Thursday, October 16, 2014

Damon's Bed


Damon is two and a half, and he sleeps in Mommy's bed (funny how three of us sleep there, and yet it is my bed). 

Damon has his own bed; he's had it for a while. First it was a crib, in the corner of our bedroom, by the window. The cheerful, yellow sheet on the mattress would get dusty, and I would throw it in the wash. The oh-so-soft, baby-blue Gund teddy bear hanging from its tie on the rail looked forlorn and abandoned. 

Sometimes we used it as a big bin for clean, as-of-yet unfolded laundry. A standard-sized crib can hold A LOT of laundry, burying his special bear pillow. 

Dad's acoustic, electric and bass guitars all took their turns being propped in the corner of Damon's unused bed- a convenient and protected place to stash them, when a practice session is hurriedly cut off by the call of parenting, house, or work duties. 

Damon got older, and he outgrew his unused crib.

Optimistically, Dad took the side off and, voila, it's a toddler bed! 

There is something about that plain, yellow little bed that just attracts clutter: the shirt you take off but isn't really dirty, the pants you wore only for church that don't quite make it back to the closet... I toss layers of clean shirts, dresses, and pants and little button-up shirts over the foot of the bed that need to be hung up instead of folded. There they sit, abandoned, for days or a week while my two small boys energetically throw themselves around in the living room, thumping up and down the wooden stairs, or their father or I labor in the kitchen, preparing meal after meal. 

One night I was gung-ho: All milk-sleepy, I put him in that little bed in the corner, and in the middle of the night he woke up ready to crawl back into our bed, half-conscious and wheezing with asthma. Superstitiously, I feel like my sensitive, sensitive, allergic child slips under some protective umbrella when he sleeps close to me, stays close to me. 

It's as if we two have our own ecology, and if he stay in close enough proximity, my pheromones or some other nonsense will be a buffer from the countless things he is allergic to. I am just open enough, or far enough out there, and close enough to him that I do not think this idea is so crazy. It does seem to work. 

When the intensity of our fall schedule hit, there came a week where I hit a breaking point: so much waking and disturbed sleep, tugging and kicking of blankets, compromised positions, earlier mornings, new, vulnerable situations when it came to food allergies for Damon, and the never ending, from-scratch, allergenic, limited meal prep. I forced myself to meet my obligations that weekend, but I seriously considered saying, enough. I can't do all of this, under these conditions and stresses. I am too worried, too sad, and too tired. 

Of course there are the exhilarating, positive moments, and they are so amazing in the way they are for every parents and humans everywhere: the little victories, the moments of growth for all of us. But I have to say this: my small two-year-old has been to a month of Saturday preschool classes this fall, and every single Saturday after I leave him there, the teacher and volunteers fully educated on his special needs for protection and observation (DON'T let him put his fingers in his mouth, for the love of GOD), I get into the car and at some point, I cry from the stress, the sadness, or the relief. Maybe this is somehow common, I don't know. 

This is the child who had one bite of fresh pineapple last weekend. One bite of something we were fairly certain was probably not a good food for him, but we just couldn't leave well enough alone (no allergist test results told us otherwise). After about a minute and a half, he started to cry, saying his mouth itched. He had a few hives on his forehead, delicately swollen, and he started to sweat and flush. The wheezing and shortness of breath is the scary part, the kicker. He needed about one and a half doses from the nebulizer to calm him and his symptoms. HE, the two-year-old, was unwilling to pause and take off the breathing mask to take the Benadryl he needed. 

The reaction was probably due to OAS, or Oral Allergy Syndrome. If you are allergic to pollens, some fresh fruit can cause a reaction. How severe it could get, I don't want to test. I don't mess with asthma.  Add pineapple to the list of taboo (for now?) fruits for him. 

From my standpoint, it took me multiple days to come back from that combination- overloaded mom and my child's allergic reaction. Just to be clear, allergic food reactions are dangerous to his life and health. Epipens are NOT completely protective in case of anaphylaxis due to exposure, and the stakes are as high as can be. Every food reaction is terrifying, and you have to be extremely judicious, quickly, about what to do. Also, epipen (or, anaphylaxis) = ER. That is how that works- if it calls for one, you have to do the other. 

But, back to the bed. I disappeared alone to run errands last weekend. I came back, and Damon's bed had migrated up to his big brother's bedroom! Of course!!! Dad had decided: enough was enough. This woman is crazy from sleep deprivation, personal space deprivation. She doesn't even make sense, anymore. (I wouldn't go that far...) but the point was this: give him every opportunity to grow. Give him his own new, exciting space! 

