We also were uncertain as to what we might be doing in order to pay the schoolhouse’s ridiculously high-rate mortgage, but what we did know was that somehow we wanted to experience life in a village, and, for that, we were soon to discover, we would have to go to church. As recent Buddhist drop-outs and keen non-observers, we were reluctant to take this step, but the lure of singing in the small church choir overcame our resistance, and soon, each Sunday, we were to be seen donning black gowns with odd gold-drapery collars and belting out “Nearer my God to thee,” “Eternal Father strong to save” and other such oldies and goldies.
We had taken up residence in the schoolhouse in the summer and that Fall our little choir was busy practicing carols for the Christmas services. I was an amazingly keen participant in all this, perhaps because, as a young girl, I had been excluded from Christian assembly every day for six years at the girls’ high school that I attended. As one of a handful of Jewish students, I was only allowed into assembly after the Christian prayers had been sung, so that I might hear the notices of the day. In the line-up of girls slinking in belatedly (besides the Jewish ones) were the girls who had been given a detention or had been caught fraternizing in the local GI camp. Now, in my little village, at last I was being allowed to be party to the Christian mysteries.
I can barely remember, but think “Hark the Herald Angels”, “In the Bleak Mid-winter” and “Silent Night” were certainly among the carols the choir practiced.
Come the Sunday service before the holidays, a day selected for the choir to perform in all their black and gold glory, the snow descended as only the snow can descend in an Ontario winter. By the time Eli and I had donned, sweaters, trousers, boots, jackets, scarves and gloves, the snow was almost to our knees. The phone lines were down, of course, and our pump had ceased to function making us a little ashamed that we were going to church unwashed, but hoped we would be forgiven by he/she who forgives all.
The little church perched on the top of a hill from our schoolhouse, and it seemed to bob up and down as we dragged first one boot, then the other out of the deep snow. It was a good ten minutes of slogging that usually short climb, before we carefully pulled ourselves up the steps of the church.
It was surprisingly cozy inside. The farmer’s wife from the farm adjoining the church volunteered to come in and keep the place dusted, stoke the furnace, arrange seasonal flowers, play the organ and, in fact, do everything save give the sermon. She greeted us rather abruptly with the news that the service was cancelled as the minister couldn’t make it over from his lodgings in a nearby village, since the snow ploughs weren’t out yet. She doubted that any parishioners would turn up and seemed about to usher us out.
I, however, a new and devoted country woman, and almost as devoted choir member, was not about to be dismissed so abruptly. I had promised to perform and to perform I would, audience, or no audience. I should mention here that a few of my aunts had vague theatrical connections (one of them played piano to accompany silent movies) and my grandfather’s cousin had a gypsy orchestra so my showbiz roots weren’t too far away and “the show must go on” was somewhere engraved on my skeleton.
Persuasive as I can be when I want something to happen, I ushered her over to the organ to prepare, while Eli and I slipped into our gold and black horrors. She and I had a slightly heated un-Christian conversation about what we would sing to the non-existent congregation. For some reason, although the choir hadn’t chosen to include it in their program as it wasn’t Christmasy, I suddenly had a strong desire to sing “The Church in the Wildwood.” The farmer’s wife was taken aback and refused my earnest pleas, saying that it wasn’t in the United Church songbook. I turned aside, sulking a bit, and muttered the words to myself:
“Come to the church by the wildwood. Oh, come to the church in the vale. No spot is so dear to my childhood as the little brown church in the vale.”
I had no idea where this desire of mine to sing “Church in the Wildwood” had arisen from since I was brought up in the honky-tonk seaside town of Blackpool, nowhere near any vale, or dale come to that.
I halted my mumbling suddenly, remembering that this was supposed to be the season of goodwill, so I agreed with the farmer’s wife, and also with Eli (who had disloyally sided with her), in the decision that we would stay with “Hark the Herald Angels,” “In the Bleak Mid-winter”, and “Silent Night.” Eli and I proceeded to render them best as we could; although neither of us could get anywhere near the high note towards the end of “Silent Night.” The hollow church echoed our voices, bouncing them from stained-glass window to stained glass window.
As the word “peace” did its final echoing, I found myself moving towards the pulpit and, standing there, I started to give thanks. I thanked the empty pews for welcoming us to their village, and I thanked them again for allowing us to sing in their choir, and buy their farm milk and eggs, and shop for other basics at the little village store. And looking out over the ghostly empty church, I found myself thanking God for my sturdy body, imaginative brain and the good life I had been given. And I, a Jew, whose grandparents had never spoken English, at least not in a way that made any sense to me, and someone who had no idea what the word “God” meant, suddenly found the tears running down my cheeks at the joy of being able to share this moment with my dear husband and the farmer’s wife.
And looking over to my favourite stained-glass window, a window in which Jesus was carrying a new born lamb, it seemed to me as if he too nodded towards me in some kind of union.
She and her husband moved to Gabriola in 1996 and opened a studio, Drumbeg House Studio, where Elias makes wood sculpture and Naomi painted, wrote and did fabric art. During this period Naomi moved from writing books geared to children to books for an adult market. She did five books of poetry and essays for Wolsak and Wynn (Segues, Composition, Late Bloomer, Book Ends and A Roller-coaster Ride).
(first posted on this site December 27, 2018)
(first posted on this site December 27, 2018)
