It came to me as I waited at the desk, thinking how to turn another scattered group toward the day’s work: I want a bell. Not the electric commands that drilled through our younger days,
not some jingly tinkle. No, something small but clear—a signal, a reminder, a request. After Christmas we went looking and my son found a pair of heavy, small brass disks joined
by a leather thong at the import place in town. They had eight raised symbols in a ring, some scratchy lettering inside. When he struck them the pure tone hung for seven seconds
in the air, shimmering and clean as the sun. Of course I bought them. Each day now I put them on the desk, try to keep them quiet. They want nothing but to ring. They desire not to join but to meet.
When it’s time I hold the thong close to each disk and strike them at right angles to each other, as I learned from a man who told me that their true name is tingsha, that in Tibet the monks strike them
when minds start to ramble. Inside, he told me, were the great and ancient words, Om mani padme hum. We might say: See the jewel in the heart of the lotus. He rubbed the symbols on the top: here
is the conch shell, he said, here the prayer wheel, the umbrella, the flower. The students smile each time I strike the chimes, hold them as the sound wavers, fades. It lasts such a long time.
Such a short time. And then we begin, teasing new sounds from the old tongue as we can, taking the next steps across the rocky plain, following the smoky thread on the horizon.
We fold out the map and it tells us where we might be. We study the compass and it offers some names. We open the timepiece and it says, Be quiet. Bring the chimes together.
Great stories touch on many themes and give us a long list of things that they could be said to be “about.” As I tell my students, if you think Moby-Dick is just about whale- hunting, you weren’t paying attention.
This 1982 drama directed by Alan Parker is one of the great films of its decade—complex, adult, irresolvable, with a screenplay by Bo Goldman that poeticizes its characters’ anguish. Many of the lines stay in your head.
Before the dust had settled from the tramping boots, he’d appeared. Eyes beheld him to their confusion but when he breathed upon them they remembered the spring green hills of Galilee, the cool evening air scented of olive, laurel, clematis, myrtle. A peace they could not reckon. A dove called.
Left to the silence, they could hardly recognize themselves. How strangely their voices sounded and what unlikely things they must have said.
During Hitler’s siege of Leningrad in the winter of 1941–42, the Russian composer Dmitri Shostakovich and the entire Leningrad Philharmonic were evacuated from the city. A performance of Shostakovich’s seventh symphony, dedicated to the city of Leningrad, was planned for August 9, 1942. There were barely enough musicians left in the city to perform it. The score had to be flown in over German lines, and musicians were pulled from the front lines to bolster the meager ranks of musicians left behind. This performance was a show of resistance in a city which had just lost 1.2 million people (NPR, November 2).