To teach or not to teach

While Shakespeare’s 450th birthday sparked fresh debate about whether or not we should be teaching the Bard in American high schools, audiences in the US and abroad are now being treated to new and amazing venues for witnessing Shakespeare’s plays.

The new Chicago Shakepeare theater is configurable to allow for all manner of immersive theatrical experiences. And a replica Globe Theatre has popped up in Melbourne. These intimate spaces get audiences up close with the actors, the way Shakespeare’s plays were meant to be. And that’s important in a time when serious questions are being asked about the relevance of Shakespeare’s plays to today’s world.

Although I’m on the side of English teachers who insist on including Shakespeare in the curriculum, I also understand the point of frustrated teachers who feel the effort is too great. Reading even a single play can be time consuming and disheartening. The language is dense. The tragedies are depressing. I get it. But to those teachers, I say, take your kids on a field trip. Get them into a local theater. Or if that’s not in your budget, insist they perform scenes in a classroom, on a stage, on a basketball court. Have them film each other with selfie sticks as they read. Play it back and talk about the emotional experience of the plays: where they got it right and where they got it wrong.

The most important thing to remember when teaching Shakespeare is what theaters-goers around the world already know: it’s not about being able to read Shakespeare. It’s about connecting with the visual-emotional experience of the plays through sight and sound, motion and light and energy. Shakespeare is meant to be an oral, auditory experience. And the satisfaction of “getting” Shakespeare–even a single scene–is its own reward.

So take your students to the theater in Chicago or LA. Or create your own pop-up theater at school.

7 steps to understanding Shakespeare

Reading Shakespeare isn’t for everyone. Even some English teachers have argued that Shakespeare should be cut from the curriculum for a variety of reasons, including that it’s just plain hard. It can be as tough as reading a foreign language. As someone who’s had to defend Shakespeare against this argument (mostly recently with my plumber) I always say, stick with it. Understanding Shakespeare is a process. You’re not going to check it off your bucket list in an afternoon–at least not if comprehension is your goal. And if you’re really committed to understanding Shakespeare, let an expert help translate it into a language you can comprehend.

Here’s the advice I gave my recently retired plumber

1. First, select a category of Shakespearean drama. If you love a happy ending, pick a comedy (not from the list of problem plays). If you’re an English-history buff, try one of the histories. The tragedies have history too of the Roman variety. The tragedies also have romance, intrigue, and backstabbing (literal backstabbing as well as metaphorical). Decide what you’re up for to narrow down your options.

2. Next, pick a play you think you’ll like from within your selected category. Read the blurbs, the dust covers, the Wikipedia plot summaries, and homework help websites. Knowing what you’re getting into is always a good starting point. And picking a play to read is just like selecting any other book. You probably don’t blindly pluck a book off the shelf because someone told you that you should. Go through whatever selection criteria you typically use to pick a book from a recommended author.TIP: Pick a play that has a movie version available or that’s coming soon to a theater near you. A quick search on IMBD can tell you what’s on streaming video.

3. Then, buy a scholarly edition. Get one with scene summaries and footnotes. Nobody–I mean nobody–reads Shakespeare without help. Even the experts double check the scene summaries and reread the editor’s notes. These notes are there to translate words, lines, and entire scenes.

4. Read the play.

5. Watch the movie.

6. Read the play (again).

7. Rinse and repeat steps 5-6 until you’ve really got it.

Theater is meant to be a visual medium. Reading is too, but in a very different way. When reading, you translate the words on the page into images in your head. But when the language is written in late 16th century verse, your brain is already translating it from Renaissance English to contemporary English or American-English which can be like a whole n’other language.

Which is why it’s not cheating to let the experts do the translating for you.

Sassy, drunk, and acting

If “fat, drunk, and stupid is not way to go through life” then how about sassy, drunk, and performing Shakespeare? The newest twist on Shakespeare sees his plays being performed drunk on stage at the A.R.T.’s experimental space at the Oberon in Harvard Square, Cambridge, MA and in the midst of a crowded bar in Minneapolis, MN. Sh*tfaced Shakespeare and BARd Shakes popped up in college towns with just the right audiences for such events–trendy students and alumni hoping to stay trendy.

