I just finished reading Stone Arabia by Dana Spiotta. The book is about a 40-something former rock ‘n roll wunderkind, Nik, a recluse who keeps making brilliant music, and his sister, Denise. It’s about true obsession and tenuous family bonds and time passing. It’s about how everyone and everything is shaped by the confounding feedback loops between memory and identity and art and life and authenticity and invention. The story takes place at the intersection of what might have been and what really is, a place you won’t be able to locate with GPS but where you will almost certainly find yourself on a dark night, at which time you may, like Denise, conclude that you have “in middle age become a person whose deepest emotional moments happened vicariously.”
I’ve never quite framed it in those terms, but I think the prospect of turning into that person is the reason I decided to stop writing about songs and start writing songs. I spent so many years on the outside looking in. Here’s how it’s been with me and music: like falling in love and following the guy around for a couple of decades and writing about him in your journal (or the newspaper) without ever introducing yourself, or going on a date, or kissing.
I grew weary of being an observer. I grew frightened of the creeping sense of detachment. I wanted to say less and do more. A lot of people think those deep emotional moments Spiotta writes about are the province of the young. We’re supposed to grow up and out of it. Adults are supposed to value familiarity over novelty, practicality over passion, stabililty over adventure. To which I say, bullshit.
Vicarious Encounters by Matt Belk