Life Is Like Canadian Football and Other Authentic Folk Songs Read online

  Table of Contents

  Cover

  Title Page

  Copyright Information

  Epigraph

  Introduction A Long Time Ago

  Let’s Go A-Huntin’

  As I Roved Out

  Part One: Songs of the Basement When the Stars Begin to Fall

  Horseman34/span>

  The Ramblin' Boy

  Le Vrai Tambour41

  Hurrah, Lie!

  I'ze the Bye

  The Bold Roughrider51

  Chug All Night

  Life Is Like Canadian Football

  Night Herding Song

  Song Written Upon Getting Cut by the Argos

  Haul on the Bowline

  On Discipline

  Linebacker Passing Through101

  Madonna with No Divinity

  “E” is for End Zone104

  Part Two: Songs of the Field Troubled in Mind

  Down By Your Shady Harbour

  Am I Born to Die?

  That Old-Time Mountain Dew125

  Bound for Glory

  Pay Day

  Save Your Money While You’re Young

  When the Ice Worms Nest Again

  Nellie145

  Maggie Howie147

  How We Got Back to the Woods This Year148

  Cruiskeen Lawn

  Is the Life of a Man Any More Than the Leaves?

  Big Rock Candy Mountains

  Corinna

  Saturday Morning Cartoons

  Stones in My Passway

  (Or, Notes Toward a Dissertation Proposal)

  The Bold and Undaunted Youth

  The Hobo’s Grave

  Part Three: Songs of the Cloud Strange Things Done

  I Wish I Was a Cat in the Tree204

  I Couldn’t Hear Nobody Pray

  Bury Me Not on the Prairie220

  In the Wilderness

  Green Grass Growing All Around

  Jacob’s Ladder

  Instructions to Your Integrated Circuits

  Taking Off My Glasses Tonight

  S/He is Like the Angry Birds258

  Springtime260

  Hard, Ain’t It Hard

  Winter is Cold and Good

  She’ll Be Comin’ Around the Mountain

  Take It Easy But Take It to the Limit282

  A Great Big Sea

  End Matter

  Bibliography

  Landmarks

  Cover

  “The study of folksingers and their songs is above all a quest for authenticity—an idea fiercely debated yet rarely defined. Into this melee of currents comes Henry Adam Svec’s flagship, in the form of a book that wants to find the truth as much as anyone, but in a mirrored hall of connected folk personas that are all real in their own way: who we are, who we think we are, and who we want or need to be. It is deeply personal as much as it is a rich performance—like the best folk songs are.”

  – Kate Beaton, author of Hark! A Vagrant

  “A book that twangs and spirals—sui generis in the history of Canadian literature. Svec exhibits the acumen of Marshall McLuhan, the heart of Rita MacNeil, and the meticulous truthfulness of Farley Mowat.”

  – Sean Michaels, Scotiabank Giller Prize winner and author of The Wagers

  “Fact and fiction blend and blur throughout the pages of the life of this intrepid folksong collector. What do seventies football players, itinerant rock musicians, bureaucratic academics, and artificial intelligence all have in common? Possibly nothing, but this book—with trenchant wit and performative verve—connects these and many other dots, at the same time ensuring you’ll completely enjoy the ride. Perhaps we are all folklorists in the end, searching for an authenticity that can take us out of our comfort zones, replacing them with songs we didn’t know we needed but now will always want to sing. Henry Adam Svec shows us how.”

  – Jacob Wren, author of Authenticity Is a Feeling

  Life Is Like Canadian Football and Other Authentic Folk Songs

  Henry Adam Svec

  Invisible Publishing

  Halifax & Prince Edward County

  © Henry Adam Svec, 2021

  All rights reserved. No part of this publication may be reproduced or transmitted in any form, by any method, without the prior written consent of the publisher, except by a reviewer, who may use brief excerpts in a review, or, in the case of photocopying in Canada, a licence from Access Copyright.

  This is a work of fiction. Names, characters, business, events, and incidents are the products of the author’s imagination. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

  Library and Archives Canada Cataloguing in Publication

  Title: Life is like Canadian football and other authentic folk songs / Henry Adam Svec.

  Names: Svec, Henry Adam, author.

  Identifiers: Canadiana (print) 20210168773 | Canadiana (ebook) 2021016896X | ISBN 9781988784700 (softcover)

  ISBN 9781988784786 (HTML)

  Classification: LCC PS8637.V43 L54 2021 | DDC C813/.6—dc23

  Edited by Leigh Nash

  Cover design by Megan Fildes

  This epub was hand-coded in Canada by Invisible Publishing

  Invisible Publishing | Halifax & Prince Edward County

  www.invisiblepublishing.com

  www.invisiblepublishing.com Published with the generous assistance of the Canada Council for the Arts, the Ontario Arts Council, and the Government of Canada.

  Often does the memory of former times come, like the evening sun, on my soul.

  —Ossian

  You never know what you’re going to get as a receiver.

  —Darren Flutie

  Attach yourself to what you feel to be true. Begin there.

