How a trip changes my script

In my play about Clara Brown, I have a character JORDAN, who is an African American Union soldier, and his 10-year-old daughter GRACE. JORDAN escaped slavery and enlisted in the Union army at Camp Nelson in Kentucky. His wife and daughter followed afterwards, as did many families of the black men who enlisted. The families lived at the camp as refugees, fending for themselves. Camp Nelson was established during the Civil War as a fortified base and supply depot where recruitment and training took place.

When I found out that Camp Nelson had been made into a National Monument adjacent to a National Cemetery where black soldiers have been buried, I made a weekend trip. It was over a 6-hour drive from Pittsburgh to Nicholasville, KY.

Jordan

1.     I learned that the Union army, in its hypocrisy, hired enslaved men to help set up Camp Nelson. The men did the labor but pay went to the people who hired them out.

I had wondered how JORDAN and other men learned about the recruitment camp and how to get there. Now I have more backstory for JORDAN: He had been hired out, marked the way there, and told his family and probably other men about the camp and how to get there. It boggles my mind why the men were hired out since, even though Kentucky stayed with the Union, the state allowed slavery. Wouldn’t hiring men out to help the Union army contribute to the demise of slavery? Lots of contradictions in this part of the history.

Camp Nelson 1863-1866

2.    Camp Nelson developed a system to rehabilitate horses so that they could be returned to the war effort. The system included a combination of a special diet, exercise, rest, and grooming. Most of the mules stayed at Camp Nelson.

After the Civil War, JORDAN’s lieutenant colonel wants him to re-enlist and join his cavalry out West. I wondered how JORDAN would transition from foot soldier to the cavalry. While stationed at Camp Nelson, before going into combat, JORDAN’s training included rehabilitating the horses. Because he was excellent at this job as well as combat, his lieutenant colonel wants him to now train and serve in the cavalry.

This area marks the location of the horse stables

3.    While Camp Nelson recruited and trained soldiers, some stayed in the camp and others were sent out of camp to contribute to the war effort.

This information helps me understand the mission and culture of the Camp. It helps me understand various tasks for which JORDAN received training & expertise along with combat training.

A replica of the barracks

Actual weapons used during the Civil War, now housed in a museum

4.    The cemetery shows evidence that black soldiers during the Civil War served as troops, in the cavalry, and with artillery and heavy artillery, and that they had been promoted as officers.

This information fortifies my belief that JORDAN’s lieutenant colonel—a Caucasian man—respects JORDAN and wants him to re-enlist. I’m accustomed to hearing about the segregated nature of the US military from the Second World War, and how the military consciously held African American soldiers back from combat duty and promotion to the rank of officer. From other various resources (letters) during the Civil War, I understand that many Caucasian Northerners supported the end of slavery but did not believe in equality. The grave markers at the cemetery, however, provides evidence that soldiers and officers who fought side by side, and relied on one another for their lives, respected one another as soldiers and officers, and lobbied the government for equality in terms of military service.  

Here lies buried Henry Mitchell, who served in the Calvary and died on March 6, 1865

Here lies William Wall, who served in Heavy Artillery and died on September 3, 1865

Grace

1.     The only body of water accessible to the camp was a water spring which only the officers were allowed to use.

Originally, I wrote that GRACE fished and taught the other children of the refugee families how to fish. During the tour of Camp Nelson, I saw there was no body of water on the property except for the spring. Even though the camp was established near the Kentucky River, the river itself was beyond the borders (and safety) of the camp; I was also told that they wouldn’t have been able to reach the river due to the palisades. I’m still unsure what “palisades” means in this case. The Union army built an enormous water pump system to feed water from the river to the camp. Certainly that area was inaccessible for fishing.

This is the site of the water spring that only the officers were allowed to use

2.     The refugees set up camp near the bakery.

The tour guide pointed out where the bakery was, and how the refugees set up their home beside it. Based on excavations, it’s known that people in the camp ate cows and pigs. It’s presumed that the refugees also ate this meat and had bread from the bakery. I’m skeptical about what was given willingly by civilians and soldiers who worked in the camp because the head of the camp was known to randomly kick out the refugees. On the other hand, people usually make a “home” where they can get food and water, so maybe the refugees did benefit from the bakery. Before coming to Camp Nelson, GRACE learned from her father how to hunt small game: rabbits, squirrels, raccoons, opossums. She would have continued hunting at the Camp.

