4.48 Psychosis
by Sarah Kane
Fourth Monkey Theatre Company
6th-17th March, 7.45pm (with 2 matinee performances on Sunday 11th)
Theatro Technis, Crowndale Road, Camden NW1 1TT
Regarded by many as playwright Sarah Kane's suicide note, 4.48 Psychosis is a visceral and controversial play that documents the ongoing war within a young woman's psyche. While its subject matter – depression, suicide, identity, the failings of The System – has made it a favourite amongst drama school ingĂ©nues for the past decade, it has also been the source of heavy debate. Critics and supporters alike fail to separate the piece from its author. This is understandable; Kane committed suicide before the play was even staged, thereby inextricably linking herself to the text.
And if Sarah Kane was so mentally unstable, how could she write such a well-crafted and theatrical script? Even if it was written in the 1 hour and 12 minutes of lucidity she described, beginning at the eponymous time of 4.48, how was she sane enough to know that she was "sane" in that period? What with the fragmented nature of the play itself and the whirlwind of opinions surrounding it, Fourth Monkey have their work cut out with this adaptation.
Thankfully, their 4.48 rises to the challenge. With no fewer than 21 actresses, director Steve Green (also the artistic director of the company) assaults the senses from the get-go. A minutes-long silence, as 6 of the women stand mute on stage, is loaded with the promise of a storm of physicality, which it delivers. The girls writhe, roll, dance, swing, pose like pin-ups, clown around and, in one scene, implore the audience with arms outstretched, Kane's lines divided and tossed between them all the while. Here, the Doctor figure is split into what appears to be the various types of therapy and technique that fail to help the tortured protagonist. Kane's account of a fragmented and confused mind becomes yet more fragmented and confused in the chaos of the performance.
If anything, the lone criticism here would be that there's perhaps too much chaos. Clinical depression is far less lively than this; while 4.48 is an undoubtedly angry play, anger doesn't always play at full blast. Kane even peppered her script with wry humour ("I just hope to God that death is the fucking end"), and her words come across as more weary than they sound here.
But that's a small complaint while the company is gleefully slapping your face – neatly reminding the audience how immersive an art form the theatre can be. In fact, it's in its very spectacle that Fourth Monkey's adaptation excels. Costume designer Zahra Mansouri uses the same fabric to convey 21 personalities, amplifying the theme that these are all characters stemming from a single source. Pablo Baz's lighting and Eleanor Field's set design form a perfect marriage, creating a platform of tiles that are seemingly illuminated by activity and mood. These elements make for a combustible mix, most notably in two bravura sequences: one sees each of the women taking turns announcing her medication and side effects to the whoops, cheers and boos of the others gathered around the stage; another, quieter moment sees a figure lighting up a path for the "protagonist" to follow as another figure stamps the tiles dark. Simple it may be, but it's also memorable and potent.
With so many adaptations of 4.48 around the world, Fourth Monkey's production stands proud as one worth watching. A fine showcase of the many, many talents in this exciting company.
Thursday, 8 March 2012
Review
Labels:
4.48 Psychosis,
Fourth Monkey,
mental health,
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Sarah Kane,
Theatro Technis
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Monday, 27 February 2012
Awnet
As my friends on the street would put it, this weekend I was "awn et" (no, I don't know which street either).
After a long drought from filming my own projects – the last of which was an accidental phone recording of my thumb in front of the Lucian Freud exhibit – on Saturday I shot my first narrative flick since 2010, followed by three more vids on Sunday.
Saturday's child was a piece that had been planned and delayed, then re-worked and delayed, until I finally forced myself to do the damn thing already. It's called MadBadSad, a shameless rip-off of Lisa Appignanesi's book title, and tells the (fragmented) story of a young woman who craves independence from her sister, yet may in fact be her own obstacle to that goal.
