Frame Analysis - "Fury"
By: Cassy Boff 2006
(Music by Donald Wheelock and Lyrics by Susan Snively)
Fury
I have a poisoned hand,
I have a bitter voice.
I look death in the face.
I have no choice.
And when death looks on me,
its hollow eye and frown
makes light leap in my eye
to stare him down.
Then I may reach and touch
so many faces, all
with eyes made bright with grief
We beat the wall,
engrave our anger there,
the fury of many fists.
No longer secret war
cries out. Resist.
Before its too late
before the privileged men
find reasons to deny
what we have been,
open your minds and see,
open your souls and know
the message that our eyes
can’t help but show:
these are your eyes, unveiled,
these are your quickening years,
unransomed by your pain,
unbought by tears.
--Susan Snively
Used by permission
Emerging as a response to the continually spreading AIDS epidemic, The AIDS
Quilt Songbook debuted on June 4, 1992 in Lincoln Center’s Alice Tully Hall.
Bringing together eighteen different composers and several American poets, the
songs address HIV and AIDS, either in a direct way or metaphorically. William
Parker, a world renowned baritone, was responsible for commissioning
artists
for this compilation and sang these songs sharing the stage with Kurt Ollman,
William Sharp, and Sanford Sylvan. Although not used as anthems of AIDS
activism, these songs helped raise awareness and gain support for the activist
cause. Describing the compositions of the AIDS Quilt Songbook, Jeffrey Stock
explains, “They are variously mordant, bitter, jazzy, and plaintive, tonal and
atonal. Some offer hope and even humor” (1993: 6). The first song of the
songbook is titled “Fury” with music by Donald Wheelock and lyrics by poet Susan
Snively (AQS iii). Along with my personal analysis of the framing in this song,
I interviewed the poet to inquire how she came to write the song, and what she
intended its message to be. Through the interview, it was made clear that
although the song “Fury” can be interpreted as political, it was not written
with this intent in mind.
I started by questioning Susan Snively on how she would break down an analysis of her song, and soon found out that her intent was quite different then my interpretation. When I asked Snively what she identified as the problem or diagnosis she was referring to and who was to blame, she replied that there was none. She stated,
Poets don't write about "problems" in the same way that political writers do. This poem is not "about" a "problem": it is a response to, first, the imminent mortality of my friend Will Parker, and second, to the AIDS epidemic as it touched on particular people I either knew or imagined. As for blame, I didn't attach blame to anyone or any group, although there was plenty to go around. Poems that narrow themselves in that way aren't
very good (Snively 2006).
I continued by asking if she saw any solution to the problem identified in the song and her response was once again, no. “I neither see a solution to the problem, except for a possible cure, nor do I think that lyrics to a song can solve anything. That doesn't mean that songs and poems should not be written--the world would be a poorer, darker place without them” (Snively 2006). When I questioned about her what element of the song would motivate people to act and join the cause, she simply stated, people should do it “because it’s the right thing to do. Because people die” (Snively 2006). She further went on to explain that she did not write the song with a specific audience in mind, but the audience would be anyone who is willing to listen.
Although not intentionally placed in the song, it is possible to clearly interpret a diagnosis or problem in “Fury.” As the first stanza explains through its lyrics, “I look death in the face. I have no choice,” (Wheelock and Snvely 1994) the problem is the inevitable death which people with AIDS are facing everyday, in the midst of a society who is indifferent. In the second stanza, the poet personifies death and talks about its “hollow eye and frown” (Wheelock and Snively 1994) staring upon her. In the third stanza, the poet refers to “so many faces, all with eyes made bright with grief” (Wheelock and Snively 1994). This phrase can be interpreted to represent the faces of friends and loved ones who are grieving as they watch someone they love slowly succumb to AIDS and its devastating effects. Also notable is the line: “We beat the wall, engrave our anger there, the fury of many fists” (Wheelock and Snively 1994). In this sentence, the poet is referring to the anger which people with AIDS and their loved ones feel because the people in power were not paying attention to them. When looking for who is to blame for this problem, the song is not explicitly clear. However, by examining the following phrase, one interpretation can be made: “before the privileged men find reasons to deny what we have been” (Wheelock and Snively 1994) In this case, as was explained by Susan Snively, the privileged men can be seen as “those who can categorize those with AIDS as somehow less than worth their attention. They have power, but don't use it for any real good” (Snively 2006). Throughout these stanzas, it is made clear that this inevitable death people with AIDS must face is the main problem, although an underlying problem would also be that nothing is being done to assist these people.
Even though the poet did not write the lyrics with intent to propose a prognosis or solution to the problem, the song can be analyzed to pinpoint two possible solutions. In the third stanza, the poet writes, “No longer secret war cries out. Resist” (Wheelock and Snively 1994). This line seems to represent a possible solution for the people suffering with AIDS directly: they must not sit back and let themselves go unnoticed and simply succumb to the effects of the disease. Instead, this line implies they should fight back by making people aware of the disease and fighting to live the best life they can while still dealing with the disease. As far as a solution for the outsiders not directly affected by AIDS, one can be viewed in the sixth stanza. Here the poet urges, “Open your mind and see, open your souls and know the message that our eyes can’t help but show” (Wheelock and Snively 1994). The use of the collective words “your eyes” and “your soul” in comparison with the phrase “our eyes” seems to signal that Snively is referring to outsiders who are unaware or refuse to acknowledge the issue of AIDS. If they would only look around and open their hearts, there could be sympathy and help for these people who are suffering and facing death.
