Looking back
Looking back to the meseta on the Camino Frances in 2009

Pride. My sin.

It surfaces in myriad ways. One is that I’ve always prided myself on not looking over my shoulder. I live in the present, I tell myself and others. I move forward, I say, I move on.

Well, today, I have a confession. I’m looking back.

Unfortunately, not entirely without pride!

I’ve been trying to imagine how to honour this amazing year, and those who have travelled it with me – for a day, a week, a conversation, a glimpse, or for the time it takes to read a book. Images swirled: my friends holding up copies of the book; faces shining at beachside festivals; blinking into stage lights at the end of the Sinning monologue; the profile of a hero-writer in conversation beside me; singing Gracias a la Vida when I didn’t know I dared sing; holding hands as a confession was made; laughing as a secret was told; crying as pain was shared; asking other writers to sign their books for me; thrilling at coincidences and serendipity…

 

 

 

 

 It was a glorious mental collage, but I thought I’d best be methodical, so I came here to the blog and made a pilgrimage through the posts to my first entry, written with trepidation, about entering the cyber-world. I was a Luddite and afraid. I don’t know why exactly, but I felt I would be exposed in some uncomfortable way.

Stepping forward through the posts, I marvelled at things forgotten in the melee of the months, and I began to see with clarity how very much the sin-walk has given me, and continues to give. That first inexplicable impulse to carry for others still takes me into wild places, and still introduces me to members of my village – a village that has grown and grown, and asked me to expand with it. “Get bigger,” the book has kept shouting to me as it has pulled me after it down new roads and by-ways.

I’ve tried!

This blog, begun in doubt and nervousness, is now a village all its own. Its history is right here, in the posts, but even more so in the comments, which I think of as the village square where we meet at day’s end to sniff the  breeze and check in on each other. No relationship is one-way. They all require exchange of one sort or another, and it is the richness of that exchange that I see when I look at the comments. Such wealth. Such generosity. Such humour. Such tenderness.

I thought I would compile a list of thanks, but it would go for days. I’ve shared stories in Aireys Inlet and Carlton, the Wheeler Centre and the Grumpy Swimmer, Byron Bay and Eltham, Strath Creek and Hampton, Thornbury and Leichhardt, Paddington and under the spire of the Melbourne Arts Centre. I’ve sung the praise of Spain at the Cervantes Institute and with the Spanish Consulate. I’ve been welcomed and championed and – most amazing of all – given away as a gift. I have been applauded and belittled – and learned that neither matter as much as the moments when someone tells me the book has helped, offered an insight, or illuminated a moment. Nothing thrills me more than that the book has given pleasure to some and been useful to others. It has even been re-read. Imagine!

Every day of this miraculous almost-nine-months, I’ve had cause to consider the road, the sins, and the sin-donors. Every day I’ve been grateful. It seems more incredible to me now, after the book has its own life, that people trusted me with their intimacies back in the beginning when it seemed like lunacy. When people tell me secrets now, they know that I can be a vault. It doesn’t make it any less of a privilege for me, but I’m aware that my first sinners took a leap, and I salute them again for their bravery and trust. The book could not have been a book without them.

To share one’s self to that degree is rare. They didn’t give me their air-brushed, curriculum-vitaed, rubber-stamped glossy selves. They gave me their scuffed, tarnished, worn and wept-over bits. Those stories are the most precious cargo I will ever carry. They taught me so much.

I’ve been asked often whether the road changed me. I think it’s an impossible question to answer, really. I hope it did. It certainly asked me to expand, every single day. It still does. And I hope I’ve been able to meet its requests when they have come to me. I try. I try really hard.

And I fail.

I fall too, as witnessed by a post on this blog!

But I like to think that the sinners, my road companions, my angels from Barcelona, the readers of the book, and my subscribers here, are behind me, propelling me up the hills when they’re steep and watching I don’t fall on the shale of the slippery downhills. When I remember all of them, I know there’s no failure, only expansion. Only growth.

So at this curious time of endings and beginnings, reflection and revelry, I come with no pride at all, only humility and wonder, to offer thanks. Gratitude. Which has the same beginnings as gracias and grazie. And grace. I have known such grace on this journey.

I trust that it will continue next year, when I will be sinning across Sydney, Perth, Albany and Brisbane at festivals and events. I know it will continue to take me in, deeper and deeper, and out, further and further, to my limits. And that is good. I am still a pilgrim.

Grazie. Gracias. Merci.