Down this way was the site of the bakery where the refugees set up camp

3.    The officer in charge of the camp randomly evicted the African American refugees, who then returned afterwards. This continued until another officer leaned on the Union army to accept responsibility of the families of the black soldiers just as it provided for the other soldiers. Even at Camp Nelson, many Caucasian refugees fled to the camp to escape Confederate occupation of Tennessee.

Before visiting Camp Nelson, I knew about this eviction in November of 1864, but I didn’t know he did this several times. I originally wrote in the backstory that GRACE’s mom died in the camp from disease. I thought about the winter eviction, where 100 of the 400 women, children, and old men died of exposure (and malnutrition and disease) and I thought GRACE and her mother would be among them. On the other hand, I learned that it was determined in July 1864 that women who were officially hired by the army to do laundry and cook were not kicked out. I’m still weighing this, but now that I learned about opportunities her mom had to secure their place in the camp, I’m leaning toward that. Would the army have “officially” or “unofficially” hired her soon after she arrived in 1863 even though the army still couldn’t decide how to reckon with “refugees” who were actually “property” and should be returned?

Families of the black soldiers were frequently evicted from Camp Nelson

4.   The wives and children of the black soldiers who escaped to Camp Nelson were considered refugees—by the summer of 1865, 3,000 refugees lived in a space where cottages were built for a little over 2300 people. The army then provided 50 tents and the remaining refugees built their own huts with whatever materials they could find.

This helps me get a handle on the refugees’ living situation. I also read information about how black soldiers and their families built their own cabins prior to 1865. Before visiting Camp Nelson, I’ve seen photos of the refugees’ “housing.” Having walked the grounds and read more information on site, I now better understand what is happening in the photos. While I knew of the resiliency of GRACE, these details will help me flesh out what she did to survive and how she led other children to survive.

Photo of the refugee camp where the families of African American Union soldiers lived in Camp Nelson

Replica of a cabin for the refugees

Replica of a cabin for the refugees

A close-up of how the walls were built - replica of a cabin built for the refugees

5.    A monument has been placed on the property where refugees had been buried. I think their bodies have been moved to the National Cemetery, but I didn’t find the markers.

Here, I learned that all the soldiers were buried together on either end of the cemetery (marked at Graveyard 1), regardless of race. And that their families were buried between them. A number of the bodies have been moved to the National Cemetery adjacent to the camp. I felt humbled to be standing on hallowed ground where a great number of the refugees still were buried. This makes the “stories” very real. I feel like the camp and the cemetery does great honor to the black soldiers and their families who fought for freedom and helped lead this country to build up to its potential.  

This monument marks Graveyard 1 where the soldiers and refugees had been buried

This side of the monument acknowledges the refugees. Note how it references Caucasian refugees first…

…but the monument devotes one side honoring African American refugees.

covid-19: Writing a Zoom play

When Alleyway Theatre put out a call for a digital play, I was gamed. During COVID-19, many theaters are putting out calls for scripts about the pandemic, and have migrated to plays that can be performed by 1 actor or by 2 or 3 who live in the same household and can perform on Zoom with no special lighting, etc.

Alleyway Theatre, though, is re-imagining another form of art—one that can be performed during this or any such situation where stages are closed and no one can go out. I imagine a health pandemic or wartime or the streets are on fire and curfew is at 8:00 pm.

Going digital, Alleyway asks: What “magic” can you employ to use technology to help tell your story in the most successful way? Is it Zoom? Skype? FaceTime? An app? Something else? Is it live? Live to tape? Filmed previously and heavily edited? 

In terms of audience, Alleyway provides questions: Is it interactive? Passive? Zoom fatigue is real.

The best example I've seen in using Zoom as a medium is SNL where a pastor takes us to church but is constantly interrupted by the congregants. However, when he mutes them, he loses call-and-response: https://www.youtube.com/watch?v=AYP1mXqiwqc 

For my new play, When women travel, they take a song, I decided to use the Zoom format. My sense is that in the world of social media such as tiktok, an audience is likely to click through numerous pages until something catches their attention, then they click through many more again. For my play, I create a collage of six stories that encourages the audience to switch their attention throughout the show. The two main characters who open the play are on Zoom, and a futuristic search engine named Athena places other characters in Zoom for the teenage girls to study for their year-end project. 

