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Charles Wyatt - Listening to Mozart (Iowa Short Fiction Award)

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title Listening to Mozart John Simmons Short Fiction Award author - photo 1

title:Listening to Mozart John Simmons Short Fiction Award
author:Wyatt, Charles.
publisher:University of Iowa Press
isbn10 | asin:0877455244
print isbn13:9780877455240
ebook isbn13:9781587292569
language:English
subjectFlute players--Fiction, Man-woman relationships--Fiction, Musical fiction.
publication date:1995
lcc:PS3573.Y19L5 1995eb
ddc:813/.54
subject:Flute players--Fiction, Man-woman relationships--Fiction, Musical fiction.
Page i
Listening to Mozart
Page ii
The John Simmons Short Fiction Award
Page iii
Listening to Mozart
Charles Wyatt
Picture 2
University of Iowa Press
Iowa City
Page iv
University of Iowa Press, Iowa City 52242
Copyright (c) 1995 by Charles Wyatt
All rights reserved
Printed in the United States of America
No part of this book may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher. This is a work of fiction; any resemblance to actual events or persons is entirely coincidental.
Printed on acid-free paper
Library of Congress Cataloging-in-Publication Data
Wyatt, Charles, 1943
Listening to Mozart / Charles Wyatt.
p. cm.(The John Simmons short fiction award)
ISBN 0-87745-524-4
1. Flute playersUnited StatesSocial life and customs
Fiction. 2. Man-woman relationshipsUnited States
Fiction. I. Title. II. Series.
PS3573.Y19L5 1995
813'.54dc20 95-4777
CIP
01 00 99 98 97 96 95 C 5 4 3 2 1
Page v
For Cindy
With special thanks to
Judith Grossman,
Joan Silber,
John Skoyles,
and the Hambidge Center
Page vii
Contents
Bach Suite
1
Half a Flute
11
Leopard-Skin Pill-Box Hat
23
Enlightenment
38
The Bagpipe
56
Mrdangam
72
Teaching
85
Letters from J
99
Ghosts
109
Indonesia
119
Raag Yaman
134
Listening to Mozart
162

Page ix
Acknowledgments
Some of the stories in this collection appeared, in slightly different form, in the following publications: "Leopard-Skin Pill-Box Hat," the Texas Review; "The Bagpipe," Mid-American Review; ''Mrdangam," Quarterly West; "Teaching," Hanging Loose; "Ghosts,'' the South Carolina Review; "Indonesia," winner of the 1993 Chris O'Malley Prize in Fiction, the Madison Review.
Page 1
Bach Suite
My mind wanders dangerously when I play the flute. My thoughts float, dart, appear and disappear in mysterious comet-like ellipses. I hardly own them. When I was a child, I would construct elaborate fantasies as I practiced, and wake from them with no recollection of the scales I had played. I would imagine famous musicians standing outside my window, listening as I practiced, deeply moved by the music I had discovered among the tiny spiders clinging to the corners of my room; and if I had been foolish enough to have the radio on while I learned the notes of some difficult piece, I would have the precise, play-by-play recall of a ball game every time I played that particular passage. Later when I had my first job in an opera orchestra, I
Page 2
was terrified of losing my place in the rests. Counting measures always put me into a trance of daydreaming, and I had to resort to counting on my fingers, something I still do today. When my mind slipped away, the fingers would continue to mark the measures, and sometimes I could recapture the number. It's an awful feeling, in an opera you don't know well, to have lost the countwaiting for your next entrance, usually a solo, wondering if you will recognize it, if the conductor will cue you beforehand, or if he will only glare wrathfully when it is too late. Before all this, when I was a child, I would fall asleep listening to music, and wake hearing music no man had written, and that would drain away from me far too quickly, like water from a leaping fish. I grieved its loss, and I sought out its source in every piece of music I learned. I never found it, but sometimes I felt near. And never so near as in the mystical constructions, the crystal-like structures of J. S. Bach. Now, so many years later, I know from experience that this is one mystery I was not destined to penetrate, that all I can expect is to perform these great works, and endure the wanderings of my mind. And what do I think of? Of anything.
When I am playing a solo, as I am tonight, I think of what I must do afterward, of bowing. Of whether I shake the conductor's hand first or the concertmaster's. Or I think of all the times I have played this piece, or, more likely yet, I think of the hours spent practicing, of waiting to perform it, of imagining its performance. Where does the music come from? I might as well be asleep, where perhaps I still hear those unearthly symphonies. One part of me minds the music; and that is not a conscious thing, rather a kind of falling, a slow falling, like a dive into green water with the surface almost out of sight. And the other part is wading in cattails with my rod held high, thick rubber boots over my knees, the smell of the mud just released in bubbles around me as I step and sink, and the sudden jar of the water moccasin striking my leg.
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