While audiences and actors imbibe, actors are forced to improvise around fellow players’ and waitstaff’s missed cues and quite literal missteps. The unpredictability may bear a greater resemblance to improv than traditionally scripted theater. And that’s okay. In Shakespeare’s day, actors spent very little time rehearsing and were heckled by audiences holding standing-room-only tickets. So who’s to say what’s traditional when it comes to Shakespeare?

You may not gain a deeper understanding of a Shakespearean comedy acted by drunken performers. Then again, maybe you will. The raw emotion that shines out of these uninhibited players could be a learning experience for all involved. It may not be up to par with Dean Vernon Wermer’s academic expectations. But it’s an A+ in my book.

Shakespeare on TV: renewed, canceled, and streaming

As TNT gives up on its “punk rock-esque 16th century London” interpretation of young Will Shakespeare one can’t help wondering if they should have tried something more in the style of a campy Young Frankenstein or played it straight like Young Sherlock Holmes.

Meanwhile the BBC has renewed its series featuring a midlife Shakespeare, Upstart Crow. The Beeb went for an historically accurate, anxiety-ridden Shakespeare, “wracked with worry and self-doubt.” No wonder it’s playing well. How could audiences not fall in love with a version of the most prolific and popular writer of his day (and many days that followed) playing the part of a social-climbing misfit? An overwrought Shakespeare feels right in these troubled times.

For those seeking meaning in the plays–a way to relate to them in our electronic age, the best show by far was and is Slings and Arrows. Available on DVD or streaming on Amazon, you don’t have to take my word for it; read the 241 five-star reviews. This Canadian series, featuring Paul Gross, interweaves the action of the plays (one play per six-episode season) with the lives of the actors performing the plays in this fictitious acting troupe. It’s smart and sexy and reminiscent of Tom Stoppard’s Shakespeare in Love without Stoppard’s rowdy humor.

Which begs the question, why hasn’t Tom Stoppard attempted an HBO series of Shakespeare in Love? For that matter, why hasn’t Joss Whedon extended his excellent adaptation of Much Ado About Nothing (featuring his Firefly cast) to the other plays? Heck, he could do the next one Firefly-style. Why not an Eastern-Western, sci-fi version of Twelfth Night, opening with a spaceship crashing in a foreign land? Or an Avengers, Wonder Woman-style, female-driven, superhero version of As You Like It?

Any accessible on-screen performance that makes the plays relatable gets a thumbs up from this viewer.

A Medieval Hero for Modern Times (full length)

As the drama of the 2016 US Presidential election drags on, I keep thinking about Margaret of Anjou, a little-known but key player in William Shakespeare’s history plays 1 Henry VI, 2 Henry VI, 3 Henry VI, and Richard III. She was the real-life wife of England’s King Henry VI during the most violent chapters of the War of the Roses. Margaret governed with her husband and tried to protect him as his cousins and uncles vied for control over Henry and the throne. Her untraditional role made her unpopular among the court and the general public, but earned her great trust among t her husband’s closest friends and allies. When the king’s cousin, the Duke of York, raised an army and attempted to overthrow Henry, it was Margaret who rallied the troops and led the opposition straight into battle.

Margaret interfered in politics, and that’s why the Duke of York hated her and called her unwomanly. York called her a “she-wolf” and labeled her “inhuman” when she thwarted his claim to the throne. He told her she shouldn’t be so proud, because she wasn’t that pretty. He called her a shameless slut, not because he believed the rumors that she was cheating on Henry, but because that’s what men do when women challenge their power.

Female academics studying these Shakespearean works have piled on with the damnation of Margaret, calling her  a crazy old hussy, a shrew and someone whose  behavior was worse than Lady Macbeth. Another woman scholar called Margaret “the most relentlessly sustained symbol in Shakespeare of all that is unnatural” and labeled her vile, ruthless, and “totally evil.” Margaret’s own biographer, Helen Maurer, called her a “bitch” on page one of her text. Esteemed historian Antonia Fraser called her “savage” and “cruel” because she did not “obey the orders and laws of men.”

Let’s be clear, Margaret was not a nice woman. But who requires that a man who desires to lead be a nice guy? And who needs nice when the fate of the country is on the line? Why bother with nice when your life, your husband’s life, and your child’s life hang in the balance of every political fight? Every one of the women who criticize Margaret overlooks the reality of her situation. Margaret’s only so-called crime was being a woman in a man’s job.

