Novels, Fiction & SillinessHow to Begin a Vampire Novel: “Fanged” Excerpt 4

A week ago, I shared an excerpt from the first chapter of Fanged, but I was slightly misleading. The excerpt I shared was from a draft of the novel, not the published version.

The excerpt below made it into the final copy of the book:

Chapter 1

It was the last Saturday in October, and I was hungry. Starving, as a matter of fact. I hadn’t eaten in almost twenty-four hours and my gut was growling so furiously that I thought the stomach acid would gnaw through my skin and turn me into a corpse on the sidewalk.

The sidewalk was in Randolph, New Jersey, and I was loitering outside an Italian restaurant called Giotto’s Trattoria. The time was 10 PM, an hour before the restaurant closed. The street was deserted and the front entrance to Giotto’s was near the end of the block, right underneath a flickering lamp.

I leaned against the building and took a tiny puff on the cigarette I was holding. Then I let my arm fall to my side. I never inhaled. Inhaling wasn’t the point. The point was to give my hands and mouth something to do until I finally found my dinner. Whenever I got hungry, my hands got twitchy. I wanted to burst right into Giotto’s Trattoria and devour everything in my path, but I couldn’t. That would be rude of me, and I didn’t want to ruin everyone else’s dinner. I was way too old for that kind of behavior.

A gust of wind breezed by, and suddenly the street went dark. I pulled my leather jacket tighter and looked up at the street lamp watching over me. The flickering light had finally burned out completely. Perfect. Now I could grab my meal under cover of darkness and no one would be the wiser.

The street lamp burning out was a lucky break for me. I hadn’t exactly dressed as someone who was trying not to be noticed. A sixteen-year-old boy doesn’t wear tight jeans, a white T-shirt, and a black leather jacket when he wants to be inconspicuous. He dresses that way when he wants to pick up girls who are really into the 1950s look. I even had a cigarette in my hand.

This was bad. I reached up and tried to flatten my spiked hair. I never should have put gel in it that evening. Come to think of it, I never should have dyed my hair from its natural dark brown to a copper red. My hair looked like a flattened penny with points sticking out of it. Why had they let me come out dressed like this? Did they want me to get into trouble?

The restaurant door swung open and a family of four walked out – a mom, a dad, and two little girls. I quickly took my hand off of my head and took another long drag on the cigarette. This time, I inhaled, and the smoke shot through my lungs and right out of my mouth, burning the back of my throat. I coughed and sputtered, pounding on my chest to force the smoke through. This was why I never inhaled, and I had definitely picked a bad time to start.

The family was only a few feet away. I tried to close my mouth and let the coughs explode in my chest instead. My eyes watered and my throat burned.

As you can see, this version is wildly different from the third draft. The setting, tone, and description have all changed.

I made these changes for a few important reasons.

1. The story needed more action. Opening a novel with a description of a setting isn’t a bad idea in all cases. Sometimes, opening with a description can be quite effective. But the story I chose to tell was a young adult vampire story with suspenseful twists and turns. Action was the first thing a reader needed to see.

2. I wanted the character to be more likable. Sean, my protagonist, is not someone I would describe as being smug or full of himself, but he comes off that way in the third draft of the first chapter, looking down his nose at vampire stereotypes and sounding above it all. This description is completely incongruous with his character in the rest of the story. Now, instead of talking about how different he is from other vampires, Sean is doing everything he can to calm his nerves and look natural while waiting outside a restaurant for dinner.

3. I described the character’s appearance instead of the appearance of his bedroom. Talking about what posters Sean used to have in his bedroom was an interesting idea at first, but then I realized I had a great opportunity to describe what he looks like. It’s not easy to write a first-person narrative where a character organically describes his appearance. Describing Sean’s outfit and hair was a way to kill two birds with one stone. I painted a picture of his look while also emphasizing how awkward he feels.

Getting to this point in the writing wasn’t easy. I labored over that crypt description and wound up throwing most of it away. In the end, the work was worth it, because I ended up with a more engaging opening.

 

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Novels, Fiction & SillinessHow to Begin a Vampire Novel: “Fanged” Excerpt 3

Once upon a time, I had the idea to write a vampire story at a time when vampires were the hot supernatural creature to talk about (“hot” even though their skin is cold, ba-dum-ching!) At the same time, I knew that the world was beginning to experience vampire fatigue – or at least Twilight fatigue that translated into being tired of vampires in general.

Aware of that fatigue, I took a different approach when I wrote the first chapter of Fanged. I wanted to make it clear from the beginning that this book was not like the “other” vampire novels out there. I wanted the reader to understand that my protagonist was different from other vampire protagonists, that he was really just a regular teenage boy who just happened to be a vampire.

I thought, “What does my character’s bedroom look like?”

And that’s when the ideas started to flow. I had already decided that my protagonist was going to live in a crypt in the middle of a cemetery. I wrote pages of description comparing his old teenage bedroom with his current living situation, hoping to use the setting and props as a way to give clues about his personality.

