This is an essay I wrote just before I started this blog, in June of 2015. I just found the handwritten draft among my things, and although I think I have told you about this dream before, and this piece looks back more critically and perhaps negatively than I would today, I still feel that it is worth sharing, slightly edited:
Very few dreams have stayed with me through the years, but one vividly symbolic one is never far from my mind.
I was about four when I had this dream. In it, I was taking a walk up our road, a country-suburban "lane" near Schenectady. I looked to my right, and realized with horror that an enormous tornado of fire was burning its way through the field adjacent to our property and heading straight for our little white house. I turned around and, as fast as my little legs would carry me, I raced to the house to warn my family. I ran up the steps, opened the door, and wanted to shout out a warning, only nothing came out. I was so afraid that my voice had stopped working. So I ran all over the house looking for my mom, dad, and two brothers, but no one was there. It was only when I returned to the dining room -- the center of the house -- that I realized that all the furniture had been removed, and I had been abandoned. I stood frozen in place, waiting for the tornado to hit, when I awoke.
I was never actually abandoned as a child, of course. In their own way, my parents did a courageous job of trying to "do" the 50's American suburban model, given the highly dysfunctional Depression-era families they had come from themselves. My World War II veteran father worked for General Electric, and came home each night to sip a succession of cocktails. My uncomfortable-in-the-domestic-skin mother chain-smoked and sipped coffee at 5 AM each morning to carve out some time to herself. The tiny white kitchen was classic 50's, books like Rachel Carson's Silent Spring lined the living room bookshelf, and a shoebox-sized and shaped black-and-white television (with probably an 8x8 inch screen) was our window to everything from the local "Freddy Freihofer" show to the nightly news. Our house was surrounded by fields and had a blue wading pool and swing set in the yard.
Yet clearly that dream reflected the emotional landscape I felt I was living in. For whatever reason, I felt utterly alone in the world, left, yes, to face even the most dire threats on my own. When I looked at my parents, I evidently did not see love, concern, or recognition mirrored back to me.
So it's interesting that it must be around this time that I was first taken with Mom and Dad to church, one of the services at our historic Episcopal church that featured its then-thriving men and boys' choir. The minute I heard the sound of this choir, I was enthralled. Utterly enthralled. The clear boys' voices and the men's voice combined to create magic. I wanted to sing in the choir. Period. This music was me. At the age of four, I knew this, and I was ready to start singing. However, my mother returned a few days later from a chat with the choirmaster with the news that I would have to wait a full two years before I could join the choir. Two years! I couldn't bear to wait, and nearly counted the days!
So it was, that sometime after my sixth birthday in 1962, my mother drove me down to my first choir rehearsal. I was almost beside myself in eager anticipation. Yet when we arrived at the choir room and walked in, I went into shock. This was the wrong choir! Around me, several young girls, several teenage girls, and some older women were collecting music and hymnals, and preparing for the rehearsal. I was introduced around, and I dutifully sat down and joined in the warm-up and rehearsal. No one could see that, for all intents and purposes, I had just died.
It wasn't a case of gender confusion. I didn't want to be a boy. It's just that I had fallen in love with a sound, and a repertoire of music, that I would never experience in the St. Cecilia Choir ("the girls' choir"). If I didn't know by that first rehearsal, I would soon learn the full extent of the inequalities between our choir and the men and boys'. First and foremost is the fact that the men and boys' choir was respected. Almost every Sunday, the rector would find a way (in his hearty, faux-English accent) to praise the other choir. If we received the odd mention, it was with a noticeable lack of enthusiasm. The men and boys' choir members were paid and considered professional. They worked hard, there is no doubt about it, and so did the mothers. My mom eventually ferried my brothers back and forth to three rehearsals a week, in addition to a Sunday service. My brothers came home once a month with a small pay envelope, and early on learned about the link between effort and financial reward. We girls knew without having to be told that we were inferior, that we were not worth training more comprehensively, and that females were simply not part of this grand, glorious English men and boys' choir tradition. And like virtually all women in the church in that era, we were volunteers to boot.
I came close to dying that year, psychically at least. As the months progressed the rest of that school year -- first grade -- I responded to the shock by developing nearsightedness and a habit of pulling out my hair that alarmed my teachers and parents. I went from being a vivacious, pink-cheeked, blonde-haired Shirley Temple to a serious, dark-haired, glasses-wearing little girl, almost overnight. Once I managed to accept the choir status quo, I determined to become the best girl chorister of the bunch, and started to rack up gold bars on my red "Royal School of Church Music" medallion ribbon with almost savage pride. I began to collect recordings of the great English choirs (King's College, Cambridge; St. John's College, Cambridge; Westminster Abbey...) and taught myself to sing Anglican chant and many classics of the English cathedral repertoire, not at choir rehearsal, but holed up in my room listening to my record player. By the time I was 12 or 13, I determined that my life's goal was to be the first woman conductor of the choir of King's College, Cambridge. To say that this set me apart from my contemporaries is an understatement! None of my friends, classmates, or teachers had a clue what I was talking about. By the time I got to college, however, this dream had devolved into wanting to move to England, get married and have boys who would sing at King's. I would live vicariously through men.
There were apparently a few other American women on a similar path. Honor Moore's memoir, The Bishop's Daughter, speaks of trying to train herself to sing with the pure sound of a boy soprano, as I did. Yet for almost fifty years I felt alone, and carried with me the toxic weight of rage and blame. What was wrong with my family that I should be so invisible in their midst? What was wrong with men, the church, even God, that they should exclude women, rendering them invisible? Inaudible? Voiceless? I had (and continue to have) a feminist fire in my belly, an almost insatiable desire to burst out of this involuntary "solitary confinement" and sing with the choir, be out there, singing and speaking and being respected for my skills. They had ripped my heart out in the early '60's, and I wouldn't rest until I could find it again and place it back in my chest.
It is only since the singular events of the last few years that I have finally come to fully accept an important truth. I think the Goddess and I sat down before this incarnation, and She said, "I have a great assignment for you. How would you like to be one of the first women to try to break into the English men and boys' choir tradition?" (In that context, it makes perfect sense that I chose my parents, and the girls' choir at a high church "Church of England-style" American place of worship. It also makes sense that my dad's mother had been a pioneering Canadian woman lawyer, giving me that feisty piece.) In this scenario, I was perhaps less likely to accept the rejection than young British girls of the period.
And with the early disappointment came a singularly strong "rocket of desire", to use a term coined by Abraham Hicks. This passion has stayed with me through thick and thin -- mostly thin. And what I for so long interpreted as my "lost years" were basically me biding my time until other girls and women began to enter the field, and there was a critical mass.
In this light, I can find an intriguing new interpretation of the dream. What if the tornado of fire represents not terror, but passion? What if, alone in my family and musical tradition, I was the only one with the courage to stand up and face -- even embrace -- my passion in life? That tornado of fire has, at times, sent me and my life flying through the air, and yet from my current vantage point, I am proud to have weathered the storm.
There are many interesting things about this essay, but for the most part I'll leave it alone, except to say that, of course, I did have about nine months of singing daily services at Royal Holloway College in 1980-81, and the same time period singing weekly services at New York's Cathedral of St. John the Divine fifteen years ago. I'm not sure why I didn't mention this when I wrote this, but I do so now. Even now, when I watch choral evensong services streamed online, I do so with kind of a bittersweetness that hasn't completely gone away. If my tornado of fire could take me today to the perfect situation, it would be as an "anchoress of the Goddess", home near an English cathedral or college choir, where the services would be available for me to attend every day.