Ultimately, Margaret lost her battle, and her son and husband were murdered by their enemies. These men banished her to France as they claimed their victory. In real life, that’s where Margaret’s story ended. But not Shakespeare’s Margaret. Shakespeare’s Margaret stuck it out in England to continue resisting the men who knocked her down. She stuck it out because she had sadness and anger on her side. She did it because she had the energy to keep going. She did it because it was the right thing to do.

With nothing left to lose, Shakespeare’s Margaret takes on Richard III, the biggest chauvinist in the Shakespearean canon. We all know Richard murders his nephews, the two princes in the Tower, kills off his competition for the throne, and destroys his detractors and later the allies who question his methods. That’s just how he treats the men in the play. By Act 4, they seem like the lucky ones; they’re all dead. It’s the women who are forced to deal with him with nothing but their wits and their words to defend themselves and their daughters.

Richard seduces the grieving widow of a man he has murdered and then mocks her for accepting him. After she dies under questionable circumstances, Richard proposes marriage to his teenage niece. Her mother hurls insults at Richard and blows off the proposal. But he doesn’t get it. He assumes she has accepted and calls her a “shallow, changing woman.” And when his mother tries to tell him what she really thinks of him, he tells his band to play louder to drown out her criticisms.

It is Margaret who comes to the rescue of these women, despite their criticisms of her. Even though the women know Richard is a woman-hating monster, they first side with the men, attacking Margaret for making a fuss. Later, as they slowly realize they are all adrift in the same boat—silenced, marginalized, bereft of the men who were meant to defend them—they beg Margaret to show them how to defend themselves. Margaret teaches the women to undermine the personification of misogyny who takes over their country by force. She teaches them to hammer him relentlessly for his grotesque crimes. She teaches them to resist his dubious charms. She teaches them to persist.

Unfortunately, few people—even avid theatre-goers—are aware Margaret exists in Richard III. She was a complex character and therefore a problem for actors, producers, and audiences who didn’t want anyone on stage who challenged tyrannical Richard’s lust for power. Think about that for a second. We would rather watch a version of the play in which Richard is a victim of fate than put a woman on stage who directly challenges him. Alternatively, the A-list men who played Richard over the years couldn’t handle sharing the limelight with a sassy woman who made them look bad. However they rationalized it, Margaret was cut out of two hundred years of productions of Richard III.

When Margaret disappeared, her scenes with the other women in the play ceased to make sense, and the women’s roles were stripped until they were nearly powerless. Which is too bad, because an uncut Richard III is a showcase of powerful women who see through Richard’s shiny veneer while the men in the play suck up to him.

Margaret teaches us what we should already know—what all women should already know. We must challenge the criticisms sexist men level at powerful, complex women. And we must challenge the narrative of the women who buy into their crap. Because those same women can and will find themselves adrift and powerless with no one to defend them. We must stand strong together.

This has been my personal narrative over the last year and half of this election cycle. I’ve drawn inspiration from the notion that Mrs. Clinton was my modern-day Margaret—the Shakespeare version who fights tooth and nail for what she believes is right. Mrs. Clinton persisted through every sexist cross-examination, all the name calling, and the put-downs. I was with her through it all and felt inspired once again during her heartfelt concession speech the morning after Election Day. But now I’m not so sure I’ve got this right.

On a wet November evening over a glass of wine, my husband asked our neighbor what stage of post-election grief she was in. “Bargaining,” she said, without hesitation. The recount had been funded and she was hoping for the best without any real hope for a change in the outcome. That’s when I realized I was stuck in Stage 2: Anger. My husband was confused when I tried to articulate this. He said, “You’ve been angry all along.” He was right, but this was different. I had been angry at Donald Trump, fake news, Russian hacking, and the email scandal. I was angry at myself because I didn’t understand how this could happen. I still don’t. I don’t understand why anyone would knowingly support a candidate who offers vague promises of making a great country better by putting people down: Mexicans, women, Muslims, scientists. The list is lengthy and absurd, and you’ve heard it before.