The end result was this, the very first page of my book:

Chapter 1 – How I Met My New Best Friend by Almost Killing a Mall Employee

 My bedroom is different from other people’s bedrooms.

            First of all, you won’t find any posters on my walls.  I had to leave them all behind.  The posters of my favorite bands, favorite CD covers, modern art prints, and women in bathing suits still adorn the walls and ceiling of my old apartment.  When I left New York, I did it in a hurry, taking only the most essential items with me.  (I’m not going to lie – I miss the bathing suit pictures most of all.  They kept me company on some very lonely nights.)

            Besides, posters would look odd in my new place anyway.  The art prints might fit in, but the Beck poster would be out of place on the grey stone walls that had just begun to deteriorate.  The small room was finally showing its age.  From the cold, stone floor, to the arch over the heavy door, to the ceiling stretching eight feet high, the grey stone was just beginning to develop a tint of copper-colored decay.

            This didn’t worry me.  I only planned to stay there for a year, two years tops, and I knew it wouldn’t collapse for decades yet.  Besides, the older my room looks, the more frightening and eerie it looks, meaning people will be even less likely to come knocking.  I have a “Trespassers Keep Out: This Means You!” sign hanging on the door of my old room, but the mausoleum I live in now renders such a sign unnecessary.  People are plenty wary of approaching this place even without a sign to threaten them.

            That’s another odd thing about my bedroom.  The bedroom makes up the entire house.  And it isn’t a house so much as a crypt, a crypt at the south side of the Holy Rood Cemetery in Whippany, New Jersey.

            Even the boldest and most dangerous of runaways would balk at hiding out in a cemetery.  Then again, I’m not a typical runaway.  I have a limited amount of clothes, I travel by night and sleep by day…okay, that part is pretty typical.  But I’m no victim of the morally-challenged who prey on confused young people.  If they try anything with me, they become my prey.  I bare my fangs and drink deep – not enough to kill, but just enough to show who’s in charge.

            That’s just one of the advantages of being a vampire.

            Living in a cemetery seems like the ultimate vampire cliché, I know.  I have a multitude of issues with the popular misconceptions about vampires, especially the ones that make us look like brooding emo whiners with no sense of humor who lament over being misunderstood and losing our poor, fragile souls.  Please.  I have no patience for that stereotype.  But camping out in a crypt is practical for me and more comfortable than it might seem.

I was proud of this chapter when I completed it. The character’s personality seemed to come through and there was some decent humor in there.

I was less satisfied when I returned to the chapter after receiving some feedback from one of my beta readers (who is one of the people listed in the acknowledgments section of the book). She thought that the description of the setting was used as a placeholder for character insight, rather than enhancing character insight.

I also wasn’t happy with the character’s sarcasm about other vampire stereotypes. He suddenly came across as smug and a little obnoxious. Also, my reader made a very good point – that maybe it wasn’t a good idea to alienate a target audience who might have read and enjoyed other stories with the “brooding emo” vampires.

But the main thing that bothered me was that nothing was happening in this chapter. This description goes on for several more pages before we see any kind of action.

Then why, after all of these doubts, did I make this the first chapter of my book?

Well, I didn’t. I rewrote the whole thing.

[To be continued…]

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Blog Posts4 Reasons Why “Frozen” is the Most Feminist Disney Movie Ever (Yes, More than Brave or Mulan)

So, apparently I’m the last feminist in America to see Disney’s Frozen, but I saw a week ago and I can’t stop thinking about it. I think it’s the most feminist Disney movie to date, and even if the entire rest of the Internet has weighed in on this subject already, I have to add my own thoughts on the issue.

1. A Princess knows how to use magic.
Disney princesses get to be pretty and sometimes they get to be brave, but they rarely get to be powerful, especially not where magic is concerned.

Oh, there are plenty of Disney female characters who use magic – Ursula, Maleficent, Cinderella’s fairy godmother, and the three fairies (Flora, Fauna, and Merryweather) in Sleeping Beauty.

Here’s the catch: they’re all either villains or maternal figures. The actual princesses and female protagonists in Disney films do not get to perform magic. Their nemeses or their mentor figures are born magical or learn magic, while the princesses have magic thrust upon them. Ursula turns Ariel human. The fairy godmother gives Cinderella a beautiful gown and an enchanted carriage. Aurora’s fate is determined by an evil witch and three good fairies who battle over her soul for her entire life.

This all changes with Elsa. (She’s technically a queen, not a princess, but she’s marketed as part of the Disney Princess line regardless.) Disney princesses have gone on adventures, performed acts of bravery, and even saved a few princes’ lives, but Elsa is the first who can manipulate the elements in an explosion of power – which is exactly what she does in one of the best power anthems I’ve seen in film.

