The boy will grow older, and over time there will be other songs – not many – ten or maybe twenty in a lifespan, that stand apart from the rest of the music he will discover. He will realise that not only are these songs sacred, they are ‘hiding songs’ that deal exclusively in darkness, obfuscation, concealment and secrecy. He will realise that for him the purpose of these songs was to shut off the sun, to draw a long shadow down and protect him from the corrosive glare of the world.”
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So far, so honest. But he goes further: “We all needed to draw ourselves back to a state of wonder. My way was to write myself there … but I also realised that I was not alone in my grief and that many of you were, in one way or another, suffering your own sorrows, your own griefs. I felt this in our live performances. I felt very acutely that a sense of suffering was the connective tissue that held us all together.” And he touches directly on his loss: “I have found a way to write beyond the trauma, authentically, that deals with all manner of issues but does not turn its back on the issue of the death of my child.”
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