Friday, March 11, 2016

ONCE UPON A TIME...The Art of Storytelling in a Desperate World

Although the mind may be part of your target, the heart is the bull's-eye. 

The streets of Paris were alive, breathing and crawling with life.  The cherry trees were in bloom, sending a shower of their perfume down on all those who walked by; had they always been so fragrant?  So pink?  Bicycles jingled their bells as they flew by, and voices called out greetings to one anther.  Even strangers would smile back as you passed.  People were looking up at each other instead of hiding in the drawn up collars of their coats, eyes lowered and straight ahead.  They looked at you and nodded as if to say, "You are here.  Good for you!  I'm glad to see you are still here..." (When the Bird Sings, 381)


Stories:  Whether they are told over a campfire, or at bedside; out loud or in a diary; to a large crowd or within the emptiness of a quiet chamber, they have the power to affect and even change us.  From the beginning of time, before we even had written language, stories were told through pictures on cave walls.  They matter.  They define us--immortalize us and our brief moment in the sun on history's timeline.  They paint beautiful pictures of places we dream to visit, and those we will always yearn for.  They speak to us across time and country-- no boundaries or borders.  They open all the senses whether they are heard or read, seen or spoken.  They remind us of something we cannot explain but know is true...

How do we define a story?  What is it about them that seems to draw us in, no matter what culture, race, religion or socioeconomic status we are from?  I think the great power of the story is that they connect us; they remind us that no matter where we have been, what we have experienced, or where we are going, there is a purpose of some sort--a message worth sharing--and, low and behold, others have walked through these struggles before.
So...what makes someone a great storyteller?  We know them when we meet them, don't we?  My friend Larry Frost, a special forces operative who fought in Vietnam can tell a compelling story.  I remember one night around our dinner table, he told us the story of an encounter he and his men had in the jungle with an 800 pound tiger that had us frozen, forks suspended, hanging on his every word.  He didn't have any musical theme in the background, or impressive graphics and visuals, it was just his voice and his words; they held us completely captive.  My grandfather was another one. He would sit in his big chair in the living room of his farmhouse in Tomah, Wisconsin, and tell us stories about growing up in the depression, watching the young soldiers run drills at Fort McCoy near his farm in preparation to be shipped off for Europe to fight in WW2, and what my mom was like as a young girl growing up in a much simpler time.  So...is their ability somewhat defined by my relationship to them?  Perhaps, but I actually think it may be something more.

Storytelling is an art--much like painting, writing, dancing and singing or playing an instrument is.  It communicates something that transcends the experience, itself.  It speaks to our mind, of course, as we fill in the blanks with our interpretation and fill in visuals to run like a movie in our mind, but I think the quote at the top hits the nail on the head:  the figurative heart of the human is the real target; whether fiction or non, for pleasure or curiosity, the story has to reach into more than just the synapses of logical reasoning and thought.

I came across this very interesting article from Harvard Business Review.  It would seem good storytelling also crosses the lines of study disciplines!  It is entitled, "The Four Truths of the Storyteller."  Read it carefully, then respond:

1.  What ARE the four truths?
2.  Who are your favorite storytellers, and what is it that makes them so special?


Then, make a snack, grab your favorite refreshing beverage, and watch this story teller share her story.  At The Moth, storytelling is like theater.  :)  Ask yourself this question and then post your answer:  WHAT makes this woman's performance compelling?  


Cannot wait to hear in YOUR stories....






Saturday, February 27, 2016

THE ANSWER IS IN THE QUESTION

As many of you know, math has always been a difficult subject for me in school.  I just couldn't see things the way many students could when looking at an equation, and I cannot tell you how insecure and anxious that made me.  My father was brilliant at math; he had a masters in economics, for goodness sake!  I saw how easily he could add and subtract numbers in his head--big numbers--and even though he never made me feel foolish or showed frustration when he tried to help me with math, I felt like a failure.  What made matters worse, is that I had a math teacher in 6th grade who told me, "Well, math just isn't your area."  And so it goes.  I accepted it, much to my father's chagrin:  I was just not a "math person."