No one ever got ahead in this world by holding others back. No life was ever improved by telling others how to live. And that’s I have been proud to be a member of the party that stands for things, not against things. It was the party that stood for affirmative action, women’s rights, voting rights, the middle class. It stood for hope and change—real change. I voted for Mrs. Clinton not just because she was my party’s candidate, and not just because she was our first woman candidate. I voted for her to lead, because I believed she would be a good leader. But now I’m not so sure.

The recount is progressing under Jill Stein’s leadership. The House Democrats are in disarray under Nancy Pelosi. The entire Democratic Party feels like it’s imploding. And Mrs. Clinton is where exactly? When did the party of hope and change become the party of wait and see, the party of hope for the best? When did Secretary Clinton decide that not making a fuss was the best course of action? Why is she letting someone else fight her battles? Did I miss a memo?

I’m angry because I feel lost, and I have no idea where to direct my energies. I’m ready to fight, but I don’t know where the battle lines are drawn. I don’t know how to get to the front. And I don’t know who to follow.

Mrs. Clinton should be leading the charge. With nothing left to lose, she should roar. She should sound her barbaric yawp over the roofs of the world until every vote is counted accurately. She should be standing up and shouting down her detractors. She should be making the biggest fuss of her life. She should get tough, and she should get nasty.

If she does, I will follow. And I suspect millions of Americans will too. She can still be my Margaret. She can be our Margaret. But we can’t follow someone who isn’t leading.

A class half full

Class is canceled this semester, and I am not taking it well. After several semesters of agonizing, I am one class (and a thesis) away from completing my ALM in English Lit at Harvard Extension. Although it would seem a good thing to have a break from tearing my hair out, I look forward to it each semester. There’s something about being overloaded by a thing I care so much about, rather than all the little details of life, like making a living, that I care so little about. And now, with the end so near in sight, there’s no more questioning why I am doing this or if it’s the best way to spend my time. I’m close to the finish line. In a word, it would be stupid not to finish.

Not that you asked but, for the record, this program is good for me for several reasons (not in any particular order)

  • It gives me something to do outside of work—an intellectual pursuit that makes me feel accomplished.
  • I’ve always wanted to do a graduate program in English Lit; I can check it off my bucket list.
  • Exercising my communication skills in a formal, structured environment has to be a good thing for work and life.
  • I get to write.

The intellectual pursuit part is a big deal for me. I’ve always been a big reader. And I’ve always wanted to read the big stuff, you know, the classics, the Great Books. But without guidance, that stuff can be as dry as a pile of leaves in November. It’s difficult to appreciate without understanding why the works and their authors were important historically or culturally. Let’s face it, if every author wrote like Oscar Wilde in The Importance of Being Earnest kids would beg for books like they were candy bars. Even Jane Austen can seem frivolous—or worse, pointless—if you don’t get the irony. (As an aside, this is probably why we read Austen in high school. Teenagers intuit irony.)

So I was devastated when I discovered, a week before the semester started, that the class I excitedly rushed to register for didn’t meet my last course requirement. I asked for an exception to be made, and it was denied. It was denied by the dean of the program whom I admire greatly. She is an incredible instructor and has a depth and breadth of English language literature that stretches the limits of credulity. And she’s an energetic and engaging person. Unfortunately, due to this and past interactions, I’m convinced she hates me. (In reality, she probably couldn’t pick me out of a crowd, but because that causes me all sorts of agita for other reasons, let’s just not go there.)

At the end of the day, I understand that exceptions are not made (despite my very firm belief that the class I inquired about was not really an exception, but rather an oversight, i.e., it met the definition of courses that should count but somehow didn’t land on the approved list). I also understand and sympathize with the dean’s competing priorities. She has way too much on her plate to bother with my stuff. However, the following is an excerpt (with typos corrected below) from an email to a friend the night after my Big Disagreement with her two years ago. I recognize that I should bring this up with her. Doing it here is a bit cowardly on my part. But I have to acknowledge that she is the Scholar; I am the Student. There is no way I can win this argument with her.

Asking the big questions is important. I was disappointed when I stayed after class last night to ask my Milton professor a question. I asked what was probably a pretty simple question: if man is God’s second screw up (Satan and his fallen minions being screw up #1) then isn’t there precedence for questioning God’s omnipotence? We laughed and debated. And then I was dismissed. She said matter-of-factly, “we are not meant to question God.” That was the end of the conversation.