  —The Invisible Committee

  Introduction

  A Long Time Ago

  To partake in the collection of folk song is to partake in the communication of the real. My progenitors and peers and opponents alike have been building this tradition for millennia now—a generations-spanning assignment of attending and recording. For this reason, the inaugural inductees into folk song collection’s hall of fame must not be Johann Gottfried Herder or the Brothers Grimm, but the first literary writers tout court, those mediums who conjured The Epic of Gilgamesh and The Iliad out of the fog of oral conveyance and down into the relative fixity of inscription.1

  However, the most significant starting place for the author of the present book is with James Macpherson, the Scottish man of letters who, in the mid-eighteenth century, discovered the first “legitimate” scribblings by the medieval bard called Ossian.2 At the crest of an allegedly light-filled epoch, where reason and rationality were silently lauded, these newly unveiled treasures commanded readers back to the warm bosoms, and bowels, of being.3 Of course, Ossian himself should also receive credit. Nonetheless, the remnant fragments of Ossian’s poetry might never have been located, and reanimated in the bustling marketplaces of print, if not for Macpherson plucking the poems out of the back of a dilapidated fireplace. First published more than a century before Thomas Alva Edison invented his sound-recording machine, Ossian’s voice nevertheless echoed into the aurem interiorem of significant historical actors like Thomas Jefferson, Johann Wolfgang von Goethe, and Napoléon Bonaparte.4 Consider the possibility: each of these prime movers, upon first reading Ossian’s words, delivered by way of Macpherson and then packaged into a literary commodity for mass consumption, had never been so moved.

  In fact, on the eve of hi
s vanquishment of the Russians and Austrians at Austerlitz, Napoléon famously set down his leather-bound volume and wept.5 The words on the page must have appeared as salve to the finally reposing tactician, snow falling across Moravia at dusk, calming and carrying the Emperor back through the deep recesses of time. One can hear the silence arriving, the battle cries faltering, and the slow swelling—the pure gushing—of primordial sonorousness. Such a transcendent aesthetic experience could only have strengthened Napoléon’s constitution, enabling him to push further and harder into the wider world.

  Which leads to my preliminary question: What would our modern maps look like, or sound like, if indeed they could look or sound like anything at all, if not for the blood and guts of the folklorists?

  Let’s Go A-Huntin’

  In the United States, Francis James Child made his contribution by chasing down snippets of medieval balladry, songs that we now call the Child Ballads in honour of their conduit.6 Child was a professor of English literature at Harvard University, so it is logical that his primary sources would remain strictly textual.7 Later, at the turn of the twentieth century, John A. Lomax changed the rules of the game by tracking down cowboys singing their tunes in the flesh.8 Traipsing across America’s buttes and plains, publishing calls in local periodicals, Lomax got his hands dirty, and also, presumably, his ears. We would have neither “My Darling Clementine” nor “Home on the Range” without Lomax’s pioneering fieldwork.

  Meanwhile, Canadian folk song collection begins roughly in the second quarter of the twentieth century, when adventurers including Helen Creighton, Marius Barbeau, and Maud Karpeles scoured the hinterlands of the Maritime provinces, Quebec, and Newfoundland, intent on registering the pastoral produce they believed was threatened by technology and mass media, among other contaminating influences.9 They were after “organic” as opposed to “artificial” musical materials.10 Subsequent waves of collection and analysis have lent breadth to an ever-expanding archive; anthologies have been made of the folk songs of Saskatchewan, New Brunswick, and Ontario, among others.11

  Indeed, the industry of folk song collection runs like a superabundant mineral mine, the jewels ready to withstand inexhaustible processes of extraction, assemblage, and sale. Ancient and medieval folk performers were required to choose selections in order to perform, given the physical limitations of human speech and time.12 Modern gatherers and preservers of the folk have, for the most part, avoided this curatorial approach. Thus the modern reader of the printed folk song text is in possession of an often-encyclopedic totality of possible combinations of folkloristic information, in addition to various historical and sociological data through which said information can be situated and interpreted.13 Some of the masterpieces in this tradition weigh over ten kilograms per volume.

  I am not here to criticize. There are benefits to the mode of presentation described above, just as there are benefits to the purchase of bushels of D-grade gemstones, if one’s purpose is to build a mound of gemstones. From another angle, however, one can begin to glimpse ways in which the author of the exemplary modern folk song text has tended to display tunes and tales as desiccated specimens on a table, to group their data into allegedly discrete categories, and to present their findings as the contents of a static reservoir. This is unfortunate because the object of study—folk song—is neither dry, nor categorizable, nor static. The object of study is in fact a muddy and mobile target that must be followed in real time.

