A Scandal in Bohemia

Postscript, July 11.  So we went to the opening of Rent in Tullahoma last night. It was a big and exuberant show, with some very strong performances, especially the female leads. Afterwards, there were tears and hugs afterward, all very moving. I didn’t see any protests, unless the two old guys with an American flag sitting out front were protesting somehow, though I think there had been a prayer vigil earlier in front of the theater. What we did see on our way to Tullahoma down 41 A through Decherd and Estill Springs were lots and lots of pick-up trucks flying Confederate flags, including a motorcade of eight or so with a sign that said, “It’s a Southern thang!”–an apparent protest against yesterday’s permanent lowering of the Confederate flag at the state house in South Carolina.

I will say that Rent has “mature” themes, inappropriate for children perhaps but more than appropriate for teens for whom the issues are far engaging than those of Peter Pan or Oliver. We had to sign our children in, and show our own IDs. In any event,  I realize now that I had never seen a same-sex kiss on stage ever before. There was a talk-back afterward, but, it being close to 11 pm at that point, we hit the road and had a great conversation with the boys in the car on the way back.

Rent is a more serious show than La Boheme, which it follows closely in fact, and a surprisingly more touching one. Puccini was not engaging with any issues in his opera, and the bohemian atmosphere was meant to be little more than exotic and risqué. Rent asks us to look at people whose lifestyles are different than our own, or perhaps not so different, and consider them in their humanity nevertheless. I’m sorry some local pastors failed to see this as an opportunity for conversation rather than confrontation. But I understand it’s been a mind-boggling summer, and with the election season coming on us, I imagine the country will be reeling until next summer. Five hundred twenty five thousand six hundred minutes, How do you measure, measure a year?

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Older posts on this topic:

July 3. A friend of mine who teaches high school in Tullahoma sent some of us the following note a few days ago: “Hey folks! The big city of Tullahoma has quite a controversy at the moment, with Rent about to open at The Community Playhouse. Apparently, one of the local Baptist ministers has decided to start a campaign, asking people to boycott the show because of its “low morals.” I have several former students in the cast, and they could use some support if any of you feel like a night of entertainment in a couple of weeks.” The show opens on Friday, July 10 at 8:00 pm at the South Jackson Civic Center in Tullahoma, Tennessee. I have not seen the play, a modernized version of Puccini’s La Boheme (which I will be seeing in a few weeks in Rome), but after I saw the photo of the notice from the local church, I instantly went on-line and bought four front-row tickets for opening night.

Screen-Shot-2015-07-03-at-12.27.32-PMI have to say, I’m glad I did get my tickets, because the production and the protests are starting to become news. Donna posted a notice from Howard Sherman, an arts administator and theatre advocate based in New York, entitled “Preparing For Anti-“Rent” Messages From Tennessee Pulpits.” Sherman reproduces some of his e-mail communication with local pastors and concludes with the following spirited defense, “Rent may have, to some, a squalid setting, but is about struggle, friendship, community, equality, love, sacrifice, life and death, and even redemption. Those seem like themes worth exploring and embracing in every city and town, every day, in places of worship, in theatres and beyond.” It’s hard not to see the animosity to the show as a sort of proxy battle about the recent Supreme Court ruling allowing gay marriages, of course.  Reaction all over the South has been hostile to the ruling–the entire staff of the clerk’s office in Decatur County in west Tennessee resigned over it. “Clerk Gwen Pope and employees Sharon Bell and Mickey Butler all said their resignations was due to the Supreme Court’s decision to allow same-sex marriages,”  WTVC reported yesterday. According to the Jackson Sun:  “It’s kind of sort of like you don’t want to draw attention to yourself for any reason,” Pope said. “That’s not why we’re doing this. Not doing it in any way to draw attention to us. It’s for the glory of God. He’s going to get all the glory.” Drew Baker, area representative for the Tennessee Equality Project thought it was unfortuntate. “That’s also against the law.” he said.  “They’re opening themselves up to litigation. However, I admire them for the strength of their convictions.” The other day, I likened Bree Newsome–the woman who climbed the pole in Columbia, SC, to remove the Confederate flag–to Antigone for invoking religion in her act of defiance; the same comparison must be made for the former Decatur County clerks. Where the ruckus goes from here, over Rent and the Confederate flag and gay marriage, will be interesting to watch. As I say, I have a front-row seat for some of it.

