Until you hear the score

In “Metropolis,” the actors all seem puppets

until you hear the score of Gottfried Huppertz,

performed first in the Friedrichstadtpalast,

and, if you want to understand it, must

be heard again to get to their gestalt.


Without our music, we live in a cult,

and do not understand the moves we’ve made

because we’ve never heard it. We will fade

before our music, waiting for a mu-

sicologist to find it and review

our lives together with what had been missing

while we had silently been reminiscing

unaccompanied by it.

We’ll stop

when we can understand our own Metrop-

olis with music like the film of Lang,

and go out with a chorus, not a bang,

believing in a miracle that seemed

to happen, hearing music as we dreamed.

About the Author
Gershon Hepner is a poet who has written over 25,000 poems on subjects ranging from music to literature, politics to Torah. He grew up in England and moved to Los Angeles in 1976. Using his varied interests and experiences, he has authored dozens of papers in medical and academic journals, and authored "Legal Friction: Law, Narrative, and Identity Politics in Biblical Israel." He can be reached at gershonhepner@gmail.com.