  Furthermore, the author of the exemplary modern folk song text has rarely reckoned with the sources and structures of their own biases. Why have I chosen the songs I have chosen? Why have I chosen these songs and not others? Who am I? These questions have gone unasked and unanswered. The intermediaries engaged in folk song collection have therefore rarely achieved the authenticity and sincerity they have so often demanded of their subjects, of their folk.14

  As I Roved Out

  I claim that an existential account of folk song, Canadian or otherwise, has yet to be written. Such a text would of course need to include songs themselves; additional requirements are the texture and fabric of the nets used to corral and capture each and every last gathered morsel. I am not alluding only to technology and scholarly methodology, but additionally to the taste and disposition, and thus the life, of the collector.

  For although we still have Macpherson’s treasures, we do not have—and will never have—a rigorous account of his experience of finding Ossian’s mouldy poems. And although we have collections of countless stories and songs thanks to Creighton and Barbeau and Karpeles, we do not yet have—and will never have—a robust description of the fun they had in the thrill of the hunt, the dark desires that propelled their expeditions, or the rich resentments that fueled their drive toward discovery.15In other words, we have not yet listened to the folk in its copious totality, which includes “the folk” per se and the songs thereof, but also the disciplines and intermediaries (such as Creighton, Barbeau, and Karpeles—and me) through which “the folk” as a concept has been written and rewritten again, whether with dark ink, magnetic tape, electronic circuitry, or oral performance.16 Having collected folk songs for the past decade or so, at the time of this writing, I would therefore like to take the opportunity that so many of my predecessors and contemporaries have neglected to take.

  According to Werner Heisenberg’s uncertainty principle, to gaze at an experiment is to fundamentally alter the structure of the observed reality.17 Should not the same be said of folkloristic technique? Should not the acts of looking, longing, and capturing thus be included—as primary sources—alongside any folkloristic transmission? The Oxford English Dictionary claims that folk song is defined as “song[s] originating from the common people; also, […] modern imitation[s] of such […] song[s].” But what does it mean to originate and to imitate? How does one know when and in what context to, for example, originate rather than imitate? Or vice versa? My hunch is that a rigorous exploration of these terms has the potential not only to refine but, in fact, to explode and thereafter regenerate the very concept of authentic folk song.18 Accordingly, you can ponder as Molotov cocktail—but also as fertilizer—the blunt fact of the pages that follow, across which the art of the folk song collector is conceived as nothing more, and nothing less, than the art of the folksinger.19 The parasite must become a host.20

  To be clear, the purpose of the present volume is therefore to collect and to communicate, in a single text, the most significant folk songs that I myself have yet brought to light. At the time of writing, I have been performing (often at a financial loss) and teaching the songs collected here for nearly a decade, but I have not yet left behind the detailed diagram, setting out the development of my techniques of song collecting, that I believe is warranted. I want to inscribe—to carve out that which I have done. Desiring more than to offer a static compendium organized by theme or region or “motif,” I additionally aim to dramatize the folklorist’s development as such.21 Therefore, I have collected here only those particular songs that have contributed to public apperception of folk song in the twenty-first century, in which I have played a role.

  The main body of the present volume follows a basic chronological order. In “Songs of the Basement,” I offer a selection of Staunton R. Livington’s CFL Sessions, a series of field recordings conducted in the 1970s, which I discovered in the basement of a hegemonic Canadian cultural apparatus in 2008—the fortuitous act that nudged me onto my present path. With “Songs of the Field,” I share a sampling of songs field recorded by me within the contingent and arbitrary borderlines of Canada. And “Songs of the Cloud” presents the most interesting compositions generated by the artificially intelligent folk song database that I co-authored in 2013 while in Dawson City, Yukon. Interspersed throughout these chapters is an episodically structured Volkskunderoman, across which the development of my philosophy of song collection, and the development of my self, are chronicled.22 Lastly, beefy acknowledgment and b
ibliographic sections house complete information regarding the vast sources, both living and dead, consulted in the production of this book.

  It is of course possible to begin at the beginning. However, more adventurous readers may wish to chart a different path through the present text by starting with the references and working backwards.23 One might wish—including, perhaps, the career-minded folklorists I know—to read the songs first. This decision will be of no consequence, however, because, as the folk itself knows intuitively, time is not necessarily chronological; it is possible to experience existence as an eternal repetition of a single event, like the refrain of a folk song—or like a touchdown.24

  Ours are terrifying yet promising times; opportunities abound.25 I fear that my life’s work will now be easy prey for cultural industries—that these songs will be commodified as a bound, bourgeois shelf decoration, the base reality of so many “folk” anthologies, and subsequently as episodic television series, T-shirts, and echoic VR experiences.26 Who knows the limits of the logic of capital? But I also hope that the song, the collector, the medium, and the addressee will be codirected toward purposeful triumph, by way of struggle and resolution.

  Alas, much must be left to you, dear reader, or receiver, for I am not a psychologist, or even a librarian. Within the current communicative context, I am only a humble scribe who modestly hopes that this volume’s motley mix of songs, scholarship, and story will provoke my opponents within the so-called sanctioned bastions of folk song collection. Yet, my greatest desire for the present text is that it will circulate beyond all official gates and walls, to inspire the next generation of authentic folk song collectors, and, therefore, folksingers. Will you be among them?