I’m about to commit heresy against my childhood self: a part of me loves “Let it Go” more than “Part of Your World.” “Part of Your World” is the song of an adventurer who wants to explore new places. “Let it Go” isn’t about simply wishing, but taking action and embracing one’s power and potential (and building an entire ice castle within a few minutes).

2. The message of sisterhood.
I knew that Frozen was the story of two sisters. What I wasn’t prepared for was the complete lack of sibling rivalry in the story. I kept waiting for resentment to erupt between Anna and Elsa.

It never happened. Unlike many fictional little sisters, Anna never shows a moment of jealousy towards Elsa. As a child, Anna doesn’t resent the fact that Elsa is the only one with magic powers; she just thinks her big sister is the coolest. As a young woman, Anna never seems to mind that her sister gets to be queen while she’s a princess; she’s just happy to have another day where she can be close with Elsa again.

This display of female friendship and sisterhood is almost nonexistent in Disney films. Most of the Disney princesses have toxic relationships with other women, or their relationships with other women are nonexistent. Mulan may be a great warrior, but all of her significant relationships are with men, and her mother and grandmother are mostly used as background props. Even Brave is lacking; the relationship between mother and daughter is the most important one in the movie, but Merida and Elinor have to spend the entire movie learning to understand each other.

The sisters in Frozen go on a journey of a different kind. Anna and Elsa loved each other from the beginning and were forced to grow apart because their parents feared Elsa’s power. Their natural state is to be close, and their story is about learning to be close again once Elsa learns to love herself – with Anna’s help, of course.

3. The twist on the act of true love
Probably the most satisfying aspect of Frozen is its take on the notion of “true love.” When Elsa accidentally freezes Anna’s heart, Anna is told that only an act of true love can cure her. At first, she thinks that a kiss from Hans will save her life, and when Hans proves to be manipulative, murderous, and self-serving, she turns her hopes to Kristoff – the ice salesman and the partner on her adventure, the one who actually cares for her. 

But the act of true love that saves Anna’s life is related to the person she cares for the most – her sister, Elsa. When Anna is moments away from kissing Kristoff, she sees Hans holding a sword over Elsa’s head, and jumps in front of the blade to save her sister’s life.

This act of true love is remarkable for the obvious reason – for once, a Disney princess’s true love has nothing to do with romance. In fact, her obsession with finding true love earlier in the story is directly related to being rejected by her sister.

But it’s remarkable for a less obvious reason as well. Anna thought an act of true love meant having a man rush in and save her from death. Instead of being rescued with a true love’s kiss like Snow White or Aurora, Anna performs the act of true love. It’s a great testament to female friendships and female agency all at once.

4. The movie has two great role models for little girls.
As far as Disney princesses go, Elsa is pretty unique. She’s a queen, for one, ruling over a land that seems totally cool with having a female monarch in charge of things. She can use magic and bend the elements to her will and is the most powerful person in the land. Her story is about learning to overcome her shame and taking pride in her unique gifts.

Anna, on the other hand, doesn’t have magical powers and doesn’t seem to possess similar unique gifts. She’s a bit clumsy and too easily trusting. She’s also brave, resourceful, determined, kind, and filled with love for her family, and she saves her own life and Elsa’s with an act of love.

Elsa is a great role model for little girls who possess unique gifts. But Anna is equally important as a character because she’s ordinary and still saves the day. The sisters in Frozen show little girls that there’s more than one way to be strong.

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Novels, Fiction & Silliness“Fanged” Excerpt 2: The Athlete

Suddenly, a wave of panic rose in my chest. Down at the other end of the hallway, Jason Vernon had joined the other three guys by Isaiah’s locker.

Jason was the football and basketball star of our school, so tall that he towered over Isaiah. If Isaiah was the second-most desirable guy in our grade, Jason was first. With spiked blond hair, blue eyes, and a healthy tan even during the winter months, he looked like he was born on the beach.

He was a varsity athlete, achieving football captain and quarterback status as a junior. He was friends with all the right people and liked by all the teachers. And he hated me.

The other popular guys in that group didn’t think much of me either. Isaiah’s feelings about me were established early on when Hannah first introduced us. Tommy and Nate lumped me in with the majority of the student body who were too boring to be part of their crowd but not nerdy enough to bully.

But Jason couldn’t spare me the safe self-absorbed disinterest that I received from friends. He reserved a special brand of hatred for me that surfaced anytime I looked at him the wrong way – or at all. If he walked into a room and sensed I was there, his body would go rigid. He’d pause, scanning the rows of seats until he found me. Then he’d stare me down, his brows forming angry arches over his cold eyes. He’d focus on me long enough to make me squirm, and then he’d move to his seat and face the front of the classroom like nothing had happened.

The pause, the stare, the “I’m going to kill you” look, and the abrupt switch to normalcy was so quick, so fluid, that no one else would have noticed it – but I did, and I dreaded it every time I saw him.

– Fanged, Chapter 3

Why write about vampires?