Sunday's videos were a very different project altogether... My dearest friend and collaborator Lola Orange came to me, back before the summer, in a time of leggings without skirts or shorts (we are still living in these dark times), with a concept that was soon developed into a mania between us. She was to do a series of videos, looking at different characters who have one thing in common: they perform, even only to themselves, in order to escape their mundane lives. The goal of the project was Feelgood, and this is the first instalment of Do Your Thing:
After a long drought from filming my own projects – the last of which was an accidental phone recording of my thumb in front of the Lucian Freud exhibit – on Saturday I shot my first narrative flick since 2010, followed by three more vids on Sunday.
Saturday's child was a piece that had been planned and delayed, then re-worked and delayed, until I finally forced myself to do the damn thing already. It's called MadBadSad, a shameless rip-off of Lisa Appignanesi's book title, and tells the (fragmented) story of a young woman who craves independence from her sister, yet may in fact be her own obstacle to that goal.
Eleanor Swift in MadBadSad (2012)
Sunday's videos were a very different project altogether... My dearest friend and collaborator Lola Orange came to me, back before the summer, in a time of leggings without skirts or shorts (we are still living in these dark times), with a concept that was soon developed into a mania between us. She was to do a series of videos, looking at different characters who have one thing in common: they perform, even only to themselves, in order to escape their mundane lives. The goal of the project was Feelgood, and this is the first instalment of Do Your Thing:
I can't even describe the pleasure of seeing something turn from a seed to a squirming embryo to a gnashing baby veloceraptor, especially after a for-serious long gestation period. Even the novel I was working on, that seemingly endless string of nights in the iMac light, is now a finished second draft and cruelly tossed aside for the next book.
Either I've decided to finally set things in motion, to make 2012 my Olympic year of productivity, or I've just prematurely jizzed my best and can expect another drought from March onwards. We shall, with bated breath, see.
Sunday, 5 February 2012
Peaceful
Labels:
old ladies in weird houses,
peaceful,
shameless rip-off of true story,
spooky,
The Off-Off-Off-Broadway Company,
theatre
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Clonie
I am afraid.
This thing I'm writing, this story, is going well. If I must use a Nintendo analogy (and clearly I must), I would say that I am like Mario in his Kart, once limping along with green shells but suddenly bashing my head against a floating glowing box to become possessed by a star that makes me lightning-quick and invincible.
Which is a wonder, considering the sheer volume of red shells aimed at my vehicle (OK, I'll stop now). Whether it's paranoia or genuine, David Icke levels of conspiracy, it seems with every new book I read that my ideas have been covered better already.
Alexander Maksik's You Deserve Nothing (2011) shows young people, inspired by a male teacher, re-evaluating their belief systems better than I ever could, while demonstrating its theme of the power of literature by wearing its Camus and Hamlet influences on its sleeve. What a feat! John Lanchester's staggering achievement, Capital (2012), picks apart London life in the economic crisis with humour and panache in ways I couldn't even attempt (so why am I?). The Bellwether Revivals (2012) by Benjamin Wood also raises issues of God and the Soul vs neurological responses – and its protagonist is called Oscar, same as mine!
How could I carry on writing something so similar to everything else on the market? I don't want to see any more shirtless vampires. Even if they do sparkle.
I always tell people how the ancient Greeks said everything that needed to be said about the human condition (whatever that is) 3,000 years ago, and I'm personally about as original as medical check-ups in porn, but there's a layer of arrogance and self-aggrandisement in all creative people that leads them to believe their work is valuable enough to reach a wide audience. Even the term "creative" is more likely to inspire sneers and eye-rolling than respect or worship. (But I do still hope to have groupies.)
In times like these, we must think: What Would Madonna Do? But then we'd see her latest video, which Avril Lavigne claims ripped off her own cheerleader aesthetic for Girlfriend, inspired by Gwen Stefani's Hollaback Girl, a reproduction of Toni Basil's Hey Mickey in the '80s, and we might look for other role models.