Then, I got to high school and met Mr. White, math department head, and, to my good fortune, my teacher for Algebra 2/Trigonometry.  He told me there is no such thing as a non-math person: everyone could learn and love math, it just might take a different method of instruction to get them there.  He offered to give me and a few other students help during 0 period and after school--whichever worked best.  I remember asking him, "You really think you can help me confidently find the answers to problems like these?"  and most of all, I remember his answer:  "I think I can help you learn to ask the right questions to confidently solve problems like these."

It really doesn't matter what the subject area; asking the right questions is the only way we get to the very best answers.  It is how new inventions are born, cures are discovered, and the trickiest of problems are solved.  So what is the secret, then?  Is there, in fact, an art or skill involved in developing the right questions?  We often reply to others, "That is a good question!" when we find ourselves confronted with a question that is difficult to answer.  So is that it then?  Is a good question characterized by being difficult to answer?

According to Vincent F. Hendricks, professor of formal philosophy and logic at The University of
Copenhagen in Denmark, the answer is "No, not necessarily."  He knows a thing or two about asking the right questions, and has plenty of guidance to offer.  "We can all ask, 'What's for dinner?' But we have to think carefully if we move up the hierarchy.  Do I want the answer to something specific or just an assessment?  You have to ask yourself that type of questions before you can ask a good question."  Henricks teaches that context is key.  As a whole, there are two types of questions you can ask and each of them are important depending on the answers you are specifically seeking.

Open questions are good if you want an answer that includes consideration and assessment, for example:  "What's so intriguing about a good detective story?"  The danger of asking open questions is that they can be too open.  For example, "What is the most important problem we must solve?"  A question like this is so open, we don't know how to answer, and it may create more problems than it solves!  What type of problem are we talking about?  Is it environmental, economic, political, scientific or personal?

Closed questions are good if you want a very clear answer, for example, "Can you ride a unicycle?" You can only answer this type of question very simply, in this case, "yes" or "no."  The danger with closed questions is that they often produce answers that make things seem simpler than they are in reality.  Hendricks suggests that if you want to become more informed, "A good question is not necessarily one you can answer "yes" or "no" to, but one where your answer depends on conditions or qualifications.  Open questions invite reflection, but they need a frame or a context to help us understand and focus on the specific issues that are needing our concentration.



Hendricks has developed three rules of asking good questions that are as follows:

1.  Frame the question- give it a context.  This is how you avoid talking at cross-purpose.
2.  Establish some agreed facts.  The more you agree about the framing of the question, the clearer your answer can be.
3.  Ask a short, clear, precise question to avoid ambiguity.  If any doubts arise over how to answer the question, you'll get a bad answer because you have asked a poorly formulated question.

So then, whether we are trying to solve a math problem in Trigonometry or a country-wide economic crisis, we must begin in the same place.  The best answers truly are already there waiting to be found in the carefully formulated best questions.

Click on the link here to read an article in Forbes Magazine about asking the right questions.  Tell me the single thing that stood out to you the most in that article.  Then, check out the "mystery puzzle below."  What three questions must you ask yourself in order to come up with the solution?  What is that solution?  I am interested in hearing your theories!

Forbes link:  http://www.forbes.com/sites/davidsturt/2013/10/18/are-you-asking-the-right-question/#189da4083d38


