Childhood is a fraught time! I did not enjoy school and for many years when passing my old school had an irrational urge to roll down the car window and spit! I have matured since then and now just avoid the town completely. Here is a memory of those days.
Laura Is A Pig and What Can We Do?
When I was a child, life was so fragile. It wasn’t that my family was not loving, nor my school so very awful; it was just the fact that every aspect of one’s life was so obviously dependent on others. That dependence meant that when things went wrong in the playground, at home, in me or wherever, there was always that deep conviction that I, a child, couldn’t really do anything to change matters. Your very happiness, existence, recognition lay in others’ hands. The process of life that has gradually empowered me to believe that I am in control (well, in any event, more in control of myself than any one else) has soothed the ageing process. Those who announce at dinner parties that childhood was the happiest time of their lives quite stun me still.
I have a vision of being back in room 4L, doing Maths with Mr Bell, whose room not only rhymed with hell, but also at times seemed it. Those dreadful expectations that adults make of children whatever their circumstances - homework. How many children have longed to announce ‘the reason I was unable to do my homework last night was because my Dad has left home and the sound of my Mother’s constant crying has signalled the collapse of my entire life’. The completion of homework in such circumstances is a bit like expecting the condemned man to fill in his tax returns just before being executed.
At school we had a lovely teacher, a Mr Smyth - good teachers do exist - who had returned to N. Ireland after teaching in Africa for decades. He was quite old and spoke Swahili. He said, one day in our class, ‘the only sure sign of intelligence is adaptability’. Strange how twenty years later I can quote what he taught verbatim. I suppose that is what a good teacher can achieve. Anyway he had been to a funeral one morning, and was teaching us Geography still dressed entirely in black. Laura Pickett, a pratt by any other name, began to cheek him. It started simply but she became more and more strident. The rest of us were embarrassed as he couldn’t control her, in fact he couldn’t control himself and suddenly his head sank into his hands and he started sobbing. His grief was raw and terrible and he left the room. There was a horrid stillness followed by a giggle from Laura. I don’t know who started it, but someone began singing in that familiar school singsong voice ‘Laura is a pig, Laura is a pig’. Everyone began to join in, and so did I. The sound became a crescendo of noise as feet and hands banged the incessant, triumphant message. ‘Laura is a pig, Laura is a pig’. She couldn’t stand it for too long, but it seemed satisfyingly long for the rest of us. She burst into tears and ran out. She ran straight to the headmaster’s office. The entire class was hauled before the headmaster and there we were asked, “How could we be so cruel, to the smallest girl in the class, to an orphan”? I didn’t know Laura had no parents and as we all stood shoulder to shoulder in his dark wood stained office, a part of me screamed at the unfairness of Laura’s parents being dead, and the horrendous grief of Mr Smyth. But mostly I screamed inside at the helplessness of any of us to make it all better.
Hi Colette,
ReplyDeleteI am a fellow writer, novelist and playwright,
and just wanted to say that I like the premise
of the above story, above all a certain
sadness in it. But I would also like to suggest a really easy strategy for possibly improving it (if you at all were keen to continue editing and do a re-write).
The strongest part here - as for the most
actual creative writing - is the dramatic scene, the part when the action sets in, thus creating a moment where we as readers are pulled into the narration getting a closer view at the protagonists. It is in this dramatic part where the infamous "showing" above "telling" is happening, the magic that keeps us reading.
In your case it is clearly the moment of
Laura's disobediance and after that the reaction of the class.
Before that and after that you are not really
narrating - you are "re-telling" what has happened, and by that I mean that we are too far away from the scenery, the actual story, the feelings and the motivations of the characters.
This leads to less interest being created
on the reader's side, our imagination
and our engagement in the topic are not really triggered.
So my suggestion is: Dive more into the action, into the moment. Let us "see" (and not only read about) the funeral, or even better let us observe the teacher's slow bicycle ride to the school on that day without knowing at first where he comes from, or how he is trying to talk about a subject in the class but struggle to find words without telling us what is actually happening. There should have be more secrets like this and thus more suspense even in a text as short as this one.