Then again, my ancient faves like Euripides and Aeschylus all reworked the same old stories, lifted from older, more Middle-Eastern stories, but thought to make incest a dramatic irony. Their stories may not have been original, but the execution was sublime. Maybe that's all we can aim for.
Add shirtless vampires to the crisis-of-faith-in-London-economic-crisis-2010-foster-mother-boyfriend-sadness mix? Perhaps.
I am hopeful.*
* Opening and closing lines shamelessly lifted from Robert C. O Brien's Z for Zachariah.
Tuesday, 10 January 2012
Style
Can something drown in style? I'm pretty sure that's how Jackie* would like to go; succumbing to a whirlpool of Tilda Swinton's Like This, as filmed by Sofia Coppola.
That last sentence, for instance: does it answer my initial question? As I near the completion of Novel #Whatever, I find myself haunted by an innocuous statement made by a colleague. "I think I'd find it hard," he said, "to sustain a style for the length of a whole book." And, I now realise, it was this dormant fear that kept me from finishing this goddamn masterpiece a year-and-a-half ago.
This was meant to be a freewheeling, fuck-you, who-cares, Beatnik-cum-Herzog, Tracy-Emin-stuffing-money-into-her-vadge story that I turned out to be far too anal to allow. Why do I have this constant need for self-imposed rules? Numbers must be digits in Character A's dialogue, but spelled out in Character B's; Character C must end all sentences with prepositions, while Character Y must have no less than 2 flashbacks involving Christian missionaries in Burma. To what purpose? Is there such a thing as past lives, and was I a truck-driver carrying nitroglycerin across South America?
I guess all the great stories I've read, all the brilliant films I've seen and the songs I've loved, have been layered. Even though the expression goes "style over substance," I'm of the opinion that substance is in the style. For example, a slim book speaks volumes to me; it means Concise, Economical, Waffle-free. Whereas a fat book says, Overbaked, Tiresome, Waffle-stacked-like-an-American-breakfast. (It's sentences like this that give me the cold sweats about my writing.)
Furthermore, so much detail can be garnered in the style of a piece. If a story is written in sparse prose, chances are it'll come across more fable-like, end up more haunting. A tale of a long, arduous journey might benefit from long, arduous sentences. Style has an effect on the reader's / viewer's / listener's perception of the essence of the piece.
If a girl in Shoreditch goes to great lengths to dress kooky, drowning herself in style with bangles and hoops and leggings and Scandinavian sweaters, it tells us something: she's desperate and trying to be edgy. The detail's in the style; the character assassination, the ammo, the truth.
And the fact that I'd write this long-ass blog entry about it only tells you what you probably knew: that I'm a big douche.
* Friend, sister, daughter, sister, daughter, sister, daughter, artist.
That last sentence, for instance: does it answer my initial question? As I near the completion of Novel #Whatever, I find myself haunted by an innocuous statement made by a colleague. "I think I'd find it hard," he said, "to sustain a style for the length of a whole book." And, I now realise, it was this dormant fear that kept me from finishing this goddamn masterpiece a year-and-a-half ago.
This was meant to be a freewheeling, fuck-you, who-cares, Beatnik-cum-Herzog, Tracy-Emin-stuffing-money-into-her-vadge story that I turned out to be far too anal to allow. Why do I have this constant need for self-imposed rules? Numbers must be digits in Character A's dialogue, but spelled out in Character B's; Character C must end all sentences with prepositions, while Character Y must have no less than 2 flashbacks involving Christian missionaries in Burma. To what purpose? Is there such a thing as past lives, and was I a truck-driver carrying nitroglycerin across South America?
I guess all the great stories I've read, all the brilliant films I've seen and the songs I've loved, have been layered. Even though the expression goes "style over substance," I'm of the opinion that substance is in the style. For example, a slim book speaks volumes to me; it means Concise, Economical, Waffle-free. Whereas a fat book says, Overbaked, Tiresome, Waffle-stacked-like-an-American-breakfast. (It's sentences like this that give me the cold sweats about my writing.)