The Case of the Insured Painting

     Conrad Sleuth’s alarm clock and telephone rang at the same time.  He turned off the alarm and answered the phone.
     “This is Hilda Dean,” a young woman said.  “Someone broke into my house last night and stole a valuable painting.”
     Sleuth took her address, put on some clothes, and drove to her house.  She let him in, and he asked her to tell him exactly what had happened.
     “I was asleep,” she said, “When the howling wind woke me up.  I got up to close the window, and I thought I heard a noise downstairs.  When I got downstairs, I realized that the street light was out, and it was too dark to see anything.  So I lit a candle and walked out on the front steps.  Sure enough.  I saw a man running off.”
     “Then what did you do?” Sleuth asked.
      “I came back inside and looked things over,” she said.  “Nothing seemed to be missing, so I went back to bed.  Then, this morning, I noticed that a painting had been taken from the basement.”
     “Is the painting insured?” Sleuth asked.
     “Well, yes. But money will never replace it.”
     Have you called the police, Ms. Dean?”
     “No.  I’ll call them now.”
     “I’ll do it.” Sleuth said.  “While we’re waiting for them, you can decide whether you want to repeat your story to them – or tell them the truth.”

Why does Sleuth think Hilda Dean is lying?



Sunday, February 7, 2016

TO A GREAT MIND, NOTHING IS LITTLE...A Celebration of the Great Detective Stories

There are, of note, four distinct varieties of what we call "Pop-Culture" or light novels or stories:  The romance novel, the adventure novel, the mystery novel and the detective story.  These types may overlap somewhat in content from time to time, but although they may borrow devices, themes or appeals from one another, they follow the stylistic guidelines of and evolve within their own genre boundaries.

Of these four kinds of literary and screen entertainments, the detective story is the youngest and most complicated; the most difficult in construction and the most distinct.  It may seem, in one sense, to be an offshoot of the mystery novel, but upon closer inspection, this relationship is far more distant than the average reader imagines.  In order to understand the uniqueness of the detective story, we must first think like the protagonist detective, him or herself:  we must endeavor to determine the peculiar appeal of this genre to all classes of people...

It has been asserted that the answer is that the detective story belongs more to the category of riddles than mysteries: it is, when written well, a complicated and extended puzzle cast in fictional form, and resembles in structure and mechanism the cross-word puzzle. Think about it:  in each, there is a problem to be solved, and the solution depends entirely on the mental process of the reader or observer; the analysis and fitting together of apparently unrelated parts, and in some measure, educated guessing.  Each is supplied with a series of overlapping clues to guide the solver, and when these clues are snapped firmly into place, a solution may be achieved, and all the little details weave together nicely into a complete, interrelated and closely knitted fabric.

There is no more stimulating activity than that of the mind, and no more exciting adventure than that of the intellect.  Human beings enjoy solving riddles and puzzles; they have throughout the ages.  Because of this, the detective story has set its own standards, drawn its own rules, and advanced in its form and technique.  Its style is direct, simple, smooth and unencumbered rather than being one replete with descriptive passages, metaphors and word pictures.  The skill of a detective story's craftsmanship is revealed in the way all the clues: characterization, syntax, diction and plot fit together and somehow manage to reveal all for the reader and observer to discover.  There is a strict ethical course of conduct that must be followed by the detective novelist:  he/she must NEVER once deliberately fool the reader; he/she must succeed by ingenuity, alone.

As we are learning now, Edgar Allan Poe was the undisputed "Father" of the Detective Story, literally creating the template for all the detective fiction to follow.  Sir Arthur Conan Doyle, himself once said that "Poe was a model for all time."  In just three of his stories, Poe created the amateur detective (C. Auguste Dupine) and his narrator friend, the locked-room mystery, the eccentric amateur sleuth outwitting the police force, the "catalogue of minutia," the interview of the witnesses, the solving of a cold case that stumped the police, scattering of false clues by the murderer, and the concept of "ratiocination" (later explained by Sherlock Holmes as "observation and deduction.")  Other stories by Poe presented the notion of cryptic ciphers, surveillance, and the least-likely person theme (in one case, the narrator, himself is the murderer!)

Poe also began the tradition embraced by connoisseurs of crime fiction:  "The Rules of the Game."
 These rules state, among other things:
1.  The detective story must play fair (revealing all clues to the reader)
2.  The detective story must be readable.
Therefore, the true detective story, according to Poe, is like a game of chess played by the author and reader--an interaction in which clues are cleverly dropped, often in the disguise of underplayed narration, for the astute reader to catch and assemble.