Motivation in this song is clearly established throughout the song although it may not have been placed there intentionally. Firstly, the main motivation for people to act is that people with AIDS are facing an unavoidable death, as can be seen in the phrase, “I look death in the face. I have no choice” (Wheelock and Snively 1994). However I feel a stronger motivation is laid out in the final stanza where the poet seems to stress how fortunate people without AIDS are. Unlike those dealing with AIDS, she refers to outsiders saying, “These are your eyes, unveiled, these are your quickening years, unransomed by your pain, unbought by tears”(Wheelock and Snively 1994). Once again, the use of the word “your” seems to signal that she is referring to those on the outside, who are not experiencing AIDS. Through this final stanza, it seems the poet is attempting to elicit sympathy for those suffering from AIDS by highlighting all of the problems outsiders do not have to deal with. By establishing the inevitability of death for those with AIDS and outlining the accompanying struggles, the motivation is clearly seen.
Certain musical
aspects of the song also help strengthen the interpretation of the diagnosis,
prognosis and motivation. As described by Stock, “The cycle beings with ‘Fury,’
in which trembling Schubertian harmonies create an atmosphere at once urgent and
timeless. To rage at death because it leaves one no choice is to express what is
universal about the AIDS crisis” (1993: 6). When listening to a recording of
“Fury” you notice the use of repetition in certain portions. For example, the
first stanza is repeated again at the end of the piece with special emphasis on
the lines, “I look death in the face. I have no choice,” (Wheelock and Snively
1994) thus strengthening the diagnosis of the piece: the inevitability of
death. The technique of repetition is also used to reinforce the prognosis as
is evident with the phrase “Resist” (Wheelock and Snively 1994) which is sung
four times, each with increasing intensity. In addition, as is pointed out by
Keith Ward, a reviewer of the recording, “‘Fury’ by Donald Wheelock uses an
incessant, pulsing rhythm. Strategically placed dissonances give the sense of
imminence” (1998:353). Again, this musical structure helps to emphasize the
diagnosis and also taps into the motivational realm by getting people to really
feel the emotions associated with the problem.
Overall, the song can be interpreted by the listener to find
elements of a political song, even though the song was not written to be
political. The listener can clearly identify the main problem, the imminence of
death and a lack of attention from people who can help. As the song goes on, the
prognosis of raising awareness and having people, and in the case of AIDS
activism, the government, do something about the problem. Lastly, and perhaps
the most easy to identify is the motivation to do something about the problem.
This motivation is tied in very closely with the diagnosis, that people are
facing death. If this is not enough of a motivation, lines describing the
struggles of people with AIDS help elicit sympathy and thus are another
motivating factor. Musically, the sounds of the song help reinforce the framing
of the song mostly through the use of repetition and rhythmic or harmonic
patterns. Although this song was not used as an anthem for AIDS activism, it
was an important tool in helping to spread the word about the reality and
severity of the AIDS epidemic. As is evident through the study of music as used
in social movements, some songs are used within the movement to promote
collective identity and rally groups together for a cause, while other songs are
used to spread the message outward. In either case, music plays a very important
role in social movements by helping to communicate a specific message.
References
The AIDS Quilt Songbook. 1993. New York: Boosey & Hawkes, Inc.
Snively, Susan. 2006. Personal Correspondence. 2 December.
Stock, Jeffrey. 1993. Liner Notes. The AIDS Quilt Songbook: Songs by William
Bolcom, Elizabeth Brown, Carl Byron, Chris DeBlasio, Ricky Ian Gordon, John
Harbison, Fred Hersch, Lee Hoiby, David Krakauer, Annea Lockwood, John Musto,
Ned Rorem, Donald St. Pierre, Richard Thomas, Donald Wheelock. Harmonia Mundi
France 907602, 1994.
Ward, Keith. 1998. Recording review of The AIDS Quilt Songbook: Songs by William
Bolcom, Elizabeth Brown, Carl Byron, Chris DeBlasio, Ricky Ian Gordon, John
Harbison, Fred Hersch, Lee Hoiby, David Krakauer, Annea Lockwood, John Musto,
Ned Rorem, Donald St. Pierre, Richard Thomas, Donald Wheelock. Harmonia Mundi
France 907602, 1994. From American Music 16(3): 351-357.
Wheelock, Donald and Susan Snively (Composer and Lyricist). (1994). Fury [Sound
Recording.] In The AIDS Quilt Songbook: Songs by William
Bolcom, Elizabeth Brown, Carl Byron, Chris DeBlasio, Ricky Ian Gordon, John
Harbison, Fred Hersch, Lee Hoiby, David Krakauer, Annea Lockwood, John
Musto, Ned Rorem, Donald St. Pierre, Richard Thomas, Donald Wheelock.
Los Angeles: Harmonia Mundi France.