I cried when I got home (mostly from my low blood sugar mood swing) but because I was looking for something else. I wanted her to say “We understand from Milton’s writing that he was in fact questioning God and the whole purpose for writing Paradise Lost was to understand that Milton was questioning God. He followed his own path and wrote it down for us to follow or not. Milton’s contemporaries would have come to the same conclusion he did; they would never have questioned God’s power. On the other hand, how do we know if the text continues to be relevant if we don’t question it? This is one of many points Milton makes: an informed decision requires understanding both sides of an argument. How can one choose good if one has never known evil? And once you’ve known evil, you cannot un-know it. This is what that makes Milton’s Paradise Lost so complex. Milton himself chose to remain obedient to God. But he made that decision based on knowledge that Adam and Eve did not have. Milton experienced hardship and loss in his own life. He was not able to un-know the things he knew. And in the end, he chose to place his faith in God because he wanted and needed to believe that something better waited for him in the afterlife (duh, he was old and blind and in a kind of exile when he wrote Paradise Lost). Nevertheless, it is important to understand Milton’s position AND for each of us to come to our own conclusions.” That’s what I wish she had said.

I am posting this now because I have to concede that the possibility of her holding a grudge against me is highly improbable. It’s time for me to let go of the grudge I am holding against her.

Frankie says RELAX

After a bit of counseling from Mr Snarky and Best Tech Guy, I am doing something this semester that I never thought I would do. I am taking an online-only course. That’s right kids; I’m taking a class over the internet. I know people do this kind of thing every day, but because I am the biggest snob you know, it makes me feel like I am taking a correspondence course. Someone is going to send me a certificate in Shorthand at the end of the semester. Except not really. Because I am not taking the class for credit. I’m auditing it. I’m auditing an online-only course. Egads. What has the world come to?

It is an online-only course offered by Marjorie Garber (or rather, by Professor Garber’s TA). For those of you not rubbing shoulders amongst the name-dropping set in Cambridge, she is one of the two big Shakespeare thinkers at Harvard. Translation: she is one of the leading Shakespeare scholars of our time. And I am taking her class. Sort of. I am sort of taking her class.

I am taking her class because I am considering writing my dissertation on Shakespeare, and I thought it would be amazing to follow her course in my “spare time.” [Those quotation marks were inserted ironically.] The class is called Shakespeare and Modernity. It’s about how every age has considered and interpreted Shakespeare in a way that is relevant to its time. And so far, it’s delightful. She is delightful. I say that with a hint of surprise because I am always skeptical about a professor who lists her own book as required reading. But I have to admit, after two lectures and 20 pages, I am hooked. She had me at the Introduction. She says, “it is at least as true that the Shakespeare we create is a Shakespeare that has, to a certain extent, created us” (Shakespeare After All, 2005, page 3).

This particular quote may not seem earth shattering to some, but it struck a chord with me as I’ve been thinking a lot about the people in our lives who shape who we are. I’ve been thinking very specifically about my Sicilian grandmother. My feelings for my Gram have changed as I’ve grown up. The ways she has influenced me have also changed as I’ve grown. As I go through the varying stages of my life, I look back with a different perspective. Each new perspective lends itself to a new set of feelings that influence my behavior differently.

Hold on, let’s go back to Shakespeare. The quote—the quote means that Shakespeare, as our ancestor, told every story there was to tell. He wrote it all down: love and hate, war and peace, vengeance and forgiveness. His is the lens through which we interpret our own lives. And we do that because he came first. Something is Shakespearean because he wrote about it; he wrote about everything. Ergo, everything about our lives is Shakespearean. I have no idea what people did before Shakespeare explained the world to them. But I do know that, because of his ability to describe—not to judge, simply to describe—just about everything, Shakespeare has become a guide for life, in particular for understanding how simple deeds can have complex results.

On a personal level, this same argument is made when we talk about nature versus nurture, being the product of our childhoods or a product of our experiences, and when we talk about being like or unlike family members. We talk about being like or unlike our parents in particular, or in my case, a grandparent who was a major player in my life when I was little. My Gram was a dynamic woman. Tiny in figure, but enormously influential, there was never any doubt that she was in charge of all of our lives. We lived and died by her words. Her approval was like rain in the desert.