All good detective stories have had for their protagonist a character of attractiveness and interest, of high and fascinating attainments, a man or woman at once human and unusual, colorful and gifted.   Many authors of the detective story, including Agatha Christie and Sir Arthur Conan Doyle, write their stories backwards, just to be sure to adhere to the rules of the game.  This way, they begin at the answer, and are sure to sprinkle the clues appropriately in the story, down to the beginning.  It is what I like to call "unravel writing," a writing that assures that the path will lead the reader to the correct deduction, IF he/she has paid close attention.

Poe's stories led to the development of such popular characters as Sherlock Holmes, Hercule Poirot Law and Order series.  Movies have been made, often adding in elements of humor, adventure and sometimes even romance to twist and turn the story even a bit further.  But the primary elements of interest remain the same:  Crime has always exerted a profound fascination over humanity, and the more serious the crime (a la Criminal Minds  or such macabre stories as The Red Dragon and Silence of the Lambs from the Hannibal Lecter series) the greater the appeal.  Murder, it appears, gives an added zest to the solution of the problem, and seems to render the satisfaction of the solution just so much the greater.  The reader or viewer feels no doubt that his/her efforts have achieved something worth while after the amount of mental energy he/she has had to expend.
(Agatha Christie) and more modern greats like Columbo, Magnum P.I., and Detective Briscoe, Goren, and Eames from the infamous (and my personal favorite)

Below, I have attached links to some of my favorite detectives set in scenes from their series and movies throughout the years.  Take a look: I hope you enjoy them, and I hope that you will share which ones you enjoyed the most and then some of your favorites, too!  As the great Detective Holmes once said:  "My mind rebels at stagnation; give me work!  Give me problems!"  

I've always loved a good intrigue...and as we begin our study of Poe, I hope you do, too!

 Hercule Poirot


 Columbo

 Magnum PI

Sherlock Holmes #1

 Sherlock Holmes #2



 Detectives Goren and Eames on Criminal Intent (Law and Order)

Monday, January 18, 2016

THE LANGUAGE OF PRESENCE


C.S. Lewis, one of my all time favorite human beings (whom I have never met, but feel I know) writes about a friend who was truly there for him when his beloved wife, Joy, died of cancer.  A renowned academic from Oxford University, Lewis had many friends and colleagues.  When she died, many were there for him, and all were, undoubtedly, well-meaning.  They visited and talked with him, offering them their condolences and words of understanding.  Those who shared his Christian faith offered him words of encouragement.  But it would seem, according to Lewis, all of these words, lovely and articulate as they may have been, left him empty.

It was a friend who stopped by his home one day several weeks after his wife's death, who truly sustained him.  He didn't say anything extraordinary or profound.  In fact, he didn't say anything at all, he just sat down beside Lewis while he grieved, not saying a word, just listening with him in the silence; filling the space with his presence, offering him his own human "being-ness."  No words of apology.  Not one offer of understanding and encouragement.  He just sat with him, bearing the heavy burden of loss in that room, feeling the emptiness with him, allowing the melancholy silence to encircle them both.

Lewis writes that this was the friend who truly understood--who was the blessing to him in his darkest hours.  The loneliness was terrifying, but this friend was there to feel it alongside him.  Two friends, separated by experience, the only sign of life their shared breathing in a room together. Lewis said that volumes were spoken by his friend in the quiet that day... they were, in essence, joined by the language of presence.

In his book entitled A Grief Observed, Lewis writes:  "Imagine a man in total darkness.  He thinks he
is in a cellar or dungeon.  Then there comes a sound.  He thinks it might be a sound from far off--waves or wind-blown trees or cattle half a mile away.  And if so, it proves he's not in a cellar, but free, in the open air. Or it may be a much smaller sound close at hand--a chuckle of laughter.  And it so, there is a friend just beside him in the dark."