In most vampire stories I’ve read, vampires are much stronger than humans. Sometimes, their strength is so superior that a human would have no chance against a vampire in a fight.

This is the case in Fanged. Vampires are much stronger than humans in this universe, and Sean has little to fear for his own safety if a human tried to pick a fight with him.

Yet, he’s still afraid of one of the athletes in his school – so afraid that he dreads Jason’s very presence.

What makes a supernaturally strong creature fear a typical high school jock?

Sean hasn’t stopped being a teenager just because he became a vampire. The high school social ranking system doesn’t go away when a person is undead, and old habits, such as feeling intimidated by the popular crowd, don’t go away easily.

But that’s not the only reason Sean dreads the company of Jason.

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Novels, Fiction & Silliness“Fanged” Excerpt 1: Hunger and Garlic

Then the restaurant door swung open, and another person came out.

He was around my age, short and chubby and six inches shorter and six
inches wider than I was. His pants and shirt were both too small and tight,
exposing a small patch of flabby skin hanging over his waistline. He had a
bowl haircut very similar to the one belonging to the girl who might have
been Sasha, and he wore a thick pair of glasses on his face. He was reading
and walking at the same time, holding a book right in front of him.

He smelled like garlic.

There was no mistaking the telltale scent. This kid had either eaten an
entire plate of garlic knots for dinner or poured garlic powder all over his
pizza. He was drenched in the smell from head to toe. It mixed with his
blood and radiated from his body like a scented homing beacon.

I don’t know who first spread the rumor that garlic repels vampires, but
that person is a godsend. Garlic is the only thing that improves human blood
from its original delicious state. It even makes cold, refrigerated blood taste
appealing.

The fat kid was almost at the end of the block. If he didn’t look where he
was going, he would walk right into the burned-out streetlamp.

I opened my mouth, and my fangs protruded from my gums. I hadn’t
eaten fresh, garlic-enhanced blood in a long time. This meal was one I was
going to savor. My teeth would tear into this kid’s neck, and the blood would
flow into my mouth.

My hand trembled. The cigarette fell from my hand and onto the
ground. The fire at the tip glowed momentarily before dimming and fading
away.

I had stopped myself just in time.
Fanged, Chapter 1


Why write about vampires?

One piece of vampire mythology that never made sense to me was the idea of garlic warding off vampires. As someone who grew up with an Italian grandmother (and by “grandmother” I mean “father,” since Dad cooks as much pasta and homemade sauce as any good Italian grandma, I’ve always loved garlic and have considered it a staple in great cooking.

When I finally got around to reading Dracula and did a little research, I understood where the garlic myth came from, but I still didn’t want to keep it for my own story. I love garlic. And I thought, “wouldn’t it be funny if the complete opposite were true, and garlic actually attracted vampires?”

And vampires loving garlic came part of my story, one of my second twists on the genre. Much like my twist on the crucifix in question, it started off as a joke, back when I was writing a satirical vampire novel instead of a serious one.

But as the story became more serious, garlic was no longer just a source of a throwaway joke. It became the first sign of my protagonist’s struggle.

It’s the first sign that Sean has to struggle to prevent himself from killing people.

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ArticlesSix Lessons Lisa Simpson Taught Me

[This article was originally posted at Bitch Flicks as part of the Child & Teenage Girl Character Theme Week.]

lisagirl

Lisa Simpson, permanent eight-year-old

The Simpsons, now in its record-breaking 25th season, is one of the most influential comedies of our time with its excellent pop culture parodies, whip-smart writing, and brilliant satire on American culture. But the show is influential in other ways. Lisa Simpson, permanent eight-year-old and the emotional heart of The Simpsons, is an excellent role model for young girls. Here are a few lessons she’s taught me over the years.

“Trust in yourself and you can achieve anything.”  This is the stated message of “Lisa vs. Malibu Stacy,” the famous episode where Lisa takes a stand against the sexism spouting from the mouth of the new talking Malibu Stacy doll. Frustrated with the doll’s collection of sexist catchphrases that include “Let’s bake some cookies for the boys,” “Thinking too much gives you wrinkles,” and “My name’s Stacy, but you can call me *wolf whistle*,” Lisa collaborates with the creator of Malibu Stacy to create their own talking doll, Lisa Lionheart. When Malibu Stacy outsells Lisa Lionheart, our creator feels temporarily dejected, until she hears her own voice speaking behind her: “Trust in yourself and you can achieve anything.” She turns to see a girl her age hold a Lisa Lionheart doll in her hand and smile.

Lisa realizes that, despite the seemingly impossible task of standing up to big businesses, she’s made a big difference in the life of one person, and all of her efforts were worth it after all. And, not for nothing, she co-created a toy at the age of eight.

