What generic wisdom and/or life advice do you have? Here's an acorn for your trouble: 🌰
Oh, goodness! Talk about an intimidating ask.
When I think about existence, two quotations always come to my mind from authors who have been important to me at various stages of my life.
The first, from Kurt Vonnegut's God Bless You, Mr. Rosewater:
Hello, babies. Welcome to Earth. It's hot in the summer and cold in the winter. It's round and wet and crowded. At the outside, babies, you've got about a hundred years here. There's only one rule that I know of, babies — "God damn it, you've got to be kind."
The second, the last line from Robertson Davies' final novel, The Cunning Man:
“This is the Great Theatre of Life. Admission is free, but the taxation is mortal. You come when you can, and leave when you must. The show is continuous. Goodnight.”
These are two thoughts by which I've tried to lead my life.
The first lesson is kindness.
As an educator and person in a certain position of power over people's learning journeys, I'd like to say that kindness costs me nothing. That's not true. Kindness costs me late nights, extra review sessions, letting people hand in assignments in ways that are detrimental to my own time and stress. Connecting with so many people on a daily basis can be emotionally exhausting.
If there's one thing I have worked on more and more in my life (and need to continue to work on), it's walking the fine line between being kind and being taken advantage of.
However, I operate from the following perspective:
Everyone is having a difficult time, and there are things in other people's lives that are not "dreamt of in my philosophy," so to speak.
This perspective makes my life richer. I have never understood people who rigidly stick to a "one size fits all" mindset. I listen to people. I prioritize the person over the dropbox deadline. I say nice things to my family, my friends, my colleagues, my students, when I can. I practice grace in most things.
This also means that, when I do draw a boundary (for example, in my work as a professor, I do not tolerate plagiarism once I have very clearly taught what it entails), people can see that there is a clear difference between my usual practice of grace, and my ethical framework. It also means that people are more likely to extend me grace in return. I need it. We all do.
The second lesson is passion.
This is the Great Theatre of Life. We don't get to choose much about it, but we do get to shape the show.
I was talking to a former student the other evening, after I came across him in the lobby after my Lord of the Rings performance. He said to me that I was one of the few faculty he'd had that wasn't cynical or jaded yet, which is why he'd enjoyed my class.
The funny thing is, that's not entirely true.
In many ways, I'm very cynical. A fellow faculty member once said of me, in an approving tone, that I was "impressively jaded for one so young." Look. I'm Jewish. I'm bi. I'm disabled (in the chronic often invisible illness way). I know what the world can dish out, and I can kvetch with the best of them. But that's mostly because I want to believe we can do better. In any case, I can only control myself. I can do better.
First, I want everyone I teach to know that reading, writing, critical thinking, loving language, loving literature and theatre, are all things they can do, even if those gates have seemed barred. Opening these gates together can help them. I like to break things down as clearly and succinctly as possible. I don't expect people to show enthusiasm for something if I'm not showing it myself. Do I sometimes get super-mega-frustrated with the results I'm getting? Of course. There are parts of my job and my life that suck. Do I throw myself into things head-first with enthusiasm anyway? Always.
I do the things I love. I see tons of theatre. I make theatre. I sing (even if you "can't" sing, find time to do it anyway). I tell stories. I spend time with friends. If I have a choice to go to the thing or stay home, I go to the thing. I support my friends. I make people LAUGH, because I love that more than anything. I curl these things around me like a warm cat on a lap. And I try not to get jaded by the offerings around me, no matter how many shows I go to or how many papers I read. (I don't always succeed.) Can you imagine, though, how amazing it is to have a life where you're in danger of getting jaded simply by the sheer amount of art on offer?
Four years ago, a student came to me after the second week of my rhetorical analysis class. She told me that she had dropped the course with other faculty twice because she was intimidated by it. We were talking about one of the course readings for the week, which was a 35-year-old essay by a now-dead white man (everything she was not) with very strong opinions on the need to properly state your ideas in exactly the correct words to prove you were thinking.
She said, about the reading, “I didn’t understand it when I read it and thought I was stupid. But then, when you said it might not have been written with me in mind, I felt better. And then, when you broke it down and I understood it, I liked how much I liked that feeling.” Then she said something that made me cry in my office: “Things happen for a reason. I had to drop that class twice so I could meet you.”