Terimah kasih.

That is Bahasa for “thank you”. It translates as “receive love.”

So here is the last poem for 2012. It’s an original this time.

 

Terimah kasih. Terimah kasih.

Terimah kasih, terimah kasih, terimah kasih, terimah kasih.

Terimah kasih.

 

Terimah kasih. Terimah kasih. Terimah kasih.

Terimah kasih.

 

 

May your final days of 2012 be peace-filled and joy-full.

May 2013 bring you dazzling roads and shimmering horizons.

May you be loved.

Always and all ways.

Walking near Glenlyon in Central Victoria. Photo courtesy of beloved walker Carl NP.
Muchas gracias!

 

I will write again in about four weeks, and I hope that you will continue to walk with me into the brave new year ahead.

Gracias, amigos. Gracias.

Buen camino…

 

Converging

Just over six years ago, Hugh Colman and I began work on an adaptation of John Webster’s thrill-ride The Duchess of Malfi. In December 2006, our production of the script opened at Red Stitch in Melbourne, under the title Hellbent.

Today, I’m going in to chat on radio about a new production, opening at the Opera House in Sydney this Wednesday, directed by John Bell for the Bell Shakespeare Company, under the original title.

Preparing for that interview, I have been re-reading our text and also the original. I am surprised by how much we changed. I had grown accustomed to our version, but have been reminded of the boldness we achieved, in company with Rachel Burke and the original cast. More importantly though, I’ve been reminded of the exquisite, muscular, original and imaginative power of Webster’s language – and of its immediacy and accessibility.

That’s why we didn’t tamper with the words. Our version re-arranges and re-assigns the text; it tells a different story; it has a shift of focus – but it leaves the glory of Webster’s words intact. There are times when I think he might have bettered the bard.

Gasp!

But consider these lines, as the heroine faces her death, explaining that the rope with which she will be strangled holds no fear of her:

What would it pleasure me to have my throat cut

With diamonds? Or to be smothered

With cassia? Or to be shot to death with pearls?

 

Or this sharp poke at politicians:

I would sooner swim to the Bermudas on

Two politicians’ rotten bladders, tied

Together with an intelligencer’s heart-string,

Than depend on so changeable a leader’s favour.

Or his mordant humour, in this exchange between the Duchess and her twin brother:

– Diamonds are of most value they say, that have passed through most jeweller’s hands.

– Whores, by that rule, are precious.

And this wisdom:

Though some ministers hold it presumption

To instruct leaders what they ought to do,

It is a noble duty to inform them

What they ought to foresee.

I could go on. And on. Bur for those of you who live in Sydney, I hope you might come along and experience the wonders for yourself. The play is not often staged, due to the sprawling, wayward length of the uncut original. I hope ours makes a strong case for the resonances and value of the writing.

In another funny convergence, it was while revising our adaptation just over two years ago that I came across the detail about pilgrims that began my sin-walk. There were pilgrims in the original Webster script, and I was wondering if we should reinstate them. I began hunting down pilgrim lore, and learned of the sin-carrying custom. Webster’s pilgrims went, and I went on the road! And so the play led to the walk, which led to the book, Sinning Across Spain.

And so this week, many roads lead to the one place. The Opera House.

Our version ends with the words:

Mine is another voyage.

What a voyage Mr Webster has given me!

I thank him, my beautiful script collaborator Hugh Colman, the generous and wise John Bell, and all those who have wrangled and questioned the script through two productions. It has been a miraculous, gifted journey.

For those who don’t know them, the top photo is on the freeway at the entrance to Melbourne, and the bottom is crossing the bridge – that bridge – in Sydney.

More convergences!

A postscript.

Reviews for Duchess of Malfi can be read at these links:

The Radio National interview about Malfi can be found here:

http://www.abc.net.au/radionational/programs/booksandartsdaily/the-duchess-of-malfi/4118124

Why is lust so seductive?

First things first – I survived the monologue! After twelve years off the theatre’s stages, I got through it intact.

In fact that smiling face on the left is me after the event, still in “costume,” signing books and enjoying myself.

Who’d have thought it?

Thank you to my dear friend Nina for taking the photo and proving to me that I really did have fun.

The response has been overwhelming, and has made me very grateful that I pushed myself to do it. I’ve honoured my original intention, as well as the promise I made to my sin-donors – to write a monologue for performance. The question now is whether it has another life. I’ve had lots of encouraging – even determined – calls and emails suggesting it should have a life of its own.