This is an all-female cast, across generations, ethnicity, time-periods, and sexual orientation. These characters are chosen as they relate to the theme of “women traveling.” The irony, of course, is the lack of traveling as people are stuck in Zoom.

The way I came about this idea, is I first thought about a monologue I had just completed. I have 2 monologues ready for performance, and a 3rd one that I call a “monologue collage” which gives it more texture. As monologues can be performed on stage, I thought about what would drive these to be performed digitally?

Each of the 3 monologues is spoken by a woman over 60. They are of different ethnicities and time periods.

I looked across my other plays for women characters, and found a theme of traveling & song.

Nikki Giovanni’s poem, “Quilting the black-eyed pea” popped into my head: “To successfully go to Mars and back you will need a song…take some Billie Holiday for the sad days and some Charlie Parker for the happy ones but always keep at least one good Spiritual for comfort—”

I took 2 of my teenage characters—a lesbian couple—and placed them at the opening of the play where they’re working on their capstone project based on Giovanni’s poem to finish out their senior year. They’re musicians and have gotten into trouble because they turn all of their school assignments into a concert and have been told “no concert, or they’ll fail the capstone project and won’t graduate.”

Stuck at home during a pandemic, exploring seven traveling women in Zoom for their final high-school assignment, lesbian lovers BHAGYA and CHIUNG-WEI clash over their own plans for the future.

On the way to Mali Street. April 7, 2019

On the way to Mali Street. April 7, 2019

covid-19: Haley Clancy writes us a poem

On our last weekend out on the town, poet Haley Clancy was working at the Strip District. She played music for my fiancée Edie & me to dance while she wrote us a poem:


So who knew, never did I think
it would be like this
us dancing in the Strip,
I plant you a kiss, because the
day has been scheduled
but you have always been
my date, right here,
I do feel safe
because I love you.
What a thing to say; it’s been
6 years,
but I will say I do,
I will say it for the rest
of my years.

     © 2020 Haley Clancy

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The weight symbols carry

After the shooting at Pittsburgh’s Tree of Life synagogue, my fiancée bought us the Stronger Than Hate t-shirts:

stronger than hate t-shirt.JPG

The t-shirt makers, in partnership with the Pittsburgh Steelers football team, send the proceeds to the Jewish Federation of Greater Pittsburgh’s Fund for Victims of Terror, benefiting the synagogue in this case. In support of the victims of the shooting, the Steelers allowed their modified logo to be displayed broadly, including clothing, signs, and stickers.

This show of solidarity throughout the city boosted our morale, and my fiancée thought to also pack the shirts for our trip to Israel where we would be spreading the message of unity with the Jewish community there. However, when my aunt saw our shirts, she was stunned.

She explained that to wear the symbol of the Star of David in Jerusalem would represent nationalism against Palestinian Moslems and anyone else not Jewish. Well, that’s not the message we wanted to send!

In the United States, where Jewish Americans are the minority, the symbol represents support.

In Israel, where the Jewish community is a majority, the symbol reverses itself as supremacist.

This 4th of July, Nike planned to release a shoe sporting the Betsy Ross flag design:

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The company quickly cancelled the shoes when former football quarterback Colin Kaepernick pointed out its racist symbolism. Originally a symbol of pride for US independence from England—representing the 13 colonies—the design is now being waved by White Supremacists. Different groups of US nationalists are using various symbols prominent during the time of slavery in order to intimidate minorities in the country.

And US Americans are pitted against one another as they argue for and against Nike’s decision.

This controversy over the Betsy Ross symbolism makes me think of Frederick Douglass when abolitionists thought to honor him by asking him to speak at a 4th of July celebration. The date was 1852. Furthermore, the Fugitive Slave Law had been passed two years prior, which extended the danger of slavery into the free states. Douglass titled his speech: What to the Slave is the Fourth of July?:

Fellow-citizens; above your national, tumultuous joy, I hear the mournful wail of millions! whose chains, heavy and grievous yesterday, are, to-day, rendered more intolerable by the jubilee shouts that reach them. If I do forget, if I do not faithfully remember those bleeding children of sorrow this day, “may my right hand forget her cunning, and may my tongue cleave to the roof of my mouth!” To forget them, to pass lightly over their wrongs, and to chime in with the popular theme, would be treason most scandalous and shocking, and would make me a reproach before God and the world. My subject, then fellow-citizens, is AMERICAN SLAVERY.