She came to office hour after office hour. We spent time working on her writing and discussing what her particular frame of reference brought to her understanding of each week's readings.
She had dropped the course twice because she "couldn't do it."
She left with an A.
She left with a new sense of agency over her own experience of the wonder of the world.
What does it cost to be kind, and to love things?
What do we gain?
This is the Great Theatre of Life. All we can do is put on a show of kindness, watching with wonder before we depart.
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The scene where Mitsuri's parents secretly watch her as she dyes her hair black in order to look like an acceptable bride is a scene I think about a lot.
The look of sheer pain and sadness on their faces feels like a punch in the gut to me, mainly because I've never encountered any parent who actually cares that much about their child. In fact, I nearly cried when I first saw that scene.
Where I live, first impressions are everything. If you mess up in front of others, you are seen as a disappointment and parents can go to almost any length to make their children seem like perfect angels in public, going as far as pressuring them to hide their true self and craft a more palatable persona for others to interact with.
Mitsuri's parents are the opposite of this. They love her for who she is and are never seen telling her to 'act like a lady,' which is amazing considering the time KNY takes place in. They are anguished instead of thrilled when they see Mitsuri trying to cover up her real personality.
Seeing parents truly love their child for who they are will never feel boring or overdone for me, considering how rare it is in real life.
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pluvi begging you to expand on gojo not wanting what happened to his mother to happen to you 🙏
warnings: it’s all a dream so nothing is real aside from the flashback stuff but pregnancy as horror, (sewing) needles, implied gore/eye trauma, implied child harm, gojo is messed up yo!!! and its bc of his mama!!!
he dreams about her.
it’s an odd thing, really. gojo isn’t much of a dreamer—not much of a sleeper, all things considered, but it’s difficult not to give in when you drag him to bed and curl up in his arms. the soft rise and fall of your chest, the steady thump of your heart, the sound of your breath; it soothes him into slumber.
and he dreams about her. she was always young. he’s older now than she ever got to be. frail, thin; borderline skeletal, robes hanging from her body like webbing. she sits in a chair facing a window, swathed in moonlight, the silver of her embroidery needle glinting with each stab. her face is veiled. her stomach is swollen with child.
she doesn’t turn to him, but she beckons without noise. his feet take him easily to her, and he kneels at her side as she sets aside the embroidery hoop to let him place his head on her knees.
her hand is cold as it threads through his hair. it’s gentle, at first. then harsher a moment later. she grips firm, tugs him up by those electric white threads, stares down at him through all that elaborate lace.
he imagines she’s weeping beneath it. his mother never wept before him, but she was pretty in the aftermath, eyes puffy and pink and shining. they were a cold kind of loving when they regarded him. she must have been beautiful once, elegant and lithe and willowy, cruel like the heartless sea and sharp like a brilliant diamond, but whatever was there is long gone. he thinks all sons must empty their mothers, bleed them dry from within, because his was always a shell.
she trails her hand down the side of his face, and he turns into the palm and closes his eyes, and she is silent as she sets down her embroidery to lift her veil. she is silent and hollow and eidolic as her fingers brush down his jaw and tilt his head up to look at her.
but it’s your face that he sees when he opens his eyes.
it’s your hand against his cheek, your eyes pink and puffy and pretty, your stomach bulging by his own doing. it’s your fingers that pluck up the needle, still attached to a thread of brilliant cerulean, and raise it to his eye.
his mother never was able to pierce him with that needle. she stopped herself, each and every time, dropping it and tugging him close in shame. she never doted, never was kind, but she never did manage to harm him.
you do. he lets you. it’s only fair. whatever thing is in your stomach can’t be human—whether god or demon what does it matter, at the end of the day—and didn’t he put it in you himself? if his mother never got the satisfaction of spilling his blood, shouldn’t you?
but he wakes just as the tip pierces his iris, and you hold him in your lap, eyes wide with concern and not puffy from weeping, and you hold no child within you. your hands thread through his hair and they’re warm, your lips plush when you bend to press a kiss to his brow.
he turns inward to press his face into your (empty, blissfully vacant) abdomen. the wetness he leaves there, falling from his so very coveted eyes, is colorless.
he thinks it ought to be brilliant crimson.
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