Furthermore, so much detail can be garnered in the style of a piece. If a story is written in sparse prose, chances are it'll come across more fable-like, end up more haunting. A tale of a long, arduous journey might benefit from long, arduous sentences. Style has an effect on the reader's / viewer's / listener's perception of the essence of the piece.
If a girl in Shoreditch goes to great lengths to dress kooky, drowning herself in style with bangles and hoops and leggings and Scandinavian sweaters, it tells us something: she's desperate and trying to be edgy. The detail's in the style; the character assassination, the ammo, the truth.
And the fact that I'd write this long-ass blog entry about it only tells you what you probably knew: that I'm a big douche.
* Friend, sister, daughter, sister, daughter, sister, daughter, artist.
Friday, 30 December 2011
Picks
Even before I started working in a bookstore, I believed myself to be an authority on great reads to pimp.
So here's my summary of 2011; some old, some new, some yet to come...*
LOVED & PIMPED
So here's my summary of 2011; some old, some new, some yet to come...*
___________________________
LOVED & PIMPED
State of Wonder (Ann Patchett, 2011) – an unusual plot, elegantly written, made this a compelling read. An utter joy from start to finish.
UPDATE Pure (Andrew Miller, 2011) – this year's Costa winner was a rare treat; intelligent, absorbing, darkly funny, whose plot (about the creation of the Parisian catacombs) definitely stood out amongst the crowd.
A Visit from the Goon Squad (2010) / The Keep (2006) (both by Jennifer Egan) – the former is a dazzling, funny and profound reworking of Proust's In Search of Lost Time, while the latter is an inventive take on the Gothic tale. Both stayed with me long after I finished them.
UPDATE Pure (Andrew Miller, 2011) – this year's Costa winner was a rare treat; intelligent, absorbing, darkly funny, whose plot (about the creation of the Parisian catacombs) definitely stood out amongst the crowd.
A Visit from the Goon Squad (2010) / The Keep (2006) (both by Jennifer Egan) – the former is a dazzling, funny and profound reworking of Proust's In Search of Lost Time, while the latter is an inventive take on the Gothic tale. Both stayed with me long after I finished them.
The Sense of an Ending (Julian Barnes, 2011) – a writer's wet dream, every page of this poetic, funny and slightly dirty novel is a technical wonder. Its brevity made it all the more readable.
Childish Loves (Benjamin Markovits, 2011) – Markovits' third book about Byron is a startlingly clever FabergĂ© egg of a novel. By including Markovits himself, as well as a book within a book, it asks the question: how much do we actually know of an author solely through his work?The Convent (Panos Karnezis, 2010) – a brilliant, taut little story about the ways in which faith dictates a person's choices and, subsequently, their effect on others' lives.
The Sisters Brothers (Patrick deWitt, 2011) – a western that's by turns hilarious, poetic, violent and moving. An astonishing achievement by one of literature's most exciting new voices.
The Thousand Autumns of Jacob de Zuet (David Mitchell, 2010) – an exotic, literary thriller, masterfully executed.
Seven Houses in France (Bernando Atxaga, 2011) – a bitterly funny book about Europeans in the Congo. Like Conrad via Marquez and Greene.
Nightmare Alley (William Lindsay Gresham, 1946) – as tough and cynical as an old-school carnie, it's a shame this dark little gem has been so ignored. As fresh today as it was on its release.
Mysterious Skin (Scott Heim, 1996) – highly disturbing but beautiful.
Mysterious Skin (Scott Heim, 1996) – highly disturbing but beautiful.
English Passengers (Matthew Kneale, 2000) – a dark, brutal and utterly compelling satire about the English in Oceania. Unforgettable.
Headlong (Michael Frayn, 1999) – you read this with a mounting sense of doom yet enjoy every page. Fantastic fun!
Was (Geoff Ryman, 1993) – a dark take on the Oz story, this is a haunting love letter to lost childhood and a bygone America.