I think about the conversations we need to have as a country about the wrongs of our past in order to heal together, and certainly the diverse effects of these symbols give us a place to start.

Germany had this conversation within her borders and with Israel and the Jewish community worldwide. South Africans have done this during Mandela’s presidency (1994-1999). Indeed, Maya Angelou writes in her poem for Bill Clinton’s inauguration in 1993: History, despite its wrenching pain, cannot be unlived, and if faced with courage, need not be lived again.”

Here is my new ritual: To listen to Dr. Angelou every 4th of July:

Happy (US) National Poetry Month!

The blessed angels

by Toi Derricotte

How much like
angels are these tall
gladiolas in a vase on my coffee
table, as if in a bunch
whispering. How slender
and artless, how scandalously
alive, each with its own
humors and pulse. Each weight-
bearing stem is the stem
of a thought through which
aspires the blood-metal of stars. Each heart
is a gift for the king. When
I was a child, my mother and aunts
would sit in the kitchen
gossiping. One would tip
her head toward me, “Little Ears,”
she’d warn, and the whole room
went silent. Now, before sunrise,
what secrets I am told!—being
quieter than blossoms and near invisible.

What I learn from artist CARTER REDWOOD

Go to several auditions every single day.

 Carter lives in nyc and has been getting parts in mainstream tv shows and cable ones. Constantly. I’ve read that actors need to regard auditions as part of their job description. The job isn’t only when you get cast, it includes auditioning to get cast.

 As an emerging writer, I’ve got to be my own agent. I’ve got to pound the internet, answering the call for submissions constantly. I’ve joined playwrights binge so that every March and September I send out a script a day. This helps me to organize so that I can send scripts during the in-between months, too.

 I’ve got to do the same with poetry and my other writings.

 That’s not to say I’m already doing it. It’s to say that I learned this from Carter.

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Best poetry read in 2018: The Undertaker’s Daughter, by Toi Derricotte

What I love about Toi Derricotte’s poetry is her raw honesty of what most people would protect as “family secrets.” Every night, I turn one page after another because I want to see what Toi will let us know next, and what connections and insights she makes of it.

undertaker-daughter.jpg

“Family secrets” insinuates something is wrong. Something is certainly troubling; but in the world of poetry whose essence is to open up the complexity of our experiences, I marvel at Toi’s perseverance as she zeroes in on the doll; on the pet fish, Telly; on the concept of memoirs; on the photo of a dad holding his baby girl which appears on the cover of the book where love, harm, and the mangle of actions and emotions are untangled, revisited, re-explored, over and over again.

Perhaps Hollywood movies and sound-bites on the news like to present our lives as here it begins, this is what is good & evil, and here it ends; poetry—especially Toi’s—lets us think, ponder, and wonder, and Toi’s poetry in particular makes it easy for us as the readers. That is to say, Toi’s poetry is accessible for a complex subject.

I want to ask Toi whether she put in hours of turmoil to write this book. I want to ask whether she woke up in the middle of the night, often, to continue the writing, and whether she stopped at times because she couldn’t yet get to the right word, and whether at times the rush of adrenaline had a symbiotic relationship with what she was discovering as she wrote. Or if Toi’s process is very different from my imagination. I’m trying to understand how poets wrestle with this type of complexity, then make it so clear.

I saw Toi at several poetry events in Pittsburgh these past few weeks, but was too shy to ask.

Maybe another time I can talk with Toi about her process of writing. For now, I ended this blog piece with the word “Respect,” then deleted it; with “Honor,” then deleted; with “Thank you, Toi” and deleted.

I’m still searching for the right word to match my emotion and the life changing within me.

Books by Toi Derricotte

Degas ballerina sculpture … and meandering storytelling

Photo by Edie; sculpture on display at The Frick Pittsburgh, July 2018

Photo by Edie; sculpture on display at The Frick Pittsburgh, July 2018

I know Degas’s paintings for his ballerinas but I never knew he also made this sculpture – bronze with cloth for the tutu and hair ribbon. Cloth for the tutu and hair ribbon. It seems it would’ve been very unusual in his time period (1880s) to step outside the usual all-bronze cast.