I have experienced this quite precious phenomenon just a few times in my life, once, when I was just out of college, enduring what I thought would be the worst possible heartbreak of my life.  Nothing seemed like it would ever hold any joy for me ever again.  I had lost the love of my life, a young man who had been my best friend in high school, and my sweetheart for five years beyond, and now, it was over.  I didn't want to hear that I would love again, or that everything would be alright in time.  I didn't want to be told that what I was experiencing was nothing new, but the age old right of passage experienced by nearly every young woman at LEAST once in her life.  I certainly didn't want to hear that familiar adage: "This may be the first heart break, but it certainly won't be the last."

Words are powerful, there is no doubt.  They can help, heal, hinder and harm.  They can also really make you mad--often times when they come with good intentions.  But that day, my good friend and apartment mate Bryn came home from work, saw me crying quietly, and said nothing.  She went to the kitchen, poured two glasses of wine (I was 23 so it was okay!) sat one in front of me, and then sat down next to me with her glass.  She said nothing.  No "I'm sorry," or "That really sucks," or even "He'll be sorry one day." She just sat there next to me, with one arm around my shoulder drinking her wine, and letting me cry.  I'm not sure how long we were there, a half hour, or maybe two, but when I started to talk about the sorrow I felt, and how I couldn't imagine being happy, she just listened.  She held my hand and sometimes nodded in agreement, but she said NOTHING.  She just was.  She was there, like a priest, I guess, listening to me pour out my heart...waiting.   She seemed to understand that truth that sometimes when we try to comfort someone in their suffering, we belittle it, and that is something no one needs in their darkest of moments.

When I'd had enough, she just said, "Let's go out and see a movie.  I'll buy you some cheesecake."
 That was it.  One sentence.  Not much wisdom to be found there, but there was truly an ocean of comfort in her just being there.  Words I don't know how to say and meanings I cannot define were spoken in her presence.

We are human beings, not human doings.  Yet, in the fast-paced, hyper-drive demands of life, we don't act like it.  To be appreciated and honored by someone's mere presence is truly nothing short of a miracle.  We are.  We exist.  And more than that, we co-exist, and when words fail, or there are no words that work to comfort our grief and our pain, it is the presence of one we love that offers all the communication we need.  It's like its own separate language...one that is felt rather than heard.

When my father died, I remember coming home from the hospital, and suddenly finding myself unable to breathe.  His "gone-ness" was overwhelming me.  It felt like a wave was crashing over my head, over and over again, not allowing me a second to process what I had just lost that day.  I couldn't get my head above the water of grief.  It was too much.  I panicked and was hysterical.  I didn't know what to do. That man who had cared for me, taught me, carried me; the man who had so often been my strength and security was gone.  In a world that often seemed like a dark and bottomless void, he was the island. Now, where was my footing?  To whom could I go for that wise, sound, logical and loving guidance?

It was my husband this time who was there.  Somehow, he knew.  He had walked through losing his father, and he knew what I needed to hear more than anything:  Nothing.  He knew there were no words that could make this even remotely close to better.  He helped me up off the floor, took me over to sit, and he just held me and stroked my hair while I cried and shook.  It's not something I like to talk about or share, being so weak and completely vulnerable, but I remember feeling like more than I had ever read or heard in my entire life was being said in that moment.  It was almost as if through him, my father was reaching out to me.  His silence was my comfort--a lighthouse, if you will, reminding me that there was secure footing, and even though this would be one of the worst days of my life, I could still stand on solid ground with confidence.

What does this mean for you?  You are all very young, and I desperately hope that you have not yet experienced a sorrow that eats you alive and leaves you unable to breathe.  But if you have, well, maybe there is some bittersweet gift to be found in that.  Perhaps you are stronger--wiser--and more than that, you may one day find yourself in the role of C.S. Lewis's friend; understanding that when you find a loved one drowning in the darkness of despair, you cannot give them the "right words."  In fact, you won't offer words at all.  You will just be--sharing their air, drinking in the sadness and hopelessness right along with them.  And then they will understand how powerful we truly are, just in our existence, and how there is a wisdom and a truth in the silence.