Postscript, July 6th.  HuffPo is now on the Tullahoma “Rent” controversy, with this fine story: “RENT in Twain: Division in a Small Town”.  Among many worthwhile insights:

“We fought for this to be a PACT production for a reason. You know, people have come to us with some concerns about the show, and it’s always couched in a ‘concern for children and teens.’ I will say that I don’t think this play is for children, but I can look at the cast and see character counterparts.” Allen points to imaginary people standing around him, “There’s our Collins, there’s our desperately in love person, there’s our abused person, our person struggling with an eating disorder, our transgendered person, our person struggling with sexuality. So, for people to say, ‘your life is so disgusting and immoral that it shouldn’t exist onstage,’ is a huge slap in the face to them. These teens need their lives validated.”

And some comments from cast members:

“I’ve lost contact with three family members because of the Supreme Court ruling and their stance on gay marriage.” “My people disowned me because I’m gay–right as I started the RENT process.” “I was called a bitch because of believing in what I’ m doing. I was completely shocked to get that message from someone I rarely even talked to.” “I lived for six months in my car. I went to work, and I lived in my car.” A glance at the show’s director reveals him nodding and making eye contact in a way that seems to say, “See? I told you, These kids need this show. They’ve already lived it.”

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Sight and Sounds of the Monteagle Flea Market, late June 2015

The man selling homemade pork rinds is telling a customer, “Oh yeah, Obama’s got this country all screwed up. It’s gonna be World War Three.” I assume he’s talking about the Supreme a Court’s recent ruling on gay marriage, but who knows? Bluegrass is playing in the background, near a penful of rabbits. At a nearby stand, a woman has a large Confederate flag displayed– she’s selling Southern-themed bric-a-brac, including a Scarlett O’Hara Barbie still in the packaging, as well as a Confederate Ken doll that’s alongside a Harley Davidson Ken doll. “Looks like it should be called Village People Ken doll,” says my wife to me. There are a lot of good- looking tomatoes to be had this morning, and lots of second-hand rifles, too. “Wonder what sort of background check they do?” I ask to nobody in particular. This is the place to come for poultry– one guy has chickens, ducks, and even a turkey in cages attached to a flatbed truck. Here and there are blankets laid out with stuff– it’s like being in a Booth cartoon. Knives of every sort, tools I don’t the names of, a mounted deer head for $125, posters with guns on them and an edited version of the Second Amendment beneath which is written “what part of “shall not” do you not understand?” One guy has a slot machine for sale, an object of fascination to a boy of about eight. ” how does the money get in?” he asks, and is told, “Suckers put it in there!” This same stand has quite a few wrestling championship belts on the table, and a Troll doll with purple-red hair. “There was a time these were the most popular toy,” he observes. “Yes, sometimes I rub it’s belly for good luck.” “I hope he doesn’t rub back,” I say. Another homemade pork rind stand, but we have our tomatoes and squash and peaches and blackberry. “Let’s go home and make a pie,” says Kelly.

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Sewanee Crite prints

A few weeks ago, I made mention of some intaglio prints made by the African-American artist, Allan Crite, that depicted scenes from the Creed as imagined around Sewanee.

In that post, I asked:

I wonder, too, whether Crite’s original prints of the Sewanee Stations of the Cross might not be procured and displayed somewhere prominently?

Well, I’ve come to discover that, in fact, the originals are owned by Sewanee and on display at the School of Theology! I rode my bike over to have a look.

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Inside Hamilton Hall, by the entrance to Hargrove Auditorium, the Crite prints can be seen in a large wooden, fairly recent frame. A surprise: in addition to the three I had posted in May was a fourth one, “Born of the Virgin Mary,” set by St. Luke’s and the old water-tower. In addition was the masthead of something called The Theo-log, published on May 1, 1953, with a prayer in Gothic lettering beneath it. I looked on the back of the frame, and saw it had been done in Mississippi, though when and at whose expense, I couldn’t say.

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Rebel’s Rest Archeological Site

Last week, Jerry Smith had to cut our meeting short at Stirling’s, as he was due to give the VC a tour of the Rebel’s Rest site. “OK if I tag along?” I asked. He assented and we hopped into his truck.

The first thing he showed we was a neat stack of bricks taken from the various fireplaces. Smith had spent done time tracking down the stamps. “They’re not all from the same company, which is curious.” No doubt there was some reuse over time.

