A drummer can look like he is boxing, fierce and quick and cruel, when he plays. Astonishingly, so can a bassist, his shoulders ducking now left, now right, around the luxurious wooden curves of his bass. In both cases the musicians appear to be locked in beautiful, immensely satisfying battle, not with each other, but with their own instruments.
A pianist can look like he is hardly doing anything at all, and yet his languid jabs and darts create a bridge of notes upon which you can, if you close your eyes, ascend.
The face of a tenor saxophonist can contort into such a mask, such a gloriously twisted grimace, that you would swear—if his lips were not pursed about a reed—he must be screaming.
Even if you can hear every step your neighbor makes, even if her laughter is clearly audible to you when she is on the phone, and even if she has on previous occasions mentioned the inability of the walls in this building to dampen the sounds of the lives of others, you do not remember to catch your own voice and hold it down when you are declaring great emotional truths to your husband or wailing about something or other, it’s always something or other, isn’t it. You simply speak, and then—catching the squeak of a footstep from above—wonder what you sound like.
You can love, quite dearly, people you have never met.