I’ve been thinking about her for many reasons that I will get to eventually. The connection to Shakespeare (I swear there is one) is this idea of reinterpreting our notions of a story, our remembrance of it, and its meaning as we grow older. Romeo and Juliet was my fav when I was a teenager (big surprise). As a woman approaching middle age, (ugh, that hurt to write) I am more inclined to pick up Antony and Cleopatra. The stories are the same at their core. One is about a teenage love affair and the other is about a middle age love affair. The latter is more relevant to me now as I am older. Because, let’s face it, teenagers are silly and because, let’s face it, I’m getting older.

We grow older and as we do, stories from our past take on different meanings. Shakespeare and my grandmother mean different things to me now as a grown up. I analyze Shakespeare for class. I analyze my Gram because, well, because I can’t stop myself. Cut to the action.

I heard from a friend the other day who chatted me up over instant messenger. He wanted to know why I haven’t written in so long. Mostly I’ve been too busy or too tired. I’ve been too busy because of work and too tired because of family drama, and not the good kind. My aunt died. It’s sort of a long and complicated story. Suffice it to say, she wasn’t related by blood. In fact, she hadn’t been married to my uncle for years. We hadn’t kept in touch since their divorce. But I was devastated. She was dear to me when I was a little girl. And I was gutted by her death. In my sorrow, I began to recollect and analyze every memory that floated, ambled, or forced its way into my head. A lot of those memories included my grandmother.

My Gram wasn’t nice to my aunt when she and my uncle split up. I loved them both and didn’t understand why they were getting divorced. I understood what a divorce was. I was a tween when they split; my parents split up years before. But no one explained to me why they were breaking up. No one let me call her up and ask her. My grandmother, in typical fashion, made up a story that placed all the blame on my aunt and spared my uncle any responsibility. Don’t get me wrong; I adore my uncle. He is wonderful in every way that matters to me. But as a grown-up person with a husband of my own and experiences and opinions of my own, I think it’s safe to say he’s not perfect. He musta’ done something wrong. But my Gram was having none of that.

She wasn’t just old school; she was old world. Her beliefs about marriage and parenthood were downright archaic. She took care of la familia. Had she been born a man, she coulda’ out godfathered Tony Soprano and Don Corleone. The Simpsons’ episode, The Italian Bob, I swear it was written about her. The part where Marge is translating, and she exclaims (something like), “Wait! Vendetta means…vendetta!” I have often said of my Gram, She invented spite. Seriously, they even do Ridi Pagliacci in the middle of the episode. (My maiden name is Pagliaccio for those of you new to the show.) Okay, the Simpsons thing may be a stretch. Let me put it this way, there was a gentleman that lived down the block called Old Man Genovese. (Yes, that Genovese family.) And even he was scared of my grandmother. He respected my grandmother, and he steered clear of her.

What did she mean to me, her oldest grandchild by 10 years and the first girl in her family? I remember thinking she was awesome. I craved her approval like a tulip needs the sun. I wanted to please her. I spent every summer before high school with her and the summer after my freshman year of college. We were very close, although in retrospect I didn’t know a lot about her life. She spoke Sicilian when she wanted to hide things from me, which was frequently. But that didn’t matter. I didn’t understand the words, but I intuited her power over her husband and three sons. She had an unmistakably commanding presence.

Then I remembered that she was kind of awful to me. She was awful to my mom. She was awful to my aunt. I could do no right in her eyes. Nothing I did was good enough. I didn’t try hard enough in school. I wasn’t a good enough daughter to my father. It was never enough.

And then I remembered when she died. I remembered all the people. Hundreds of strangers turned up during visiting hours at the funeral home. Scores of people sought out any member of her family—her husband, her sons, and her grandchildren—to tell us how she helped them, how she changed their lives, what she meant to them, how kind she was. They described a woman I did not know.

When my friend IMed me the other day, we got on the subject of social networking. He said he hadn’t spent any time on Facebook recently because all of his friends’ posts made him feel sick. He was “sick of wasting time on the site” and tired of “mentally filter[ing] out ‘stuff that doesn’t matter’.” And then he said, “I was sick of using up space in my brain accidentally remembering crap.” And I thought, Whoa, is that possible? Can we “accidentally remember” stuff? Do we have the capacity for remembering things that simply do not matter, things that are wholly unimportant? What the heck does it all mean?