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I was poring over the bricks when the Vice Chancellor showed up. Smith pulled some plans out of his truck, and a baggy full of what? I couldn’t tell. Over we walked to the covered stand where the Rebel’s Rest porch had stood. “The wisteria is coming back strong,” said John. University archeologist Sarah Sherwood had joined us. “It’s already had to be cut back,” she laughed. In the meantime, Smith pulled out his plans.

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“When Fairbanks built Rebel’s Rest, he used logs that had been sawn,” Smith said. He pointed to a long log set horizontally on top of a foundation right in front of us– it was clearly not dawn but hewn. “All in front of that,” he continued, emptying out the baggy, “was this.” Little bits of glass spilled out. Melted glass, he noted. Probably from the fire that burned down the Polk residence that occupied the site before the war.

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In the area in front of the hewn Polk log there are modern pillars of poured cement, dating to 2002-3, when PPS workers had to crawl under Rebel’s Rest to set up supports and run wires and vents and such. Some are “signed.”

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I suppose my favorite modern item is a time capsule the guys put under the porch. Who knew that every time we crossed the threshold into Rebel’s Rest in the past decade, we were walking over it?

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On the right hand side, below where the kitchen had been, are the remains of a size able room, “Is that a natural outcrop down there?” asked the VC. Indeed, a large rock with a still running spring coming out from under it. “We even found the sump pump down there,” said Sarah, “still in functioning condition.” I wish I had asked to see it. The stone walls of this room showed evidence of burning on the wall. Not from the recent fire, Smith noted, or the 1860s one. A mystery.

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There are lots of mysteries, in fact. For instance, right beside the spring, on a higher level, a carefully excavated square revealed what first seemed to be a staircase… which then ended in a perfect cement wall. Why? “How old is cement, anyway?” I asked. “Roman,” replied Smith. (Note to self: don’t ask stupid questions in front of the VC)

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Closer to the parlor, where the old staircase had been, was this circular pattern of brick. What was it? “We have a lot more to excavate in this area,” said Sarah, “so we can’t just dig this up, much as we’d love to.” It’s interesting how part if the brickwork runs one edgy, and the other side goes another way. “Right now,” she goes on,”my pet theory is that it’s a spiral staircase to a Yankee speakeasy.” They’re saving this excavation for last–“dessert,” says Smith.

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There are quite a few other items of interest in the vicinity, just beyond the housestead. What seems clear is that Fairbanks built on the old Polk home, which was probably not a humble one. All around us evidence, too, of livestock and poultry. There’s more in the woods toward Fulford, but I declined to go. The grass was tall and certainly full of chiggers, after all, and I hadn’t exactly been planning for a walk in the woods.

The Messenger reports this week that the archeology team is looking for volunteers– from what I’ve seen, there’s a lot to be uncovered still! Below are a few more pictures from my stroll around the site.

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Sounds and sweet airs, that give delight and hurt not

I was toodling down Georgia Ave this morning on by bike when I heard bells suddenly starting to peel. Nothing unusual in that around Sewanee–to my right was the Breslin Tower, and beyond that the Shapard Tower of All Saints Chapel. But these bells were coming from my left. I looked over toward the front of St. Luke’s Hall to see this sight:

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For some reason, there was a Mobile Carillon set up on the path. Inside, playing away was Ray Gotko, who ordinarily plays the carillon at All Saints. “This,” he said, “is the original definition of a contraption.” He didn’t have much a of sense of why it was there. “It’s annoyng,” he said. “Everything’s in the wrong place.” I shot some video of him playing but my phone ran out of storage space. I’ll try to go over in the next few days to catch Ray again. “It’s here all month,” he told me.

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Be not afeard; the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again: and then, in dreaming,
The clouds methought would open and show riches
Ready to drop upon me that, when I waked,
I cried to dream again.

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Semel et Semper

Above the door of Cleveland Hall in Sewanee is the following heraldic device:

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According to A General Armory of England, Scotland, and Ireland by John Burke and John Bernard Burke of London (as cited here), the Cleveland coat-of-arms is described as “Per chevron sable and ermine, a chevron engrailed counterchanged. Crest–A demi old man proper, habited azure, having on a cap gules turned up with a hair front holding in the dexter hand a spear, headed argent, on the top of which is fixed a line proper, passing behind him, and coiled up in the sinister hand.” Beneath the shield is the Latin motto, SEMEL ET SEMPER, “Once and Always.”