In his article entitled The Art of Presence, Woods summarizes it perfectly:  "What seems to be needed
here is the art of presence--to perform tasks without trying to control or alter the elemental situation. Allow nature to take its course.  Grant the sufferers the dignity of their own process.  Let them define meaning.  Sit simply through moments of pain and uncomfortable darkness.  Be practical, mundane, simple and direct."

What is the language of presence to you?  How does it communicate with no words or sound? You don't have to share anything too personal if you don't wish, but this is a language class. There are more and sometimes better ways to speak than with words.  I would love to hear about yours...

There is a sweet music in the silence,
if you really listen,
closely,
carefully, 
deliberately,
you will hear....(Caraway, 2007)




Sunday, December 27, 2015

THE 25 LOVES OF THE SEASON


It's that time of year again where on the blog we take a moment to reflect on those extraordinary things, places, times and people we love most.

Last year, we made a list of our favorite things--twenty five favorites, to be exact.  This year, we will be a bit more detailed by answering to a specific list of favorites, beginning with those that relate to the holidays (my favorite time of year!)

Think of this post as yet another way to approach the so-called "New Year's Resolutions," which I personally detest because they usually focus on what we want to change about ourselves.  Not that I believe there is anything wrong with change, especially if it leads to true, positive character enhancement, but it is also important in today's often dark world to focus on the things for which we are grateful; those things that are, to our hearts, most beloved.

So....here we go.  Without further ado, it's time to be grateful and enlightened.  Here is the list of questions.  I have supplied you with my personal answers as an example.  You will take the same list and personalize it with your answers for your blog response.  I cannot wait to see all the wonderful items that make your list!

1.  Favorite holiday movie and/or performance:   That's easy.  My favorite movie is Christmas Carol, The Musical, featuring Kelsey Grammar, Jesse Martin, Jane Krakowski and Geraldine Chaplin.  It is followed closely by Miracle on 34th Street, the 1994 version.  My favorite holiday performance has always and will always be The Nutcracker Ballet.

2.  Favorite holiday song/music:  I have always been a fan of old English carols.  A few of the top are God Rest Ye Merry Gentlemen, What Child is This and Carol of the Bells.  It's not Christmas until these tunes permeate my home.  :)

3.  Favorite holiday tradition:  The Caraway Christmas Eve dinner, a traditional, Old English feast of
prime rib and homemade horseradish, Gwyn's creamiest mashed potatoes, roasted brussel sprouts and trifle for dessert! We start, however, in Paris, always, with French onion soup.

Caraway's Triple Chocolate
Peppermint Trifle



Gwyneth Hope at 4 yrs old
4. Favorite gift you've ever received for Christmas/Chanukah:  My daughter, Gwyneth Hope.  She was born Christmas Day, 2000.


Church Street, Surrey, England
5. Where would you spend your DREAM Christmas/holiday?  Surrey, the English countryside, beautiful scenery only a 40 min train ride from London!

6.  Favorite holiday symbol:  The nativity, followed  by the Christmas tree and real snow!

Moving outside of the holiday realm.....

7.  Favorite thing that you own (object, not person): besides my computer, it would have to be my special Romeo and Juliet wine glasses given to me especially by "Romeo's"  mother and created by his aunt.

8.  Favorite color:  Red.  The end.  Always has been, always will be.  It is the best color for everything.

9.  Favorite flower:  This one is tough because I have a three way tie:  red poppies,white roses, and gardenias.

10.  Favorite inspirational person, living or dead:  Jesus.


Normandy, France
11.  Favorite place in the world:  France.  Followed closely by Kauai.

12.  Favorite friend?  It is a tie between the two women I have known the longest (and they still love me!!).  Sherri Frost and Pauline Maranian.


13.  Favorite Celebrity crush?  As a child, it was Clark Gable.  (I loved Gone with the Wind)  Now, it has to be Adam Levine.  