Lisa's rant against Malibu Stacy

Lisa’s rant against Malibu Stacy

“It’s okay to be sad.” “Moaning Lisa,” one of the earliest episodes of The Simpsons, is surprisingly dark for an animated sitcom. Lisa spends most of the episode in a depressive state. She feels sad and no one knows how to deal with it. Her teachers mock her sadness or brush it off. Her brother, being ten and pretty selfish, doesn’t want to deal with it. Her well-meaning but confused parents tell her to cheer up or repress her sadness so that she can fit in.

Lisa doesn’t start to feel better until she meets a jazz musician named Bleeding Gums Murphy. Finally, she has an outlet for her sadness and someone she can relate to. But it isn’t until Marge, in a burst of passion, tells Lisa that she can be sad as she wants to be, and doesn’t ever have to smile for the sake of another person, that Lisa finally feels happier and has a genuine smile on her face.

The lesson here? It’s okay to be sad sometimes, and girls shouldn’t have to paste fake smiles on their faces. The simple message that people are entitled to their emotions is a powerful one that I’m glad I saw at such a young age.

Lisa meets Bleeding Gums Murphy

Lisa meets Bleeding Gums Murphy

 

“Stand up for what you believe in, but respect others’ beliefs as well.”  Lisa, like many a young activist, is passionate about many different causes. She’s a feminist, an environmentalist, and a vegetarian, and nothing invokes her ire more than social injustice or lies. Most of the time, she is right to fight for her causes, and is often the only person to stand up for what’s right.

Every once in a while, though, Lisa becomes a bit shortsighted and forgets that everyone around her doesn’t see the world the same way she does. She ruins her father’s barbecue because she doesn’t approve of his eating meat, but she gets a wake-up call when Apu, a vegan, advises her to “live and let live.” Lisa learns an important lesson about tolerance while still remaining true to her beliefs.

Lisa feels moral qualms about eating meat

Lisa feels moral qualms about eating meat

“There’s no shame in being second.” Because she doesn’t have many friends, Lisa absorbs herself in her music and her academia. She becomes immediately threatened when a new girl shows up in her second-grade class and is a better student and better jazz musician. Lisa becomes jealous to the point where she collaborates with Bart to ruin Alison’s diorama in the school’s Diorama-Rama, admitting to her actions only when the guilt tortures her–and then they both lose to Ralph Wiggum.

At the end of the episode, Lisa finally learns that being “second” to Alison is nothing to be ashamed about. Having overcome her jealousy of Alison, she extends a hand of friendship instead–because why be jealous when you’ve finally found a person your age who shares your passions and interests?

Lisa and her rival, Alison

Lisa and her rival, Alison

“Follow your passions, even when you experience setbacks.”  One of my favorite episodes of The Simpsons is season three’s “Separate Vocations,” an experiment in role-reversal. After hearing their results from a national standardized test about career aptitude, Bart becomes interested in police work and becomes the school’s tyrannical hall monitor. Lisa, meanwhile, discouraged by her test results and stubby fingers, quits the jazz band, stops playing saxophone, and acts out in class. She even pulls off one of the biggest pranks in school history and steals all of the teacher’s edition textbooks from the school classrooms.

When it seems like she’s going to get caught, Bart, in a rare display of brotherly loyalty, tells Principal Skinner that he’s the culprit. Later, he tells Lisa why he took the fall for her: “I didn’t want you to wreck your life. You got the brains and the talent to go as far as you want. And when you do, I’ll be right there to borrow money.” He takes his punishment–600 days of detention–and Lisa plays her saxophone outside to keep him company, enjoying music again.

With the help of her brother, Lisa realizes that the results of a standardized test don’t matter in the great scheme of things. She has ambition, talent, intelligence, and passion, and she’s going to go far in life as long as she keeps trying.

Lisa becomes a rebel

Lisa becomes a rebel

“Have fun and be silly.”  If all Lisa Simpson did was moralize about the world and fight for causes she believes in, she’d be a pretty admirable but rather boring character, but fortunately, the show rarely forgets that she’s still a kid and wants to act like one. She watches Krusty the Klown and Itchy and Scratchy with Bart and laughs just as hard at the cartoon violence. She fantasizes about boys named Cory and reads Non-Threatening Boys Magazine. She has sleepovers and reads The Baby-sitter Twins, and even though she’s concerned about the media portrayal of women and girls, she indulges in a princess fantasy from time to time and twirls around in fairy skirts. She’s not the most fun-loving character on The Simpsons, but at her core, she’s still an eight-year-old girl, and a fully realized human character, despite being a cartoon.

Bart and Lisa, horrified to hear they won't be going to Itchy & Scratchy Land

Bart and Lisa, horrified to hear they won’t be going to Itchy & Scratchy Land

 

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ReviewsA Review of What Dreams May Co. Theatre’s “Macbeth”

Macbeth is a play about the relationship between power and corruption and how absolute power corrupts absolutely – and much like the title character and his wife are seduced by power, many a reader or audience member is seduced by the idea that corruption (and witches – don’t forget witches) is all there is to the story. A morally weak man is tempted into committing murder by his evil, ambitious wife, and he kills his way through Scotland in until another soldier cuts off his head and presents it to Scotland’s slightly less power-hungry politicians.