Was (Geoff Ryman, 1993) – a dark take on the Oz story, this is a haunting love letter to lost childhood and a bygone America.
Mark Twain: The Autobiography (101 years ago) – still working my way through it, but I thank Franzen and Aubergine** forever.
SHOULD'VE READ
Smut (Alan Bennett, 2011) – couldn't prioritise
Shantaram (Gregory David Roberts, 2003) – couldn't be arsed
Freedom (Jonathan Franzen, 2010) – still damaged by The Corrections
Freedom (Jonathan Franzen, 2010) – still damaged by The Corrections
House of the Hanged (Mark Mills, 2011) – still weary of Crime lit
Crooked Letter, Crooked Letter (Tom Franklin, 2010) – see above
Crooked Letter, Crooked Letter (Tom Franklin, 2010) – see above
Why Be Happy When You Can Be Normal? (Jeanette Winterson, 2011) – couldn't get around to it
The Cat's Table (Michael Ondaatje, 2011) – too many distractions
The Cat's Table (Michael Ondaatje, 2011) – too many distractions
Too Much Happiness (Alice Munro, 2010) – there's really no excuse now
NEXT UP
In the Orchard, the Swallows (Peter Hobbs, 2012) – I loved The Short Day Dying, and this latest novel is possessed of the same fable-like, haunting atmosphere. Beautiful.
In the Orchard, the Swallows (Peter Hobbs, 2012) – I loved The Short Day Dying, and this latest novel is possessed of the same fable-like, haunting atmosphere. Beautiful.
The Snow Child (Eowyn Ivey, 2012) – the Alaskan take on the classic Russian fairytale is as tough and pretty as the titular character.
The Lifeboat (Charlotte Rogan, 2012) – I'm only a couple of chapters in, but this seems like a cool little psychological drama.
The Light between Oceans (M. L. Stedman, 2012) – the unusual setting and moral greys of the plot made this hard to put down. An easy and enjoyable read, could be big.
Home (Toni Morrison, 2012) – CAN. NOT. WAIT.
The Comedians (Graham Greene, 1966) – Graham Greene wrote a book about Haiti and Papa Doc, and I only realised this 2 weeks ago? FML.
UPDATE A Perfectly Good Man (Patrick Gale, 2012) – a new book by a wonderful writer? Hell yes!
UPDATE The Art of Fielding (Chad Harbach, 2012) – strong early buzz.
UPDATE A Perfectly Good Man (Patrick Gale, 2012) – a new book by a wonderful writer? Hell yes!
UPDATE The Art of Fielding (Chad Harbach, 2012) – strong early buzz.
* I didn't mean to be so gimmicky and do this on New Year's Eve, it's just that I have nowhere to go and the idea struck me on the tube while a guy who looked about 12 was going on about his experimental drug use.
** Tasmanian double-act, specialising in avant-garde post-modernism by way of post-retro-futurism.
Labels:
2011,
books,
great reads,
literary hurrahs,
pimping,
review
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Sunday, 25 December 2011
Christmas
I don't think this story's going anywhere, so here, Merry Christmas.*
____________________________________
The Virgin Mother
The sun was like a peach in her
window on the morning her mother had roused her from sleep, whispering, “Mary…
Mary…” until her eyelids opened to the warmth. “Mary, you’re betrothed.” It was
a muted joy that glowed in the woman’s eyes – the happiness of a match for her
daughter eroded by the passing stages of her child’s life. They had arranged
for the girl to marry a man she’d known only in passing. An acquaintance of her
father’s, a good-hearted carpenter.
As she brushed invisible cobwebs
from her cheeks, a thought alighted on the girl, one that was neither
comforting nor chilling but sitting somewhere in-between: that there was always
something around the corner in your life, that there were days marked along
your personal path. The day you are born; the day you speak your first words;
the day your grandmother dies; the day you fall from the roof of the stables
and twist your ankle, so that the pain haunts your foot for the rest of your
life; the day you marry…
It was not something she could
put into words, but she could feel it in her marrow. This impending union was laden with importance. It made her veins run cold. Something was on its
way. Slowly, the girl dragged her body up, and went to the cistern for a
handful of water.
