, for a moment, it is. Beautiful, its guttural tone, from enough distance, could be mistaken for the rosined scrape of the bow. What is love for this woman, her hands demented buzzards flapping in her lap, her body a kind of grave carnival-mirror imitation of a body? Without enough control to form words, her mouth has gone slack, a bitter cavern, the acoustics no consolation. Music's impossible without pain, a dead composer said alive. If he was right, this woman's crippled body could be the most beautiful quartet ever composed for strings, unplayable, perfection no one living can appreciate. No one has heard the viola In her voice before. At the beginning of this century, she'd have been The Missouri Review · 69 doUed up in scales, and factory workers, their drab wives left home, would have paid pennies to see her flap around In a shallow pool, the Fish-Woman. They'd have heard whales In her voice, seaweed and rust, not Bartók. Those vain hawkers of deformities, who charged men to

Journal

The Missouri Review – University of Missouri

Published: Oct 5, 2003

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