When my aunt died, I asked myself a lot of questions about the things I remembered, what they all meant and why it mattered. Disconnected from the action, the memories have become stories. These are the same memories and the same stories I’ve been telling myself for years. But now, they mean something different to me.

Mashing up the drama, tragedy, family memories, and reinterpreting Shakespeare, I have come to the conclusion that my Gram was not the person she claimed to be. Rather, she was not the person she encouraged me—her first grandchild, her first granddaughter, the daughter she never had—to be. She told me to always defer to my grandfather, my father, and my husband in my thoughts and actions. Replaying the same old stories in my head today, I realize that she had an archaic view of the world that was not aligned with the life she was living. She was more in charge of her life, her family, and her career than any person I have ever known. She did not defer to anyone about anything ever. She never said, I don’t know. And she sure as shit never asked, What do you want to do? She scoffed at feminists, preached deference to men, and ruled like a queen. And she was not just any queen, she was a Shakespearean queen. She was as generous in her love as she was in her scorn. A terror in her own right, she fought tooth and nail to protect her family and her loved ones. Like Margaret of Anjou, the oft overlooked dowager queen in Richard III, she did not hesitate to wage a war when her son was slighted after all other parties had negotiated peace. There were days when I thought vengeance was her job. Somehow she balanced that with her real job; she was a pre-Kindergarten teacher. She was a nursery school teacher with a mouth like a sailor. She “taught me” how to swear, and I am damn good at it too. She was a complex contradiction, and we loved her despite that fact, in spite of it, because of it.

Looking back on it all now, I like to think that, also like old Queen Margaret, the inheritors of her title have learned how to take care of their families with more poise and grace than she managed. We are the better for having learned from her actions rather than her words, tempering those actions to exceed modern expectations of what women can and should be. She never did as she was told, and neither will we. In fact, I’m rather proud of the fact that I am choosing not to do as she told me, but rather as she did. And I can do it all with better balance because of the battles she fought for us. I can take care of my family without trampling over other people. I can be generous without being a tyrant. I cannot however write a blog post without being verbose, but we can’t be good at everything.

As I reexamine my relationship with my Gram from this new perspective, I realize that it’s time to let it all go. From now on, I will tell stories about her without wondering what it all means. The stories are the same. The stories will mean different things to different people at different times. But the lessons are the same. Life, as in Shakespeare, doesn’t require judgment. It’s like they say in Grosse Point Blank, “Some people say forgive and forget. Nah, I don’t know. I say forget about forgiving and just accept.”

I can accept that my Gram was incredibly generous and an incredible bitch without judging her. Just as I can write my dissertation on the tempestuous Margaret of Anjou and have fun doing it.

Postscript

In honor of Mr Snarky’s birthday (which is tomorrow), I threw a dinner party Saturday night. We were expecting a lot of guests and needed extra place settings. For the first time since my grandfather died three years ago, I unpacked a box full of china that came from my grandparents’ house. As I was setting out one of the plates, I snapped a picture and sent it to my dad, asking if he recognized it. He replied a few hours later that he had never seen it before.

The next 48 hours were spent fretting and wondering at the immaculate condition of the plates, feeling passed over as the recipient of plates no one ever used, and agonizing over the slight. (My Gram had a tendency to buy dishes from the secondhand store for us to throw out at New Years, in a sort of out-with-the-old ritual. I considered these might be for such a purpose.) My random outbursts punctuated our weekend until Mr Snarky suggested that I make up a story about the plates that made me happy.

In the end, I didn’t have to make up a story. This morning, Dad sent me another note. It said, “Getting to where I remember better from when I was a kid than from an adult. When we were kids, we used to run thru the house back-to-front playing whatever. The flooring in the dining room was wood, different than the concrete flooring in the back. So, we used to shake the whole room, most especially the china cabinet, when we ran thru. Mom used to holler at us that we were a gang of _____ (insert Italian word that I forgot meaning roughnecks, cowboys, vandals, barbarians, or some such) who were going to break all her precious stuff. I do remember her taking out a china plate one time and saying that she had been saving it for a daughter.  I remember because I suggested that she trade Joe for a daughter, and then not pay so much attention to what me and Elliot were doing.”