It’s easy to forget that Macbeth is called a tragedy for a reason, that it’s not the tale of a corrupt man who becomes entirely evil, but the transformation of Scotland’s bravest soldier into Scotland’s most fearsome tyrant. The protagonist is hailed at the beginning of the play for his brave deeds, and his death is cheered at the end. A successful production of Macbeth should make the audience feel something more than vicarious, bloodthirsty delight at watching Macduff avenge his family’s murder. We should feel a sense of loss and wonder who Macbeth could have been, had he not chosen the path of bloody ambition.

This sense of loss is felt in What Dreams May Co. Theatre’s production of Macbeth. In the program, director Christina Sheehan promises an interpretation of the play where the characters are “unfailingly, devastatingly human,” and delivers on that promise by focusing on the relationship between Macbeth and Lady Macbeth, two equal partners in greatness.

Macbeth is played by Alan Brincks, a tall, muscular actor who wouldn’t look out of place in an Army recruitment ad. Physically impressive, Brincks is easily believable as one of the finest soldiers in Scotland. Nicole Schalmo (one of What Dreams May Co.’s co-founders) portrays Lady Macbeth, commanding the stage in a short bathrobe with the regal smirk of a woman meant to be a queen. When they first clap eyes on each other, the sexual chemistry is palpable before they even speak a word, and this energy is maintained in all of their scenes together.

The passion between Macbeth and Lady Macbeth is evident in the early and middle stages of their relationship, making their subsequent downfalls all the more tragic. They begin the play as a couple deeply in love to the point where they can barely keep their hands off of each other, but by the time Macbeth is crowned king, he is already putting more physical distance between himself and his wife – and from the expression on Schalmo’s face, Lady Macbeth is feeling the sting.

The distance between them grows when Banquo (portrayed by Lindsay Zelli in a strong performance) arrives as a ghost to the banquet and provokes Macbeth to hurl violent, paranoid speeches at his unwelcome guest. Lady Macbeth chuckles a little too much, foreshadowing her madness later in the play, and the equal partners in greatness are no longer on the same page. As his ranting continues, she only begins to comprehend the magnitude of the sin they have committed.

By the time the fateful message of Act Five is delivered – “The queen, my lord, is dead” – Macbeth is too far gone to feel anything but a dull blow. A sentence that would have devastated him in the beginning of the play can only provoke a brief pause before he remarks, “She should have died hereafter.” Then, the true sense of tragedy of the play is felt: a man who once showed such passion for his wife can barely muster emotion to comment on her death. The last of his humanity is gone.

The strong supporting cast of What Dreams May Co.’s Macbeth – notably Lindsay Zelli as Banquo, Jonathan Emerson as Macduff, and Monique Sanchez as Lady Macduff – contributes to the scope of human tragedy in the production, as we watch decent people and their families fall to the prey of the scheming lead couple. By watching the passion of the lead couple unfold onstage, we are reminded that their love for each other is a humanizing quality, but not a redeeming one – and that feels most tragic of all.

Macbeth is playing at The 133rd St Arts Center at 308 W 133rd St from December 6-December 21. Cast: Alan Brincks, Jonathan Emerson, Josh Laird, John Maddaloni, Vince Reese, James Rieser, Nicole Schalmo, Monique Sanchez, Zoe Sjogermann, Sophia Watt, Marcus Watson, Lindsey Zelli. To purchase tickets, please visit http://www.brownpapertickets.com/event/495842.

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ReviewsThe Triumph in “Breaking in the Body”

Stories and dramas about successful athletes tend to follow the same pattern, cycling through the character’s various setbacks and triumphs until the day of the big competition, where all of the hard work and grueling training sessions the character endured pays off, and the championship is won.

Rarely are stories told about athletes who never make it to the competition because the series of setbacks and physical injuries are too numerous to overcome by the date of the event. These stories are less conducive to exciting training montages, slow-motion action sequences, and motivational tough-love speeches from grizzled coaches.

Krista Jasper‘s one-woman show, Breaking in the Body, is a different kind of drama about athletic triumph. Chronicling her journey training for the 2008 Olympics, Jasper tells a coming-of-age story about becoming a competitive gymnast, where the thrill of training and competing clashes with the physical and emotional toll the training takes on her body.

The opening act of Breaking in the Body includes a performance from comedian Ashley Morris called Thank You, I’m Sorry, Does This Make Me Look Insecure? The set, while amusing, seems largely unrelated to the content of Breaking in the Body, with one notable exception of a pointed rant about women who have groomed themselves to be so “sexy” that they look like aliens hailed from the planet “Booby Hair Extension Puffy Lip.” This discomfort with impossible physical standards for women is echoed in a scene from Breaking in the Body where a fourteen-year-old Jasper, excited for her first day of public school, is immediately insecure when her classmates make nasty comments about her athletic physique. She suddenly considers herself a freak: “I have calf muscles and a six-pack!” she exclaims, almost in horror.

