Science and Books and Madrigals, oh my!

I packed a lot into Earth Day weekend. Saturday morning was the March for Science. I bussed downtown with three other friends from the department. It was much less nuts getting to this protest than it was getting to the Women’s March. We actually made it into Pershing Square this time, where a button hawker greeted us with, “I’ve got you covered, nerds!” I did not buy a button. We hung out in the park reading signs as the morning speeches wrapped up. I spotted one that read: “I should be doing research right now #gradschool.” Too true.

I was glad to see this member of the clergy

We marched from Pershing Square to City Hall, just like in January. People chanted, “Science, not silence!” and when a little boy started chanting the slogan on his sign, “Science is better than Donald Trump!”, people joined in. When we reached City Hall, we stood around for a while watching the rest of the march arrive. One of our syntax professors found us, which seemed miraculous given the crowds. I later learned a bunch of other linguists from our department had been there, though we never saw them.

From the march, I headed to USC for my third LA Times Festival of Books. I wandered through the booths for a bit. I glimpsed Yumi Sakugawa at the Skylight Books booth and witnessed the eerie sight of red-clad, white-bonneted handmaids walking in pairs about campus. There had been a WriteGirl workshop at the festival earlier in the day (I finally started volunteering with them!), but I couldn’t make it because of the March for Science. I stopped by the stage where the girls were reading in the afternoon, though, and listened to some of their pieces. Then I made my way to the Big 5’s children’s book booths, and at the Penguin Young Readers booth I noticed that Julie Berry was signing. I had read The Passion of Dolssa recently and also enjoyed All the Truth That’s in Me, so when she had a free moment, I went up to talk to her. I told her I was a fellow Viking Children’s Books author, and then we chatted about grad school and Provençal.

After meeting Julie Berry, I met up with Isabelle at the Small World Books booth by the Poetry Stage, where she was about to get some poetry collections signed by Hélène Cardona. After that, we explored the festival a little more before heading to the first of the two panels I’d picked out for the afternoon. This one was a YA panel entitled Faith, Hope, and Charity: Strong Girls in Crisis, which struck me as a little dramatic, but okay. The panelists were Julie Berry, Sonya Sones (who…turns out to be someone I think I’ve contra danced with in Los Angeles–no wonder she looked so familiar!), and the person I’d been most eager to see, because I loved Cuckoo Song and The Lie Tree: Frances Hardinge. The moderator was Jonathan Hunt of SLJ’s Heavy Medal blog fame. The authors talked about the inspiration for their latest novels, mixing genres, and whether/why their protagonists are girls. Julie Berry said that since she has four sons she gets asked why she doesn’t write about boys, and she said, “I’m a girl! It’s like what you are doesn’t matter once you’ve reproduced!” Which elicited much laughter, but there’s something dismal underlying that if you think about it.

Next we went to the other panel I’d picked out: the hapa panel! I’d been excited for it because Kip Fulbeck–author of Part Asian, 100% Hapa and creator of the Hapa Project–was on it (the other two panelists were USC professors). He was indeed the highlight of the panel for me. I enjoyed his self-deprecating manner and his sort of “you do you” attitude. He’s not interested in policing hapa identity, and he told one young hapa woman in the audience that one doesn’t have to spend every minute of one’s life fighting. Taking care of oneself is important too.

On Sunday, I participated in Jouyssance’s fourth annual early music singalong. Jouyssance is a local early music ensemble whose concerts I’ve occasionally attended. I know one of the singers because she used to sing in our Georgian chorus. Anyway, I printed the scores to the nine songs on the singalong program a week in advance and made myself a Youtube playlist to sing along to. I can sightread vocal music to an extent, but I had a feeling I would be in over my head if I didn’t prepare a bit. My favorites were Orlando Gibbons’ “The Silver Swan,” Claudin de Sermisy’s “Tant que vivray,” Thomas Morley’s “April is in my mistress’s face,” and Heinrich Isaac’s “Innsbruck, ich muss dich lassen.” There was also Josquin des Prez’s “El Grillo,” which I find annoying.

I arrived in the sanctuary of St. Bede’s Episcopal Church on Sunday afternoon, clutching my scores. A few singers from Jouyssance were there, but most of the participants weren’t in the ensemble. Everybody seemed to be a relatively experienced choral singer, though. The Jouyssance director complimented us on our reading of the first song and said she hoped we were all singing in choirs. The pace was relatively swift, and there wasn’t any hand holding, but everybody could handle it, and it was fun. Plus we weren’t exactly striving for perfection or speedy tempi.

My row of the alto section included our former Georgian chorister, a woman I know from shape note singing, and a French woman whom we told about shape note singing and who later told me she’d just started alto recorder. She showed me some of her music: “Pastime with good company”! “Belle, qui tiens ma vie”!

We didn’t do the Gibbons or the de Sermisy, to my chagrin. No French and too much Italian! I learned that Orlando di Lasso’s “Matona, mia cara” is not only quite vulgar but is also largely ungrammatical. After working on six of the nine songs for an hour and a half, we took a break for some treats and then sang everything in an informal “concert,” which Isabelle came to. (This concert was so informal that we occasionally started songs over again after a rocky start.) It was a lot of fun, and I hope I get to do it again next year!

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