I’ll see how the dust settles. I can now see a way to write it, and am tempted by the possibility of expanding it to about 75 minutes. But I’m really not sure about performing it. That was a strange experience. I remember standing in the wings about to go onstage, and then I remember tucking happily into my sleeping bag and feeling such pleasure that it was done – and I recall nothing in between! A bit like the days when I walk and am able to see myself from outside myself.

Anyway, I think a script could be given over to one of my many wonderful actress friends, but some people have suggested it needs me in it. That makes  a kind of sense,  coming from those who were part of that invited audience and who knew the “Ailsa” they were watching was the Ailsa who had walked and written it, but I think that other audiences would simply watch the story unfold and, hopefully, enjoy it as a full-blooded performance by a wonderful actor – if it can be made theatrical, as I hope.

SO…that’s the news.

And what of what I learned?

For me, the most intriguing conversations I’ve had as a result of the performance have been about the issue of lust. For the monologue, I chose to focus on particular sins and characters that could fit together to tell one coherent strand of the book, because I knew it was impossible to cover everything. That’s why there is a book!

Part of the strand I dramatised was my battle with desire for the amigo character, because his story spoke to so many of the sins I carried.

Several people have commented that they found my expressed desire confronting, both onstage and in the book – particularly on my husband’s behalf. That they would not want their partner or wife putting those admissions into the public sphere. That my husband is brave for being able to hear it. That it is too much.

That intrigues me. It ignores the fact that I state very clearly that I didn’t act on the temptation. It also ignores the fact that my husband was potentially just as likely to have such desires in my absence – after all, marriage does not stop us from feeling our natural human urges. Or did I miss something? And it ignores the fact that I attempted full and frank disclosure, since confession was at the root of the story. That one of my core beliefs is in the power of confession and its potential to free us, to offer us space to be authentic and to live large.

Was I to let myself off the hook? Surely that would have defeated the point? Surely it would have been a lie not to confess? And that would have been the sin!

What perplexes me most, though, is that the mere possibility of sexual betrayal is more compelling than the actuality of my lived incidences of pride and anger – my real “sins”. Pride in particular (my great “sin”) is a nasty, mean-spirited thing. It shuts others out, refusing to allow them to offer assistance or knowledge. As I learned at the very beginning of the project, it is a sin that sets itself up as the strong/smart/more experienced/more capable one. It is the sin that says “No, thanks, I know way better than you and I’m just fine without you.” It’s hurtful, and doesn’t allow others to share their wisdom or strength. It is arrogant and cold.

I could go on, but I suspect you get the drift of my ponderings.

What is this fascination with sexual desire? With lust? It seems such an ordinary thing to me. A normal thing. If we didn’t feel it in some small way – whether simply admiring another’s physical beauty, or recognising a powerful urge – would we still be fully alive? See, I don’t think that the thinking or experiencing of desire is – of itself – a bad thing. It’s a mark that we are awake, isn’t it? Like anger, it’s not the response or emotion, it’s what we do with the response. Well, I reckon…

Anyway, I’m mulling over it, but thought I’d float the idea and see if others find it curious. What say you?

Meanwhile, to elevate this post above my ruminations, I was sent a magnificent Neruda poem by Andrew, who is, I believe, a subscriber to the blog (as you know I can’t tell who subscribes and who pops in), and who has sent me many wonderful offerings for which I am most grateful. This one arrived yesterday and I’m mad for it. It’s Pablo Neruda. No need to say more…

From so much loving and journeying, books emerge.
And if they don’t contain kisses or landscapes,
if they don’t contain a man with his hands full,
if they don’t contain a woman in every drop,
hunger, desire, anger, roads,
they are no use as a shield or as a bell:
they have no eyes, and won’t be able to open them,
they have the dead sound of precepts.

Thanks Andrew. It is beautiful.

Thanks also to Arts Centre Melbourne for creating the scenario in which I ultimately had to write the monologue. I’d never have done it without you and your supporters, and I’m glad I did.

Gracias to the astonishing Rachel Burke for miraculous light, and to Peter – my true north – for patience and advice in the fearful moments. And to these old friends, who were pulled out for the occasion, to give me courage and authenticity. The mighty Merrells…

Finally, a little housekeeping…

Some book events coming up. Please check the tab above – EVENTS AND MEDIA – to see if there is something that appeals. As you know, this pilgrim loves company.

Thanks for reading…for journeying…