But Laurie Pepper brings the reader to a level of empathy and understanding that is both personable and amiable and lacking in any competing account. It is as if we are having tea with her one afternoon, sharing similar experiences in some synergistic way that only like-kind souls can.
During her cathartic coda, Laurie Pepper again becomes nakedly candid about her feelings and motivations:
"Reader, I'm going to tell you here, point blank, what ought to be implicit in all the rambling pages that have gone before: Everything that has happened to me, what I saw and heard, and all the ways I felt, if I will try to remember them completely, that is my wealth. The so-called good experiences and the so-called bad ones are what I have... ...What I am trying to say is that when I write I find my life in memory, multifaceted, complete, waiting to amaze me, my own treasure."
In between the ellipses, she shares both an incredibly painful and stark life episode juxtaposed against a youthful, innocent and sensual experience, finally equating the two experiences in a summation of her troubled and brilliant husband:
"At his best, Art found beauty in everything, even in harshness, pain, and violence. And in his music, if you pay attention, you can hear the promise. The promise is the moment of a held breath when you know, you know it is all beauty and you are reconciled with your existence in this world."
It is all beauty and you are reconciled with your existence in this world. indeed.
That, fair reader, is perfect humility and acceptance. No amount of pop psychology or 12-step syllogism will bring one there: Only self-realization.
The photograph of Laurie Pepper, taken in April 2014 by one Hugh Kenny (who is a story unto himself, if briefly, in this memoir), that closes is tome, shows a graceful beauty, still youthful in short hair and overalls, reflecting the joy of a satisfied spirit with shining eyes and an easy smile...reconciled with her existence in this world.
I love jazz because it is simply a music of my heart since I was about 12 years old.
I was first exposed to jazz when I heard Sonny Boy Williamson play harmonica. My introduction to jazz went through blues music.