Hearing a fourteen-year-old girl express insecurity about her body is, unfortunately, nothing new, but hearing those words come from the mouth of an accomplished gymnast is especially heartbreaking. A teenage girl, having reached a level of athleticism and physical prowess that most people can only dream of, is immediately cut down by the unkind words of judgmental classmates. Her accomplishments become irrelevant because she doesn’t look like what a teenage girl is “supposed” to look like.

Teenage Krista’s discomfort with her body is directly related to her mixed feelings with gymnastics as a sport, and Jasper’s performance combines great athletic prowess and intense emotion to the point where I felt my own bones and limbs ache whenever she suffered another sports injury. Her strive for excellence and desperate need to perform is as palpable as her frustration and pain when she experiences another setback. She portrays a young girl – and later, a young woman – whose relationship with her body is fraught and complicated. She finds an incredible high when she achieves another physical milestone, and feels the world come crashing down around her when she (temporarily) can no longer participate in gymnastics.

One of the final moments of the show is Jasper’s “divorce” from competitive gymnastics, as she takes the balance beam for the last time. It’s one of the last scenes of the play, and the first time where she looks completely at home on the beam and comfortable in her own skin. The beam is no longer a challenge she needs to overcome, and the performance is more lyrical and peaceful than the routines from earlier in the show.

As in many other sports stories, Jasper has finally triumphed, but not because she made it to the championship and won a gold medal. She doesn’t go to the 2008 Olympics. There is no shiny hardware to wear around her neck as she stands on a podium and hears the national anthem in her name. Her triumph is more personal and intimate. The war with her body is over, she has nothing more to break in, and the Olympics goal is an important chapter of her life instead of the defining moment of it. Jasper’s victory is not about beating her body into submission, but broadening her horizons and finding a rich, well-rounded life in which gymnastics is only one part. It’s not a sports story that will make it to the silver screen anytime soon, but this reviewer was grateful to see it unfold on an off-Broadway stage.

Breaking in the Body played at the TADA! Youth Theatre at 15 W 28th Street from November 26 to December 6.

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ArticlesMatt Damon’s On- and Off-Screen Feminism

[This was originally posted at Bitch Flicks as part of a Male Feminist & Male Allies theme week.]

My first introduction to Matt Damon was the same as many movie viewers–Good Will Hunting, a film that he starred in and co-wrote with Ben Affleck. It was my favorite film of 1997 and still holds a special place in my heart for its humor, poignancy, and moving portrayal of the lasting effects of abuse. While the main focus of the film is on Will’s character development and his relationship with his psychologist, Sean Maguire (Robin Williams), the romantic subplot plays an important role in the story and features an intriguing love interest.

Skylar, played by Minnie Driver, is one of the more fleshed-out female supporting characters I’ve seen in film. Because she is a supporting character, she is, by definition, in the movie to assist with Will’s development, but she’s still a fully developed human being rather than an obligatory “girlfriend” archetype included in the script to throw a bone to a female audience. She loves Will and is committed to their relationship but is primarily motivated by her academic and career ambition, and we’re encouraged to sympathize with her when Will lashes out at her. While much of the success with Skylar’s character lies with Minnie Driver’s performance, Damon and Affleck share credit for writing a woman who has a backstory and motivation beyond, “Hey, this movie needs a girl in it.”

Considering the level of care put into the writing of Skylar’s character, it’s no surprise that Damon is an outspoken feminist ally and supporter of issues that directly affect women.

Public education is one of Damon’s major political causes, largely inspired by the lifelong work of his mother, Nancy Carlsson-Paige, Professor Emerita of early childhood education at Lesley University. Outspoken advocates for teachers and education, Damon and Carlsson-Paige were questioned two years ago by libertarian ambush reporters who alleged that job insecurity was motivation for teachers to improve their performance, to which Damon gave this now well-known response:

“So you think job insecurity is what makes me work hard? I want to be an actor. That’s not an incentive. That’s the thing. See, you take this MBA-style thinking, right? It’s the problem with ed policy right now, this intrinsically paternalistic view of problems that are much more complex than that. It’s like saying a teacher is going to get lazy when they have tenure. A teacher wants to teach. I mean, why else would you take a shitty salary and really long hours and do that job unless you really love to do it?”

As a former public school teacher who left the profession largely because of this “intrinsically paternalistic view of problems” that Damon speaks of, I appreciated this interview on multiple levels. I appreciated that Damon deferred to Carlsson-Paige’s superior knowledge in the field (even though the interviewers only referred to her as “Matt Damon’s Mom”), challenging the reporter’s incorrect assumptions by reminding her that an expert in the field was proving her wrong. I appreciate that Damon is so invested in a field where over 70 percent of teachers are women, showing that he believes women’s work is valuable.