14.  Favorite author/playwright or both:  Easy.  C.S. Lewis and William Shakespeare, respectively.

15.  Favorite non-holiday song:  This changes by the month.  Now, it is Hello, by Adele because of her epic voice.  https://www.youtube.com/watch?v=YQHsXMglC9A

16.  Favorite sport to watch and favorite sport to play:  Baseball, to watch (Come on!  I'm a true American!) and ice-skating to participate.  I used to be pretty darn good!

17.  Favorite pastime:  Writing.  Followed by traveling and going to the movies.


Vintage style in Oxford, England
Another favorite place!
18.  Favorite personal style:  Vintage/Classic/Ecclectic--if it is not timeless, it's not allowed in my closet.


The Bentley
19.  Favorite or dream car?  A classic 1940's Bentley, two-toned black and silver with customized red leather interior, complete with personal driver (I hate driving)

20.  Favorite Quote of all time:  This changes.  Right in this moment, it is:  "And now these three things remain: faith, hope and love, but the greatest of these is love." (1 Cor. 13:13)


Cheeses and wines of France
21.  Favorite Food:  French food.  I love it all. Especially escargot, all of their 400 national cheeses, wine and French onion soup.  The French appreciate REAL butter.  So do I!

22.  Favorite Season:  Winter followed closely by summer

23.  Favorite Era - If you had a time machine, you would travel to....  The 1940s or 20s.

24.  Favorite Occupation - When you grow up, you hope to be:  A famous writer

25.  Favorite non-holiday movie/play:  Schindler's List & Under the Tuscan Sun for movie, and right now, Finding Neverland and Romeo and Juliet for musical and regular plays.

Now, it's your turn!!  Have fun celebrating your favorite things, people, and places!!

Sunday, November 29, 2015

WRITING LOVE WELL


LOVE.   It's a many splendered thing, a fantasy, a hope.  It is patient and kind and keeps no track of wrongs.  It sees the best, always.  Whether you believe it can be found at first sight, or that is is slow and graceful to bloom, it can change you forever.  It burns in our hearts like fire and cools like the summer rain.  It is the one perfect thing we have in this world....

"Oh, she doth teach the torches to burn bright!  Beauty too rich for use, for earth too dear.  The measure done, I'll watch her place of stand, and, touching hers, make blessed my rude hand.  Did my heart love till now?  Forswear it sight!  For I ne'er saw true beauty until this night" (Romeo, Romeo and Juliet).   

"You have bewitched me, body and soul, and I love...I love...I love you, and never wish to be parted from you from this day forth"  (Mr. Darcy, Pride and Prejudice).


"I almost wish we were butterflies, and lived but three summer days; three such days with you, I could fill with more delight than fifty common years could ever contain" (John Keats, Love Letters to Fanny Brawne).

"A kiss, when all is told, what is it?  An oath taken a little closer, a promise more exact.  A wish that longs to be confirmed.  A kiss is a secret which takes the lips for the ear, a moment of infinity...a way of breathing in a little of the heart
and tasting a little of the soul..." (Cyrano from Cyrano de'Bergerac).

Let's talk about romance.

Love is blind, they tell us.  But just how blind?  Blind enough, apparently, to ignore the fact that so many of those tales we hold up as iconic love stories are overflowing with murder, betrayal and abandonment.  Think about it:  all those magnificent weepies about impossibly beautiful love turned out to be just that:  impossible.  There's Titanic, Camelot, Gone with the Wind, Casablanca, Cyrano de Bergerac and my favorite, Romeo and Juliet.  That's really the oldest and weepiest of them all, isn't it?  A pair of wildly smitten teenagers.  Feuding families.  Angry friends.  No good can possibly come of that.  And it doesn't.  By the end of the play, six people are dead, including the two lovers, a priest is shamed and two powerful families are consumed with grief.

