I was an anxious young scholar back in the late 80s when I attended Trinity College in Deerfield, Illinois. My freshman year, stranded on campus without wheels, the long, northshore weekends were, at the beginning, depressing and unbearable. So, my long-suffering father, without so much as a whisper of complaint, would drag himself - dinnerless, clothes still soaked in nylon vapors after a long week laboring on the factory floor, north, through the Chicago rush hour up, all the way from Tinley Park to Bannackburn, then down again. Why? To haul his only son, along with his college homework and his laundry, back to South Holland for the weekend.
And this way we would travel the insufferable miles through the thick city, week, after week, after week, in silence.
In silence, except that I would make it a point to subject him to the latest tunes that had captured my rebellious heart, courtesy of the JC Penney tapedeck buried in the dash, and the week's latest mix tape. Every week, all the way back home, week after week. The Alarm. The Cure. Big Country. R.E.M. The Silencers. Simple Minds.
And so we'd go, the two of us, riding with no words between us through the long, long city on Friday night, the selfish soundtrack of my struggling new-adulthood drama trying to crowbar some vaguely angry and pointless point into a tired and good man's life.
But, of course, all revelation has its roots in underestimation. My dad is many things: among them, a musician. And also - of course - a dad. Little did I know that he was slowly giving me and and my fervent demands for attention a fair shake.
And so it was, one night, in that long struggle against Chicago traffic, when this song ended, and he asked, "What do you like about that?" And I explained. And he understood. And then he explained. And I understood. And we talked about improvisation, and genre, and precision, and ambiguity, and four-part harmony, and poetry, and faith and art. At the time, we rewound the tape and listened to this track again. He said he could appreciate it - he may have even said he liked it - but it didn't matter at that point. He was showing me how to be a dad, and it's an example I try to hold up in front of me every day as I navigate my boys' days.
This song is near to me for many reasons, but especially for this.
On April nights
When the air goes completely still,
And even the sounds of passing cars
In the distance
Become ancient,
And twenty years become two,
Then two-hundred, then twenty,
We all know the way time
Presses us unbearably against
The inside of this great, unbreakable sphere
We were created to pierce.
Spiders the size of watermelons,
Proud, though outnumbered among their arthropod brethern,
Ring in the new season with celebratory parades along the walls of the house.
It's what you get after a too-mild winter -
Nature's way of reminding us that four, distinct and extreme seasons are
God's perfect design.
The Straits of Mackinac Will not cow to engineers, Or promise that ice will never Coalesce on towers and cables, Loose in spring, closing the roadbed below.
Once we thought there was an easy way north: Thick coat. Thin knife. Maps. Wind-proof matches. Now we know how bridges get built. You have to humble yourself. Give your maps to the lake.
These men were always dropping keys.
Or sometimes stealing, then dropping them.
Or hanging them from low branches near tears in chainlink.
Or filing them on wet cement
And using them to engrave or carve.
Always everything, anything, leaned
Against their design or intended purpose.
They had no earthly use
For the things, and still used them,
Or otherwise tumbled them in their pockets,
Constantly.
Middle-aged, pipe-smoking idiot who used to think "adventure" meant smoking Cuban cigars and catching out on freight trains from his boyhood home of Riverdale, Illinois. (Now understands that true challenge lies in trying to explain to two [now three; can it really be three?] hell-raising little boys how Darth Vader is both a good-guy and a bad-guy in the context of Christ's grace.)