Mary wished to see the man to
whom she was promised. She took her father’s donkey with her to the market, and
kept her hand on its neck as they tramped side-by-side. When the carpenter’s
workshop approached – the sound of sawing and the dust it released filling her
body – she slowed her steps until the beast’s head was shielding hers. The
carpenter, Joseph, was older than she. He had a beard of short chestnut curls,
and a sharp straight nose. But the heavy lids of his eyes softened him, as did
the crow’s feet at their sides, and his overall effect was more fatherly than
fearful. Amongst a pile of wooden planks, which together formed two benches, he
crafted his trade. His long, harmless fingers shooed the dust from the wood.
They slid along the thing he was making, and tenderly rubbed, and moulded,
until chunks of tree began to take the shape of furniture. Passing men greeted
him and he smiled back, squinting in the sunlight. His workshop was open to the
street, as though to welcome friends and neighbours’ chatter rather than
custom.
Then, in a flicker of Mary’s
eyelashes, the scent of basil and sawdust gave way to the tang of leather. She
heard their sandals on the stones before she saw them: the Romans.
The girl thought it best to move,
not to appear a target for the soldiers’ wandering eyes. As she passed the two
men, wishing the donkey were blocking them rather than Joseph, one of the
soldiers met her glance. She started, and he turned promptly to his comrade.
She had noticed that soldier on previous occasions. His upright stance marked him out, proud as he was of the uniform that should have worn him down. All faces became familiar
in this town, this bowl out of which few ever thought to climb. Some who had tried
had only slid back down into it. This soldier, with his upturned chin, beheld
the Nazarenes as though he knew what their fates were. In a way, Mary supposed,
perhaps he did.
Maybe she would leave. Maybe
Joseph would take her out of Nazareth. Her parents had betrothed her to a man
who would treat her kindly. She was sure of it. It was but one step in the path
of life written for her to follow. But although his glance was brief, and
unthreatening, Mary knew in the instant their eyes met that the Roman would
prove the biggest turn in her life.
That night she imagined him as
she tried to sleep. She turned her head to the window, where his hand gripped
the stone. One by one, his limbs took shape in the ether. His arm, pulling up
his head, and his shoulders, then his chest, and his waist… The soldier who had
been trained to tear men apart, strip them into nothing more than meat. His
arms could break Joseph’s in half. His legs could shatter Joseph’s skull. The
carpenter’s heavy-lidded eyes, obliterated.
Those eyes had looked at her only
once that evening. Her parents had invited their future son-in-law to dinner.
They were eating the bread Mary had made, and he congratulated her on her
blessed fingers, which only brought thoughts of his own to her silent tongue,
before he turned away again and spoke with her father about the livestock and
the harvest.
Joseph would make a peaceful
husband. He would glance at her once, once in a while, and though his eyes were
of a grey as shocking as a thunderclap, his temperament was mellow as a stream.
The hazy soldier had made it over
her windowsill, and was advancing to her bed. Mary felt the moisture drain from
her mouth, the droplets of sweat gather at her hairline, her temples, and roll
down to the sheets where her legs shivered but her hands were numb. She inhaled
the invisible leather, the night, the starlight. Her body turned to gold.
“Go and fetch some water,” her
mother demanded one morning, “we’ll be needing it soon.” She could see the
light changing, she said; a sandstorm was on its way. Mary would have spoken,
but her mother had been proved right on several past occasions. The woman,
though godless, had formed a system of belief based on the notion that if she
felt something, it was sure to be. So Mary trudged to the well with her
father’s donkey, swaddled in thoughts of Joseph and his piety. She wondered if
the sight of a sandstorm would instil in him the fear of G-d; if it was, to the
humble carpenter, to her future husband, the equivalent of a flood or a swarm
of locusts.
