Lost Children Archive. Valeria Luiselli

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СКАЧАТЬ so often an absolutely ridiculous display of intellectual arrogance? Ethical concern: And why would I even think that I can or should make art with someone else’s suffering? Pragmatic concern: Shouldn’t I simply document, like the serious journalist I was when I first started working in radio and sound production? Realistic concern: Maybe it is better to keep the children’s stories as far away from the media as possible, anyway, because the more attention a potentially controversial issue receives in the media, the more susceptible it is to becoming politicized, and in these times, a politicized issue is no longer a matter that urgently calls for committed debate in the public arena but rather a bargaining chip that parties use frivolously in order to move their own agendas forward. Constant concerns: Cultural appropriation, pissing all over someone else’s toilet seat, who am I to tell this story, micromanaging identity politics, heavy-handedness, am I too angry, am I mentally colonized by Western-Saxon-white categories, what’s the correct use of personal pronouns, go light on the adjectives, and oh, who gives a fuck how very whimsical phrasal verbs are?

      COPULA & COPULATION

      My husband wants us to listen to Aaron Copland’s Appalachian Spring while we drive up and down this meandering road through the Cherokee National Forest, toward Asheville, North Carolina. It will be instructive, he says. So I roll down the window, breathe in the thin mountain air, and agree to search for the piece on my phone. When I finally catch some signal, I find a 1945 recording—apparently the original—and press Play.

      For miles, as we make our way up to the very cusp of the mountain range and across the skyline drive, we hear Appalachian Spring over and over, and then once more. Making me pause, play, and pause again, my husband explains each element of the piece to the children: the tempo, the tonal links between movements, the overall structure of the composition. He tells them it’s a programmatic piece, and says it’s about white-eyes marrying, reproducing, conquering new land, and then driving Indians out of that land. He explains what a programmatic composition is, how it tells a story, how each section of instruments in the orchestra—woodwinds, strings, brass, percussion—represents a specific character, and how the instruments interact just like people talking, falling in love, fighting, and making up again.

      So the wind instruments are the Indians, and the violins are the bad guys? asks the girl.

      My husband confirms this, nodding.

      But what are the bad guys, Pa, really? she asks him, demanding more details to put all this information together in her little head.

      What do you mean?

      I mean are they beasts, or cowboys, or monsters, or bears?

      Republican cowboys and cowgirls, my husband tells her.

      She thinks for a moment as the violins strike a higher pitch, and finally concludes:

      Well, I am a cowgirl sometimes, but I’m not ever a Republic.

      So, Pa—the boy wants to confirm—this song takes place in these same mountains we are driving through right now, yes?

      That’s right, his father says.

      But then, instead of helping the children understand things in more subtle historical detail, he adds a pedantic coda:

      Except it’s not called a song. It’s just called a piece, or in fact a suite.

      And while he explains the exact differences between those three things—song, piece, suite—I stop listening to him and focus on the very cracked screen of my irritating little telephone, where I type in “Copland Appalachian,” and find an official-enough-looking page that contradicts my husband’s whole story, or at least half of it. Yes, this Copland piece is about people getting married, reproducing, and so on. But it’s not at all a political piece about Indians and white-eyes, and the violins in the orchestra are certainly not Republicans. Copland’s Appalachian Spring

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