Never mind.  We still think of it as a great love story.  And even after 400 years, we can't keep away from it.  The same is true of the classic we are currently reading, Rostand's Cyrano de Bergerac, which in many ways, is just as iconic.  I think it's due to several reasons really.  First, because the first part of the story, when the two young teens fall in love, and when Cyrano is first able to boldly declare his love for Roxanne under the disguise of night and the guise of another identity, we hope the outcome of of the story will change, somehow.  Love like that is something everyone knows or longs for.  Secondly, that rush of love...that hope that transcends the desperation of our time, well, these are things we just can't get out of our head, nor can we get enough of.

There's always a new way to tell the story and always a new audience for it.  These are characters that everyone understands.  Romeo and Juliet and Cyrano are rare stories where different generations can find something quite personal.  We want something our parents just cannot understand, and we want it with our whole soul.  We lose our courage to go after what we really want most because of our own personal insecurities and doubts, mixed with the cruel words of others in our childhood, which still  have the power to haunt us.  This is what makes them classics.  This is what makes their themes universal.

Finally, there is the writing, itself.  Though in my experience there is little evidence to the contrary, we, as ladies hope beyond hope that somewhere out there is a boy who can sweep us off our feet with a well turned verse of a deep and boundless love.   Something magical, beautiful, and extraordinary.  Somehow, his words will make us something brighter, and give us a love and romance that is as eternal as the stories penned so long ago by the masters of love verse.

No matter how we spin it, these universal themes and platitudes mean nothing if they aren't written well...if the words don't make our heart skip a beat...if they don't make us hold our breath in longing and wonder.  Just as great works of art begin with the color and brushstroke, great love stories start with the words woven masterfully onto the blank page.

Now that we've established that, it's time to do some reading!  The two links here provide what are considered the best Love Poems and greatest Love Letters of all time.

1.  Look through them, and tell me your favorites and why.
2.  Then, choose one poem to read in its entirety and give me your analysis of it.  What makes it one of the greatest?

Love is one of the great mysteries of life...it is a little kiss of the angels here on earth that, whether you are a die hard Neo-Romanticist or dedicated Realist, makes life a little sweeter...a little more worth the effort.

It is "the canvas furnished by nature and embroidered by imagination,"  and the madness of it is "the greatest of heaven's blessings."  (Voltaire and Plato, respectively).

http://www.poemofquotes.com/articles/greatest-love-poems.php


Wednesday, November 11, 2015

A QUESTION OF HONOR: The Responsibility of the Media in Our Culture

Over the past few weeks in our studies of language we have looked at how the media can manipulate words and images to achieve their own agenda.  We have analyzed their techniques as we have looked at the types of texts, their target audiences and various purposes.  We have also looked at their power.

Like it our not, no matter how cynical we may be about it, the media has power over our culture and society.  It is almost impossible for even the communication experts to distinguish whether we are moving the media or they are moving us.  In my humble opinion, it is probably a little bit of both.

There are a few names in the media who have realized the potential of this power and how incredible it can be if used to inspire.  One of those names is particularly dear to me, and that is Mr. Fred Rogers.  My first memory of Fred Rogers is from when I was four years of age (yes, that was a long time ago!  Hello, seventies!) on his children's television show, Mr. Rogers' Neighborhood.  I found this clip recently, and two thoughts came immediately to mind.   First of all, no surprise to hear these words from a man of gentle integrity like Mr. Rogers, but more than that, what a perfect supplement to what we are already learning and talking about in our class.

I  hope you will enjoy this clip--this little piece of the past--and that in some way, Mr. Rogers' words will resonate with you.  I am happy to show you a sampling of the kind of man Mr. Rogers was, and what he meant to young children back in the day, and how seriously he took his responsibility as a popular media personality with the influence he had.  I would love to hear your thoughts and opinions on what Mr. Rogers says.

Enjoy your day off this week, and please remember our Veterans who have served our country.  They are heroes.  If you live with a Veteran, are related to one, or know one, please pass along my heart-felt appreciation for their service.

I look forward, as always, to your thoughts!

https://www.youtube.com/watch?v=PI_9GegVoYk