But her thoughts were shot with
arrows for there, at the well, was the Roman soldier. He drank water from his
palm. Mary thought how much sweeter it tasted, water drunk from your own skin
as opposed to a cup.
A heartbeat later he saw her, and
straightened his back. It was a response that amused her, given that he tended
to carry himself taller than his height. There was a defiance in his chin and
puffed-out chest that only highlighted his stature; here was a grown man who
could not disguise the fact that he was barely taller than a young maiden.
Mary was aware of his lingering
gaze while she filled her jug with water. Flies swarmed around them, and she could
hear their buzzing, and the donkey shaking his head to rid himself of them, but
she could see nothing. Without her knowing it, the stones of the well had been
dyed a single shade of orange. The scent of the olive trees evanesced.
Sand-filled air had poured into the bowl of Nazareth to bury the creatures
great and small within it. The mountains around them had struggled to keep it
at bay.
A sandal on stone. The soldier’s
eyes were green.
The sky behind him had turned to
turmeric, and the mountains had eroded to dust. His lips had found their way
through the sand to her neck. His hands fought their way through her robe,
until both their dying skins pressed together in a shock of warmth. He pinned
her to the well, and all she could hear was his short breath, the slap of his
leather tassels, her gasp as he grabbed her feeble ankle, her sinful self
beneath this gauze of dirt, through which it seemed even G-d’s eyes could not
travel.
Mary went home with no water and
a broken jug. “I shouldn’t have sent you!” her mother cried. “Anything could
have happened.”
The next morning, panic swept
through the town like a surge of blood. A woman was being stoned. She had
managed to drag herself to the well, screaming for mercy to a deaf L-rd,
beneath a shower of cries – “Whore! Whore!” – with stones thumping against her
back and shoulders, and finally, against her head. Her fingers twitched as the
Nazarenes continued to dole out their punishment. It wasn’t enough that the
sinner die. She had to be ground to ashes.
Twelve days had passed before
Mary understood what was happening to her. There was no sign of her monthly
bleeding, and when she confided in her mother, drenched in the fear of trouble
to come, a flicker in the woman’s eyes confirmed it. “You’re with child, my child.”
Her mother said this as plainly as she might have said the sun was hot, and she
smiled that smile of hers – the one that hinted at further wickedness yet to
arise in the girl, whether Mary was aware of it or not.
Mary’s father, a descendant of
King David, was flushed with shame upon hearing of his daughter’s own. But he
was a soft-hearted man, and it only took a quiver in Mary’s voice to provoke
his tears. He embraced the girl, then suggested she be sent to her cousin
Elizabeth in Jerusalem, so that her time away might inspire in them an
explanation for Joseph. “What explanation? She was attacked!” her mother
insisted, and Mary listened. The story mushroomed in the air around her head,
glimmering, a memory of a story of a thing that had happened to a different
girl named Mary.
So clouded by her thoughts was
she that even Jerusalem, a place ten times the town Nazareth was, in the
company of her beloved relatives, was an event she only half-lived. For three
months, Mary swept, gathered olives and made bread. She obeyed Elizabeth’s
gentle instructions and greeted Zechariah in the same way every evening when he
returned from temple. Elizabeth was lit from within, and was beautiful despite
her age and crooked teeth. Zechariah moved as though his head were weighted
with coins, and although she wasn’t sure what she believed, Mary found his
words of G-d and angels comforting, if only because it was his raspy sweet
voice that spoke them. When she looked in her relatives’ eyes, however, she
found them to be mirrors; they cast back her abominable sin. But Elizabeth said
nothing. She patted her own growing belly, and spoke of the unborn children
that would grow up to be as close cousins as Mary and she.
