But with or without prescience, considering only the hard-earned craftsmanship of songwriting, as I get older I have found the quality of my attention to be more important, and more rewarding, than the initial inspiration. I’ve found that the melody is already inherent in the language, and if I pay close enough attention to the roundness of the vowels and the cadence of the words, I can tease the melody out of the words it is already woven into. I have found that continual referral back to the original “feeling tone” of the inspiration, the constant re-touching of that hum and cry, more important than the fireworks of its origin. I have learned to be steady in my course of love, or fear, or loneliness, rather than impulsive in its wasting, either lyrically or emotionally.
This maturation in songwriting has proven surprisingly satisfying. Twenty-five years ago, I would have said that the bursts of inspiration, and the transcendent quality that came with them, were an emotionally superior experience, preferable to the watchmaker concentration required for the detail work of refining, editing and polishing. But the reverse is proving to be true. Like everything else, given enough time and the long perspective, the opposite of those things that we think define us slowly becomes equally valid, and sometimes more potent.
And speaking of Truth, and its relative experience, those niggling questions about the specifics of writing — the order of creation, the source of inspiration, the parsing of individual truth and the wrestling of facts and the divergence of the two, are better left alone and in the realm of mystery, where all creative work forms. I am of the same mind about these things as Martha Graham, who told a young dancer who asked if she should be a dancer, “If you have to ask, the answer is no.” Perversely, if you have to ask which came first, the lyrics or the music, the answer is… No. Or Yes. Depending on your maturity and how slow the opposites are to reveal themselves.
