I have no idea why or how Miss Katrina Munn, a graduate of Julliard School of Music with a degree in organ performance, came to spend most of her adult life teaching piano to kids in central, rural Vermont. She was my first piano teacher, from age five (or was it four?) until age eleven. I spent forty-five minutes per week with her in the piano studio attached to her small apartment. While many of her students found her intimidating, she reminded me a bit of my imperious but loving paternal grandmother. But she could have been the Wicked Witch of the West and I would have put up with it, because piano was my life.
Music is in my genes from both sides of the family. I don’t remember when my older brother started piano lessons, but some of my earliest memories involved my mother forcing him to practice his lessons as well as my jealousy that he was getting to do something I wasn’t old enough for yet. He was an indifferent musician—he could play the notes but had no love of it. I was a different matter. I recognized the piano as a soul mate as soon as I started lessons. As I got old enough for school, I would rush to our old upright as soon as I got home and play until my mother forced me to leave the bench for supper. The piano was my best friend.
Miss Munn recognized immediately that she had a “true believer” on her hands and allowed me to progress through the standard lesson books at a much faster pace than most. She was a member of a national organization of certified piano instructors, meaning that once per year representatives of this group would visit, listen to her students play assigned pieces and sight-read new ones, grading the students (and presumably Miss Munn) in any number of categories. I remember the two judges as Kafkaesque, austere, unsmiling, unmoving, seated primly next to each other about five feet away on the left side of the piano, silently making checks occasionally on a sheet in front of them. Come to think of it, they looked andacted pretty much as I figured God looked and acted all of the time.
Miss Munn shared the judges’ scores with her students once she received them from the central authorities in the mail. I recall as if it were yesterday when she reported to me the results of my first judging: Twelve positive checks and zero negative checks. I was thrilled—I had set a goal of being perfect, and I had been. Miss Munn’s comments on my perfect score, however, were unexpected. She said, I’m very pleased with the number of positives, but I’m concerned that you had no negatives. What? What could be better than perfection? She continued by pointing out that my zero negative score was reflective, not of perfection, but of a strong sense of perfectionism that is not desirable in an aspiring pianist (or anywhere else, I suspect). By being so concerned with not making any mistakes, I had closed off the possibility of additional positive checks only available if one is willing to take risks. I don’t remember exactly how I processed Miss Munn’s unexpected reaction to my perfect score, but I must have taken it to heart. My score on next year’s judging was twenty-seven positive checks, three negative checks. At least at the piano, I’d begun to learn that growth and excellence begin with embracing imperfection.
In The Sovereignty of Good, Iris Murdoch asks “What of the command ‘Be ye therefore perfect?’ Would it not be more sensible to say ‘Be ye therefore slightly improved?’” Three decades earlier, she built this tension into one of her novels. The central structural pillars of The Bell are the dueling Sunday sermons of James and Michael, rivals for the leadership of a lay religious community. James, on the one hand, is convinced that moral perfection is well within any human being’s reach—we know what is required of us and just need to stop thinking and do it. Perfection is measured by the external standard given to us by God through Scripture and tradition. We fail to be perfect through weakness of will. Throughout the novel James is also revealed as judgmental and self-righteous, rigidly insensitive to the nuances and realities of other people.
Michael, on the other hand, preaches that moral behavior begins with an honest assessment of one’s limitations and imperfections—“one must perform the lower act which one can manage and sustain: not the higher act which one bungles.” Although Michael’s position is far more humane and embraceable than James’, his life is a series of continual missteps for which he seeks and expects immediate forgiveness from himself and others. When, due to his moral blundering, a member of the community commits suicide, Michael himself becomes suicidal as he realizes that his lazy acceptance of his own limitations has poisoned his relationships and caused him to blindly miss the importance of continually striving for perfection. Contentment with “slight improvement” has become identical with self-absorption and stagnation.
So there’s the problem. How am I to embrace imperfection while at the same time avoiding complacency? My best clue, which I borrow from Jeanne who is far wiser than I on these matters, has to do with “the law of love.” Perfection is a deadly burden as long as it is a standard of judgment. But through the lens of love, it becomes something different. As long as my image of perfection is avoiding judgment by making no mistakes, I live in fear and am doomed to failure. Miss Munn, however, wanted to show me that the growth inspired by taking risks and making mistakes without fear is directed toward a perfection of a very different sort. The wise Abbess in The Bell tells Michael toward the end of the book that “The idea of perfection moves, and possibly changes, us because it inspires love in the part of us that is most worthy.” As First John tells us (once again in King James English), “perfect love casteth out fear.”