On arriving back in Nazareth,
with no explanation for Joseph other than the truth – that she had lost her
senses in the sandstorm and the Roman had taken advantage of a weak young
virgin – Mary felt a sense of loss. A piece was missing, a piece of herself
that she could never recover. She tried not to look in the direction of the
well, and focussed instead on the activity of the market. Traders from other
towns and lands vied for attention. Their voices, their pottery, their
pomegranates, their bulgur, their sandalwood, their frankincense, their
blankets, all intermingled with the earthy odour of donkeys, and of camel hair
and dung.
She found Joseph in his workshop,
piecing together a table. She willed herself invisible for a while and simply
watched him, he oblivious and totally absorbed in his cause: the fitting together
of separate parts, cut from the same tree, reshaped to form a whole new entity.
“Joseph,” she croaked. And the
grey shock of his eyes was upon her.
With a hand on her stomach she confessed. The more of the
story she told, the more distant and unreal it felt. The soldier became less a
human being than a shadow. Although they whispered, shielded from view by the
stack of furniture Joseph had built for a wealthy client, Mary couldn’t help
flicking glances at the street. His attention, however, remained fixed on her.
He had never looked at her so much and, she knew, never would again.
When Mary finished her story,
Joseph leant against the damp wall, his hand resting on a table. “So in six
months,” he calculated.
“Yes.” It wasn’t a word but a
breath.
“That’s too little time to…”
He did not finish. The memory of
the woman at the well, with stones crushing her body, possessed Mary’s head
like a demon. It had ensnared Joseph as well, for he breathed deeply and spoke:
“The governor has requested I
register in Bethlehem. Tax collectors…”
But a man did not discuss
economics with his betrothed, so his words faded. Mary remained silent, knowing
this, and looked nowhere but at his sandal. One of his toenails was broken,
like the cracked surface of parched ground.
“We will go together,” Joseph
continued, “soon, and return after the baby is born. It’s the only solution.”
She wanted to thank him. She
wanted to spill the tears of her brimming heart at his feet, but she didn’t
dare.
“You have been blessed, Mary.”
That calm storm of his eyes. “G-d has smiled upon you.”
And, because it seemed the right
thing to say, she responded: “Glory be to G-d.”
On their way out of Nazareth,
Mary’s husband greeted every Roman soldier with narrowed eyes. The girl felt a
twinge of love at his protectiveness. But when Joseph absentmindedly placed his
hand on the donkey’s neck, unknowing that Mary’s hand was also there, and
flinched at the touch of her skin, the girl understood that only a miracle
could unite them as a family. Perhaps it would be different when the baby was
born. She prayed it would be a son; that she might in some way compensate
Joseph for the sacrifice he had made in marrying this virgin mother. And that
in time, her one moment’s mistake would be diminished.
She tried not to think about the
stoning, or the sinner’s family burying the pummelled and pulpy body. It
stirred the queasiness that grew beneath her robes. Yet she could almost hear
those mournful sobs, mingling with the whispers and the myrrh. She saw the back
of her husband’s head, his thin neck, and the space between his ribs and his
arm where she wished she could belong.
By nightfall, both Joseph and the
donkey struggled to walk. Nazareth was far behind them. Its surrounding
mountains had been cleared as though in a dream, several years in the distance
of the past. All she recalled of the solider now was the colour of his eyes.
Nothing more.
Her baby would be born in
Bethlehem. How could she have foreseen it? But there it was, written before she
had ever existed.
All around them now was desert,
and the multitude of stars in the sky. Mary looked for the brightest among
them, and prayed to it as though it were G-d Himself. May He know her sins and
forgive them. May He, in His infinite grace, turn a wayward girl into an honest,
compassionate woman. May all ages call her blessed. When they reach Bethlehem,
and the baby is born, may she cease to be Mary of Nazareth, and simply be this
good man’s wife, and this baby’s mother.
*But in case it does, © Polis Loizou, 2011
Labels:
Christmas story,
donkeys,
Nazareth,
roman soldiers,
the other danger of sandstorms,
Virgin Mary,
Virgin Mother
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