Okay, I finished my essay. The Freudian uncanniness needs to stop. But no, now Hugh emails me with the fb profile of a girl in SY'11 who does indeed look uncannily like me. I guess the effects will take a while to wear off.

An hour of ring time at Harkness and white shrimp pie at Pepe's. Life is gooooooood.

Another uncanny double in my life. So uncanny I can't even write about it. Something to do with names. Hopefully, when this paper is over, I will be free of much more than just the weight of responsibility of scholarship.

double trouble

Further proof that I need to stop thinking about Freud as soon as possible: I went to the Media Center today to watch the VHS of Die Tote Stadt I'd requested from UCSD, and saw someone at another video cubby who looked almost exactly like a friend of mine. I gave him a big smile and a wave, then realizing my mistake, apologized and hastily sequestered myself at my assigned television.

Terrifying. What's next?

Das Unheimliche

"I don't read Freud anymore," Harold Bloom wheezed at our seminar at Yale, which only Harold Bloom could entitle How to Read Poetry. "The more I read back in my student days, the more Freudian slips I made, until my conversations were full of them! So I stopped reading Freud." Hanging on his every word, I duly noted his indirect warning in my notebook.

Yet even Bloom's injunction did not finally prevent me from approaching Freud from two directions this past semester. At Gail's suggestion, I read Freud's essay on the uncanny in order to frame my discussion of belfries and musical automata and their relationship to the supernatural, extraordinary, and violent. Starting on my second writing project with Erich Wolfgang Korngold's opera Die Tote Stadt with the uncanny on the brain, I began to think more about uncanny doubles. The protagonist, Paul, meets a dancer named Marietta--the spitting image of his beloved dead wife, Marie. The same singer plays both Marietta and Marie's ghost, and many directors take the opportunity to splash a proliferation of images of Marie (Paul fetishizes her portrait) across the stage, double other roles and other props, and even double the characters themselves (e.g. Willy Decker's production, shown above).

The more time I spend grappling with the uncanny, the more uncanny doubles have started to appear in my life. It began on the day I was to present the ideas structuring my paper to the seminar. To bolster my self-confidence, I donned the sole pink article of clothing in my wardrobe, a draped, caped McQ shirt that is my pride and joy and surely utterly unique in form and color. The other half of my H&L cohort appeared wearing a multilayer draped pink shirt--one of the only pink items in her closet.

After giving my presentation, I was duly informed by two classmates that a student of Carolyn Abbate had recently given a paper on the same stagings of Die Tote Stadt and highlighted the exact same scenes. (Thankfully, his argument was of a different nature and purpose.)

And today, Bruno informs me that my Doppelgänger is marching around Brussels: a Francophone girl several years my junior. Thank goodness we established that I am surely the evil twin, and she the boring one.

Doppelgängers and das Unheimliche are closing in on me. Why didn't I listen to my sage professor? Bloom knew what would happen to me all along. He foreshadowed it when he sent identical letters of recommendation to the Lizzy for myself and another student at the same time. For which I am still entirely grateful--what a splash we made, whoever we two were!

multitasking

It's been years (if ever) since I was able to listen to music and concentrate on my work. Particularly since Eastman, I've found it virtually impossible to not focus on the music playing when I'm trying to multitask.

On the eve of my MA exam, I find myself able to do it again. What has changed? The way I work, the way I pay attention, the depth of my attention, my attitude towards music, my disgust at continuing to labor past the satiation point? As I read and take notes, for chapters at a time I don't notice the music, and its occasional intrusion into my consciousness is proof that I'm not hearing it. This seems vaguely inappropriate for a musicologist, but also a most welcome skill when my life feels entirely too narrow, musically and otherwise.

Contemporary architecture in San Francisco is certainly on the conservative side, but the Chronicle's top 10 list for the decade highlights a few buildings of some interest, if not innovation.

[complete the blank] city song

Speaking of music and cultural geography, CNN just published an article on "The song that inspired a nation of remixes" about the way the lyrics of Empire State of Mind have been localized by every American hamlet.

Eastman's glorious new organ in the NY Times

In a small way, I helped Munetaka Yokota voice this gorgeous instrument. Admittedly, I got a lot more out of the experience than he did. Nevertheless I feel very connected to it and am so pleased to see it garner national attention.

rusty bolts

At least Grace Cathedral cares enough about the bells of its almost-but-not-quite carillon to make sure the bells don't fall out of the tower. In fact, you can acquire one of the rusty bolts for a donation of $1,550.

many happy returns

I think back on all the times I visited a place and thought, "Oh well, I'll probably never see this or stay here again" -- the Calhoun common room and Longwood Gardens carillon in 2000, Mechelen and the Utrecht clothing store in 2003, Berkeley in 2004. Why do I keep returning? What's next?