The motto is a nice once–alliterative and pithy. I really don’t get why there is a “demi old man” as a crest. Every time I look it up on Google, all I get are hits about Demi Moore, who has nothing to do with heraldry. (Actually, I do get that “demi” means that we only see his head and torso in the crest.) still, this requires more looking into!

Postscript. OK, according to the Encyclopedia Americana (1919), p. 549:

“The name Cleveland is, in truth, not the name of this great American family, but rather the designation of the immense estate they once possessed in England, where these folks were known as “De Cleveland of Durham, England. This French nobiliary predicate “de” formed a part of this family name up to the 13th century, some genealogists claiming their ancestry French and hence the French word “of” prefacing the name. The Clevelands have an armorial bearing which dates back to the remote period of the 12th century and the crest, which represents a spearman, is in token of Sir Guy de Cleveland, who commanded the spearman at the famous battle of PoiclienPoitiers of 19 Sept. 1356.”

I gotta say, this explanation seems retrofitted to the iconography rather than real. Why does the spear have an attached line? The old man looks more like a harpooner or spear-fisherman to me than a medieval warrior, especially in other renderings of the crest.

 

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“Talking, Talking, Talking”: Sewanee Senior Banquet Remarks 2015

If you are like me, and you find yourself stuck at a large banquet with some after-dinner speaker about to offer grandiose “Remarks,” you probably console yourself with the thought that, Well, the sooner he begins speaking, the sooner he’ll be finished. With any luck, that is true, though I have to say, you are not as lucky as last year’s seniors, whom I had the honor of being asked to address at this same banquet—a tornado warning that occurred at the very last minute granted them reprieve. (It’s true. At 6:27 last year, the Senior Banquet was cancelled, and the police made everybody move to the basement. You might recall that the Sewanee Children’s Center was located there at the time, so there were all of last year’s seniors with glasses of wine sitting at these little tables on little chairs) Alas, you all will not be spared the whirlwind of words. Let me start that whirlwind off, though, with an expression of sincere gratitude for the invitation to be with you here tonight as we recognize those who have shown such leadership on behalf of the Senior Class Gift Campaign, and, while it may be a bit premature, let me also offer an anticipatory congratulations to the Class of 2015.

What a year you have had as seniors, I can’t help but think. So many things have happened, globally and locally, and there has been so much for all of us to talk about. You came back late last summer to begin your final year here to a campus that looked markedly different than the one you had left behind in the spring. Over by Stirling’s and Humphries Hall, for instance, some old army barracks were replaced with brand-new townhouses as well as with something called a Social Lodge, a place that has already become a locus for constructive interaction. Likewise, many of you probably had not had a chance to see anything of it when you left last May except the exterior of the new Sewanee Inn; inside, as I’m sure you’ve heard, it has become an important part of social life on the Domain. Certainly I have had many a good conversation in it already, at a wedding last June for a new graduate, for instance, or over breakfasts and drinks with job candidates throughout the year (some of whom will be joining us this fall). Even just this weekend, a recent alum and I met at the Inn. “This place leaves me speechless,” he declared, and then he began to tell me about his post-graduate life for a few hours.

These happy changes did not come without competing sorrows. I am sure all of you were saddened when you came back for your senior year to see that a fire had left Rebel’s Rest a burnt and water-logged wreck. The absence of Rebels’ Rest on University Avenue is a palpable one for many of us, especially those on the faculty and staff who spent our first nights in Sewanee in one of its guestrooms. Though the wisteria that covered its porch can still be seen to bloom, the building is gone, no unlike that time of my life when I myself was a younger job candidate. The place exists only as a memory now, and discussions are just getting underway about what should be done with the location where it sat. Rebel’s Rest, after all, was built in a day long before there were electric lights; by contrast, its successor will have to be building that is not only WiFi-ready, but ready for whatever it is that will eventually and inevitably come after WiFi. The discussions that take place concerning this site at the heart of campus will have to be careful. They will have to balance issues of symbolism and pragmatism, to weigh the wistful against the useful, to negotiate commitments to the past as well as designs for the future. Something will be built there, no doubt, something we will all be proud of. But before we build, we have to talk.