For those of you who have never rubbed shoulders with these characters, this many not seem like much. Translation: The story and the plates were a gift.

“To thine own self be true,” or be yourself for Halloween

Rather than getting dressed up and walking around the neighborhood, blending with children of all ages, reveling in their delights, and soaking up vicarious thrills and chills, I was stuck in class last night. Monday is a school night for me and ditching class for Halloween is a no-no. Mostly because I’m a big nerd, but also because…well, really just because I’m a big nerd.

Driving home from Harvard Square, I passed several Trick-or-Treaters wandering aimlessly in a sugary daze. Their costumes were great. Silly, obvious, creative, esoteric, nonsensical, and beautiful. It reminded me of a class from a few weeks back. We were discussing Shakespeare (as one is wont to do in a class on Shakespeare). Specifically, we were discussing the concept of character in Shakespeare.

Characters, in Shakespeare’s time, were letters on a page. They were symbols and hieroglyphs. The Bard used the word character as a simile for handwriting. There was no concept of character as we know it, as a person, persona, or personality. There were plays, and there were parts. And there were actors to act them. It’s like that great scene stealing moment in Shakespeare in Love (yes, I am going to make a goofy but apropos pop culture reference) when Ben Afflect (yes, really, Ben Affleck) struts into the theatre and demands, “What is the play, and what is my part?” Plays and parts. “All the world’s a stage and all the men and women merely players.” (Shakespeare said that in As You Like It, Act II, Scene 7.)

Halloween is about parts and playing and costumes. That reminded me of a recent chat with a friend about her daughter playing dress up. We reminisced about our own childhood dress-up days. I remembered walking around in my mother’s high heels, pretending to strut in front of her tall mirror while throwing shawls over my shoulder and wrapping scarves around my neck.

And then we talked about my friend’s new volunteer position, the first formal work she’s done since having two kids. We talked about how strange it was for her to get dressed to go to the opening event in her official capacity. She wanted to make a good impression, one that screamed, “I’m not just a stay-at-home mom! I belong here!” She needed to look smart and artsy, professional but not boring, memorable for the right reasons. I could relate. Every morning I think, Who am I going to be today: artsy, professional, fun, silly, serious, an eclectic combination of those characteristics, or will jeans and a sweater do?

My friend and I talked as most of us talk about our jobs and our lives, our personalities and our roles in terms of the clothes we wear. We claim to put on different hats. They say, The clothes make the man. Dress for the job you want. We don costumes every day. Those costumes reflect our characters. For some people, this is a simple decision: same costume, different day. For others of us, the costume changes with a mood, our plans, with the weather. Some of us dress for whatever role is most important to us on a given day. With so many varying roles to choose from—sister, daughter, friend, neighbor, niece, wing-woman, wife, partner, consultant, designer, godmother, confidante, pal, athlete, scholar, professional—the changes in costume can be more dramatic. Each of these characters has its own wants and needs and ways of expressing itself, making these roles tough to balance in the best of times.

In tough times, when the push and pull of competing roles gets overwhelming, it’s helpful to have a sturdy shoulder to, hmmm, not cry on exactly, but rest on. I took advantage of a friend’s shoulder a few months back. (It was a four funerals and a wedding kind of summer.) The Shoulder I chose was very supportive. It allowed me to play my Needy Friend, Seeking Advice role. As the need passed, I shrugged off the empathy on offer. Summer turned to fall. The weather changed. My wardrobe changed, and so did my attitude. School started anew. When The Shoulder suggested (the very same evening of the lecture on character) that my stress was due to a “situation” that needed to be “resolved” so I could fix the “fragmented aspects” of my life, I realized suddenly that there was nothing to fret over. I thanked The Shoulder for his kindness and explained that I was okay. Better than okay, in fact. I was good. I wasn’t Humpty Dumpty. I didn’t need horses or men or glue to put me back together again. Because nothing was broken. Each role we play is a part of us. I can change my costume and still be me. I bet you can too.

I said to The Shoulder, perhaps it’s best to think of life this way. We are all men and women of parts. The parts are what make us whole.