Most of all, I love that Damon criticizes the “intrinsically paternalistic” nature of education reform, pointing out that problems are very complex, and solutions need time to grow. Similar to the way many people would like to pretend that complex problems like racism, sexism, and homophobia are of the past, many leaders in education reform would like to believe that the next set of standards or change in tenure policy will fix all the problems in public schools. Acknowledging the complexity of systemic problems is a key component, regardless of whether or not Damon is directly tying his public school advocacy to women’s rights.

There is, however, at least one cause where Damon specifically advocates for women, and that’s through Water.org, a nonprofit organization that he co-created with Gary White. Water.org’s main goal is to improve access to safe water and clean toilets. The website makes a point of saying that “We believe people in developing countries know best how to solve their own problems,” showing that there’s a level of respect for different cultures that is sometimes absent from other charities.

Perhaps even more remarkable than the lack of a “white American savior” attitude is the fact that Water.org has its own page for “the women’s crisis,” showing how the water crisis affects women specifically. The page also details the organization’s approach to helping women:

“Around the world, women are coming together to address their own needs for water and sanitation. Their strength and courage transforms communities. With the support of Water.org and its local partners, women organize their communities to support a well and take out small loans for household water connections and toilets. They support one another, share responsibility. These efforts make an impact, taking us one step closer to ending the global water crisis.”

There are many wonderful things about this organization’s work, and one of my favorite aspects of this activism is the language used. “With the support of Water.org and its local partners, women organize their communities.” This careful phrasing shows not only investment in issues that directly affect women, but respect for women’s empowerment. The language used shows a key understanding of effective ally work: not to rescue or save a marginalized group, but to give the support needed so that people in that group can improve their own lives. Given Damon’s other criticisms about an “intrinsically paternalistic view of problems,” I can’t think that the phrasing is a coincidence.

Whether he’s advocating for causes that affect women on a global scale or simply writing a decent female character, Damon has proven to be an ally to women. No wonder Sarah Silverman was so proud to be f***ing him.

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Novels, Fiction & SillinessWhy Write About Vampires?: The “Eternal Youth” Issue

Tell me if this sounds familiar: a beautiful sixteen-year-old girl in a small town begins another year in high school with a chip on her shoulder. She feels isolated from the people around her because of a tragic incident in her recent past…or because she just moved to a new town and doesn’t know anybody…or because she’s a bit of an outcast/loner type to begin with.

Enter a mysterious young man, devastatingly handsome with dreamboat eyes, who seems kind and respectful but has an intriguing dangerous air about him. Our heroine is instantly drawn to him, and he to her, and they develop a strong bond that no one else around them can immediately understand. They begin to fall in love, and soon, our heroine realizes that her young man is a real, honest to God vampire – and is at least one hundred years old.

If this setup doesn’t sound familiar, then maybe you’ve never read a young adult vampire story before or seen any vampire-related popular TV shows over the last decade or so. This plot appears in Twilight, The Vampire Diaries, Vampire Kisses, and, to a lesser extent, Buffy. (I say “to a lesser extent” because, while Buffy and Angel’s romance has shades of this plot, it has a few key differences – the biggest two being that Buffy was well aware of the existence of vampires before she ever met Angel, and that Angel never masqueraded as a high school student.)

There’s an old saying that there are no new story ideas, only different executions of the same plot. Certainly, I have varying opinions of the vampire stories I mentioned in the previous paragraph. I’m not a fan of Twilight. I enjoyed the first book in the Vampire Kisses story because of the sarcastic lead character, but didn’t read the sequels because I felt lukewarm about the main romance. I wasn’t that interested in the first book in The Vampire Diaries series but became a big fan of the show for a good three seasons, and anyone who knows me knows how much I love Buffy the Vampire Slayer.

But even though I enjoyed some versions of this same plot, I didn’t want to read – or write – yet another story about a teenage girl who falls in love with a hundred-year-old vampire pretending to be sixteen or seventeen. I didn’t think there was any new ground to cover with that plot, and I couldn’t come up with any logical reason why an immortal creature would continue to attend high school.

Then I thought, what if the vampires were the same age as the other high school students and didn’t have one hundred years of experience and immortality? What if they were just as clueless about how to live as most teenagers are?

The teen characters in Fanged are not hundred-year-old vampires successfully posing as sixteen-year-olds due to their youthful features. Sean, the narrator, has only been a vampire for six months, and the oldest of them in vampire years (Hannah) was turned into a vampire two years before the plot of Fanged begins. They’re not enrolling in high school because they have some kind of longterm plan to relive adolescence over and over again, and they’re not planning to fall in love with human girls (or boys). They’re in high school because they were in high school when they were turned into vampires, and they’re going to finish high school and live as close to their human selves as possible.

Soon enough, they will discover that living human lives as vampires is not as easy as they hoped it would be.

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