That makes sense, of course, because dialogue is at the very heart of the university’s identity. What makes the liberal arts the liberal arts, and more importantly what Sewanee Sewanee, is the way we make a point of speaking with each other about things that matter. This past fall, you will recall, the film “The Obvious Child” was postponed to after the elections, an act that was called censorship by both the Sewanee Purple and the Chattanooga Times-Free Press. When it was eventually screened, it was the probably the campus’ most talked-about film of the year, as a rom-com about abortion probably should be. After Eric Metaxas’ convocation address in January, there was a loud back and forth discussion on campus and on-line about what he had said—while at times it seemed that more heat than light was generated, still I was happy to see positions staked out, questioned, defended, and seriously debated. Not everything that is said is meaningful, of course. Sometimes silences can be eloquent, too, as those of you may have participated in Friday’s Day of Silence can attest. But at times, we must speak up, speak out, and speak to one another, as you did–much to your collective credit–earlier this month, in a forum the IFC hosted, prompted by hateful remarks made at a fraternity in Oklahoma. My hope, and I’m sure you share this, is that with these efforts we are beginning to build a stronger community. As I say, we have to talk before we can build.

In a famous chapter from his 1941 memoir, Lanterns on the Levee, William Alexander Percy writes about his college days here that people who live in Sewanee [quote] “seem always to be leaning from the top of their tower, busy with idle things; watching the leaves shake in the sunlight, the clouds tumble their soundless bales of purple down the long slopes, the seasons eternally up to tricks of beauty, laughing at things that only distance and height reveal humor in, and talking, talking, talking— the enchanting unstained silver of their voices spilling over the bright branches down into the still and happy coves.” [endquote] Percy’s memories are drenched in nostalgia, of course, but he’s right about the talking. Still it’s worth saying something a little more about why we need to talk so much. Because it’s important to say that a place like Sewanee is not a place for empty chatter, but a place ultimately for contemplation and discernment. When we talk, we do so to get our thoughts straight, to put into words what we think and feel and most deeply believe, and we listen as others do the same thing. In our conversations in classrooms, in dorm rooms, over caffeinated drinks and other kinds, we are most happy when we sense that the sparks fly, the neurons fire, the complacency shakes off, and the light now and again breaks through.

Isn’t that the reason all of us wanted to be in Sewanee, after all, to take part in discussions that were worth having, to be involved in things that were worth being involved in? Over the past several years, I have had many Facebook chats with friends from Sewanee, but two recent conversations stand out. In each instance, the alum was angry over events taking place at Sewanee. One declared not give any money in response to the Cliteracy exhibit, the other said something similar about the appearance of former Attorney General, Alberto Gonzalez. Both spoke in the anger of the moment, but I think neither of them will make good on their threats –to take their bat and ball and go home is neither one’s inclination about this place. YSR runs a little too deep in their blood, as does their devotion to their alma mater. Distance and height will reveal the humor in things, and they will not remember having said such things next time we meet here on the mountain, trust me.

For some here tonight, it may be quite some time before you’re back to the mountain after graduation. When you return, some old buildings will be gone that you are bitterly going to miss, some new ones will be built that your generosity will have had some part in constructing. In a similar fashion, the students who come after you will have conversations of their own, subjects they will feel the need to debate, speakers and exhibits they will want to host or protest. Some of what happens you may not like. But they will be young, as you are now, and as you are now, they will be intelligent and intense. And at some point they too will grow up and become alumni of the University, as you are bound to be in just three Mondays from today, when the Vice-Chancellor will have bid you farewell in Latin as Iuvenes dilecti et nunc exornati. All I ask is that you “chosen and now honored youths” have some patience with the whipper-snappers that follow you. Let them talk, in fact encourage them to do so, and listen with forbearance to them too. And let us continue to talk as well, in the few weeks that are left to you as students, and in the many years to follow when life will take you God only knows where as alumni. Be sure to stay in touch, because your alma mater will miss you. And that is all I have to say.

Monday, April 20, 2015, Cravens Hall, University of the South, Sewanee, TN

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Rear-View

Dr. Christopher M.  McDonough,

At the request of the PROVINCETOWN ARTS magazine I have been asked to  write a review of the recent biography of Tennessee Williams by John Lahr, TENNESSEE WILLIAMS, Mad Pilgrimage of the Flesh,
For this review, I ask your permission to reproduce a rear- view photo of Williams copper statue, “Testa dell’Efebo” [attached]
PROVINCETOWN ARTS IS A NONPROFIT PRESS FOR ARTISTS AND POETS,
Provincetown MA 02657
Respectfully,
Leona Rust Egan, Theater historian
author, PROVINCETOWN AS A STAGE
Postscript. In fact, the article in Provincetown Arts Journal is now out! A PDF of ” Tennessee Williams: His Long Farewell” by Leona Egan is here.
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