...tbc
...
ReplyDeleteAlso, the atmosphere in the classroom is very
important; it should build up longer to the
moment when the chanting starts. We should feel it, the tension, the sadness, the anger maybe even without being told that all of it is happening (again - show us for example the embarassment in the principals office, what are the bodies doing etc).
I would also suugest this: Don't go so far back in time at the beginning, and don't use the general writing tone. Meaning - the preface-ish paragraph
ending with "the happiest time of their
lives quite stun me still" is for my taste not really needed at all for this story. Here, I believe, is the same advice in place: Dive right in. Start with the shaking hands of the teacher. With a description of Laura's sandwich which never looked as good as yours. With the shoes the teacher wore that day. Show the class enter the room or him enter the class. Also, the classroom is where the drama happens, so the classroom should be of interest itself. Right now I don't relate to it as a room, it is just there on paper, no smell, no form.
Also, you could try creating and showing the insecurity of the teacher very slowly. Him trying to keep firm and then small cuts in that behavior which Laura notices before starting her game of "power".
It would be of interest also to create a couple of short scenes in which the dynamics of the class before the climax can be seen. We have a "sad teacher", "a mean but also actually sad or
troubled girl" and "a class that becomes some kind of rioting mass". Perfect roles for a more intense encounter. Show the rising of radical feelings and behavior but show them step by step, slowly rising, becoming more and more acute in a short period of time, rather than the way how it is done now - in a fast forward run with very
hard pace.
I believe, that this is definitely a memorable scene but would be more plastic and even touching if it was supported by our senses and had more details and observations. Is it becoming
really hot in that classroom? Is the teacher sweating? What's up with the guy who is normally the bully? Are those chalk stains on your teacher's black pants? Does Laura sway her legs while she talks with the teacher? How does the class walk over to the principal? Proud? Scared?
Also, if you like to write more on the topic, you could create more miniatures about the time of school and childhood, all just really short scenes but structurally similar (that is important),
where we always just dive in and out in a moment of school life, maybe broader of the neighbourhood, lives of fellow pupils,
flashes of memory maybe always around kind
of a central image or conflict like here with Laura
If this is something you like to write about -
make more of it, put it together;
there is a lot potential in this piece - especially
if it became more "dramatic". Stay precize, every sentence should have the reason to be part of the action. It might work grandly.
Best from Germany!
Saša
Thanks for your great feedback it really has helped me see how things can be changed for the better
DeleteThis is why everyone should get to know a person well before choosing to judge that person's character.
ReplyDeleteI really enjoyed reading this. Thanks for sharing!
ReplyDeletethanks for your encouragement it means a lot!
DeleteHaunting. Good show.
ReplyDeleteSomething really struck me about your teacher's quote. Adaptability shows the ability to analyze and modify. It really is a rare trait.
ReplyDeleteBeautiful story.
Yes, it came back to me when I lived in Greece for nine years and failed to learn the language. I obviously am not good with languages. Could not adapt and just learn
DeleteThis is so powerful, with a solid core. I agree with the critique, and think your work is worth refining. The lesson, both of your story and the critique, is timeless.
ReplyDeleteCrisp and striking. I think everyone can relate to this sort of childhood memory in some way. Wonderful writing.
ReplyDeletethanks so touched by your comment
ReplyDeleteHmmmmm...I am of the school of thought that art will touch the viewer/reader/observer best when it is from the heart and it is a privilege to witness it at what seems to be unrefined and raw stages. When it becomes so polished that it pleases all critics, then it can lose its connection with the ordinary and simple man in the street, which to me is who we are when stripped of all our titles and qualifications and with only the birth given ability to feel.
ReplyDeleteI love your stories just as they come to you.
Am inclined to agree with the last person. The powerful raw version of your story told as you might say it in conversation rather than a piece of polished creative writing makes a great impact. There are many ways to express emotions and tell a story, and literary critics or publishers can be a bit narrow in their outlook. Keep at it, sister.
ReplyDeletejust read your lovely contribution on 4th July this year. Much thanks for your positive words - really encouraging
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