Big brother (all four years of him) is ecstatic about sharing his room at night. So far, Damon sometimes lies in it during the day, for about thirty seconds. We had a few failed nap attempts. We took down a set of zoo-shaped hooks and found the ideal arrangement for two mismatched toddler beds in that blue-painted boys' room. (Bunk beds have been mentioned.) 

Damon slept in his bed last night for two hours, then Dad brought him back down to our bed; no need to push it all at once. But, there is nothing like a sleeping child.

Wednesday, April 16, 2014

Church Musician Day


I offered to play for the Lenten service this noon, upon hearing the opportunity was there. What to play was my choice. As I planned my selection, my considerations were these: what aspect, what shade of Holy Week can I bring out musically, using only solo instrument, no words? What part of the story can I aid in the telling? 

Today the pastor spoke on betrayal. Jesus reclined on a pillow and shared an intimate meal with his disciples, confiding in an almost offhand manner that one of them, in that very room, would betray him.

Those were the words, or some of them. Other practical issues for my choice figure in as well: how tiring is this or that solo to play? How many minutes? Does it sound too much like the opera house for sacred use? What sheet music can I locate since we moved last year??! (I've looked through more than three crates of music, and I am still missing a stack of solos I've been collecting since college...) 

Also, how can I portray psychologically the pathos of broken trust, of betrayal? I have been in church, Sunday in, Wednesday out, through the season of Lent, taking part in the crescendo of the story of Jesus: the expectation of the people as their future ruler, the dread of his horrific death to come. 

The color of an instrument's sound, the timbre, is one of my musical and expressive tools. One of my colleagues at Christ Lutheran kids me as Ash Wednesday approaches: this is your season, the season of the bassoon! Think lugubrious, and you will know where he is coming from. 

I studied music in college and bassoon performance in graduate school, so the bassoon is my most developed voice. I do not like or dislike it; it is now far too much a part of me and what I do, too much a part of how I feel things, how I understand the artistic role I play within the breadth of human emotion. I occupy a certain place in the spectrum through that instrument, which I treasure in the way it helps communicates my identity and my spirit so directly. So, yes, I guess Lent is my season. Bassoon has a sound that knows mournfulness, and a certain depth. (...Ideally, anyway- as long as the reed speaks and all of those complicated keys continue to go up and down like they should.)

Throughout Lent, we lean toward the more solemn means of expression, until we land on the downright dark on Good Friday. On one noon Lent service, our recorder consort played a Fantasy by Telemann that was stridently minor. Talk about mournful. When the four different recorder lines  converge into a single, loud, unison melody, the effect is ominous. 

But, Holy Week begins with Palm Sunday. Last Sunday the choir sang hosannas over and over. The children stood up front and sang, and the brass played. It is festive, with an edge to it. Our hindsight view of this annual ritual tells us: The pageantry of Jesus on a donkey, walking a street strewn with palms, is the false celebration- the one that preceeds the violence of human nature come to fruition in Jesus on the cross.

So, for this Wednesday of Holy Week, first I chose the slow movement of the Mozart bassoon concerto. It is the most important solo I learned as an instrumentalist, written when he was only 19 years old. It is very sweet, with the simple beauty and clarity of the era which bore it. It is written in the most innate, most intuitive key of the instrument, F Major. To me, all of this communicated an appealing honesty, and also a naïveté that I felt suited this last Wednesday of the season. 

I wanted my other choice to be something unaccompanied, which would have a stripped down feeling of solitude, of aloneness. Nothing too obvious, beyond that. For that reason I did not want anything based on hymn tune, which has an explicit meaning, or content, beyond harmony and melody. For a Lutheran instrumentalist, especially for the lower range instruments like bassoon, Bach's 'Cello Suites are a "go-to," so to speak. Lutherans get to claim J.S. Bach as one of ours, and the many movements of the cello suites are a masterpiece. I told my husband how effective it seemed like they were this noon, saying, even if it is just me playing them on the bassoon, just as a matter of course (and you usually lose a little when you play something written with a different instrument in mind). He replied, no, it's you, and it's Mister J.S. Bach. Good point. 

I guess for me, getting to do this, to play this role, it is an exercise in both expressiveness and faithfulness. If I can share a little bit of the intimacy of how I get to take The Story to heart, then I have done something. When juggling schedules and bills with my husband, along with worrying about the responsibilities of parenthood specific to our family start to turn this music-making we do into a gray, mundane duty, I try to remember the high points with gratitude- like these solo moments I am privileged to share; like my colleagues, past and present, who have shared so much of themselves and their own faith through music; and getting to commune with Mister Johann Sebastian, unworthy as I may feel occasionally. 

The  sun is shining, the pollen is flying, there are (of course) errands to run and children to care for...