When I googled the sculpture, it turns out that Degas did use an unusual medium, but not what I thought. His original sculpture was made using a real bodice, tutu, ballet slippers, and real hair – and cast in beeswax. The full sculpture was covered in beeswax except for the tutu and hair ribbon.

Apparently the bronze version (a number of them) was made afterwards by his heirs.

The sculpture by Degas received mixed reviews at the time, for numerous reasons.

I’m fixed on the cloth. I imagine an artist who sidestepped the classics because he had to go his own way, bringing the texture to life.

This makes me think of Nikki Giovanni who sidesteps the classics of poetry books when her writing moves among poetry, prose, mail correspondence, a movie:

From Whence Cometh My Help*

It should be a movie. Starring S. Epatha Merkerson as Ethel Smith. She would be driving down I-81 right before the Hollins exit. There would be some smooth jazz, a Coltrane piece from Giants Steps or maybe something by…

and then more poetry (Quilting the Black-Eyed Pea: Poems and Not Quite Poems). Giovanni and Degas both had to do their own thing, which makes great art.

Playwright Diana Burbano has recently written a blog piece about why fewer women than men seem to send plays out for production—even when invited, “qualified women will say no.” Burbano notices a number of wonderful plays by women that don’t follow “a strict narrative structure” (or classic structure). “Why isn’t it OK for these plays to change the way a story is laid out?” Burbano says; “I wonder if trying to shoehorn themselves into a rigid structure isn’t half the reason so many women feel uncomfortable submitting? Perhaps they feel they will never get it ‘right.’”

I agree with Burbano that we’ve got to keep sending out our plays, written our way. I’m ever optimistic that great art prevails. “The narrative is starting to change,” Burbano says: “People like me LIKE your meandering storytelling, and we are starting to be the people who will be the first to learn of your work.”

 

*From whence cometh my help: the African American community at Hollins College

Best poetry read in 2016-2017

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Of Poetry & Protest: From Emmett Till to Trayvon Martin: The editors Philip Cushway and Michael Warr first proposed this book of poetry in celebration of the 50th anniversary of Martin Luther King’s “I have a dream” speech, and as they were putting the book together the Black Lives Matter movement took off, so the editors redirected the focus. Each poet provides a statement of her/his evolution and purpose as a poet, followed by one poem. The editors chose an image to go with each poem. In choosing top, dynamic poets, and providing “historical and cultural underpinnings from which these poems arose,” the editors created a book of art accessible to poetry readers as well as non-traditional poetry readers. The editors noted that many of the poets cited Gwendolyn Brooks as their influence and mentor. I noticed that many of the poets began publishing with Cave Canem, which makes me infinitely proud of writers who make a home for voices otherwise not heard. For an anthology, 18 women poets to 25 men poets could be improved, but it’s better than most. The poets, also, are across generations. Too many favorite poems for me to call out a favorite, but I do tend to gravitate to the Emmett Till poems.

The nerve of it: poems new and selected, by Lynn Emanuel. My favorite thing about this book is that Lynn mixes up old poems with new in order to make for a new reading experience. That’s the first I’ve seen this done, and it works beautifully. Lynn creates various projects, writing poems vastly different from one another. My favorites: “inside gertrude stein” and “Halfway through the book I’m writing.” I studied the opening lines of each poem to understand how Lynn pulls us in:

(a) In the cooking pot my aunt's long spoon pets the lamb's

In the cooking pot [INCITING INCIDENT] my aunt's long spoon pets [ACTION VERB] the lamb's [UNEXPECTED, TENSION]

(b) in the teary windows, the woodlands heave

in the teary windows [INCITING INCIDENT; METAPHOR] the woodlands heave [ACTION VERB, TENSION]

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Dear All, by Maggie Anderson. Favorite poems: the title poem, and “The Sidney Lanier Best Western Motel in Gainevsille, Georgia, I think of the great Polish poet” – because what I learn from each poem actually changes my life. This is what the poets Judy Grahn, Pat Parker, and Adrienne Rich did for me when I was in my 20s, and here Maggie is doing it for me now. Wow.