The True Tale of the Monster Billy Dean telt by hisself

Just some quick thoughts as a sort of review of David Almond‘s book, published by Puffin, 2011, which I used with my Y3 students reflecting on the literary representations of  learning to read. It could just as well have been for the Spirituality students next semester.

Spirituality
Almond moves through the issues of spirituality and transcendence in a number of works – perhaps most notably (until now) his masterpiece Skellig. Here again, themes (or at least images) re-emerge: wings, beetles, healing and decay, death and rebirth, as if to underline the similarity of the material. But this is a very different book: the narrator, moving through his life from infancy onwards (don’t worry; I will avoid a spoiler, since the final chapters are rather a page-turner) in the bombed town of Blinkbonny, reflects on his identity in a number of ways, most notably in who he is as a healer in his community. The storytelling is superb.
The premise of the book – that a child brought up in such unusual circumstances might grow up to be such an accomplished writer (despite his spelling – see below) gives the reader a lot to ponder. Is this a parable of “Becoming a Writer”? Is the folk-tale type about the Boy Overcoming Adversity? At one level, the child Billy has an upbringing that is difficult to comprehend: he grows up in near isolation, in a landscape and society destroyed by bombs, but has reasonable food, a supply of physical needs. I asked myself at various whether I should suspend disbelief (as one has to with Harry Potter, of course) about how well Billy grows up. Some entry into the fictional world Almond creates requires us to trust him in the improbabilities of the narrative, and some suspending of disbelief is certainly necessary, although some, perhaps, is not (and I’m avoiding a spoiler here): Billy is in the end faced with possibilities of escape and healing that are wholly consistent with his context.
So, this is a book about – hmmmm:  I fight shy of such a simple solution. David Almond deals with a tragic situation , with exceptionally complex characters in search of resolutions that do not neatly dovetail. And this, for me, is why this is a very deep exploration of spirituality: Billy and his mother Veronica seem to want one thing; Billy’s father, Wilfrid is desperate for another. The butcher seeks a realisation or a self-actualisation about himself as a father; the nurse seeks solace in seeking for the voice of her daughter among the dead. Not everybody gets what they want as they grapple with the “why” of the narrative. Or do they? The characters are all depicted from Billy’s point of view, from his erratic reportage and weird orthography. Maybe their search for meaning is realised.
Maybe I shouldn’t make such an immediate judgement.
Language
Billy, whose literacy education has been erratic, from his irascible and largely absent father to the planchette of his spiritualist neighbour, writes a curious phonetically plausible English. This is a taste of it:

But we kept on tryin & I kept on not lernin & 1 day hed had enuf & he got mad with me cos I wos so thik.

Some of his words look and feel like proper misspellings, and while some may not, arguing about Billy’s orthography is a pointless distraction. This makes the work a challenging read, but emphasises Billy’s background and allows Almond to create a genuine voice for Billy. The chapter “The World Within” towards the end of the narrative where Billy, weary of the role he finds himself in, expresses sadness and delight at what we might think of as a mystical spiritualty is as a powerful set of insights into spirituality and suffering as I have ever seen in a book for young people:

Its like I turn into the world and the world turns into me.
And when it’s a world of beests and dust & water & fish then its so fine. Its like I am dancing…
But at other times it is a world of pane & death and war. The bomin of Blinkbonny takes place within me. I see it clearly… I don’t want these things taykin plays inside me time & time & time agen. But ther is no way to close my eres & eyes no way to block it all out.
Mebbe this is how things become for God.

This unusual and inconsistent use of unorthodox spelling also allows a very subtle language play, where, for example, right is written rite but retains, from time to time, its sense of ritual as well. Almond knows what he is doing here, and with rite and childe and cum (this is a book for older readers, if we can make that distinction) he pushes language to express multiple meanings. As Billy’s life becomes clearer, there are times when his spelling also rights itself like a wobbly raft:

Like the stars the sand the sea is he astounding.
I watch him. I write him.

And this is an astounding book.

Hallows? Thoughts about Hallowe’en

Three aspects of Hallowe’en and a reflection.

This is going to go on a bit, I’m afraid, as I want to look at

  • Hallowe’en and its modern popular expression.
  • Hallowe’en and Christianity (the longest section)
  • Hallowe’en and UK schools

“When I were a nipper” – the argument from memory comes first, here – Hallowe’en was overshadowed by the much more exciting Bonfire Night, which had a run-up in collecting for a guy, &c., carving a lantern from a swede (a labour of love) and somehwere, for a Catholic child, the Holyday of All Saints followed by the day of prayer for the faithful departed, All Souls (a reasoned, modern Catholic view of this day is to be found here, in the Dominican student pages, Godzdogz). For for my mother, as a war widow, the day of remembrance and the military solemnities around it, were especially important, too – something Dave Aldridge has written about  thoughtfully. This was all about the dead, but not all in sorrow: fireworks, and mischief were mixed up with sadness and silence, with black vestments and red poppies.

This is not the modern landscape, where the American Halloween (note the spelling) occasions fancy dress, trick or treat, pumpkins, and a much greater sense of gleefully enacted horror. I won’t bother with many links here, despite the fact that the bounds of taste do get overstepped in an effort to maintain the frisson. Yuk.

So Hallowe’en has become a feast of horror in some eyes, where the dead, the uncanny and the downright nasty are mocked and celebrated by small children and adults alike.

But what about Christianity? Where does Hallowe’en sit?

One of the key books in the history of the Reformation has got to be Keith Thomas’ Religion and the Decline of Magic, one of those books that, when I first read it, changed my opinion about so much I had been brought up with. After all, I had lived in the shadow of Pendle Hill, the stories of the witches and the story of my family’s struggles with Protestant Christianity part and parcel of the culture.  The overall premise – this is a gross over-simplification – is that the Christianity of the Word that comes in heightens a growing mistrust of popular practices from beliefs in fairies and spirits to dealing with “cunning men and women.” This is not to put Hallowe’en (yet) into a Merrie England which includes a pretty and rational Roman Christianity (I am choosing my words here) – but to suggest that opposition to it has a connection to a (very seventeenth century?) vision that any divergence from a particular view of Christian practice is wrong, evil, Satanic. A very broad brush-stroke account of this argument is to be found here, although the details are a bit dodgy.

Its roots with regards Christian practice, are in some ways about the celebration of a major feast, All Saints. Hallowe’en, as a name, is after all, shorthand for the Vigil of the Feast of All Hallows, or All Saints.  It might be that we should see the week or so of Church and popular festivals that occur here as having very different roots but all coming to express something similar: a celebration of the oncoming of Autumn, of shorter days and longer nights, of the dying of the light, and therefore the remembrance of the dead. Christians celebrate the same things as non-Christians at this time, maybe always have done. By this argument, this All-the-Dead celebration is just one more Christianisation of a different tradition; Christianity’s magpie proclivities are seen as stemming from the appropriation of the synagogue service and Passover, through Roman cults and the imperial court. Any purging of Christian practice has been a pick-and-mix approach which chooses one lump of tradition to keep and another to discard.

And yet, partly because of  its opposition to (or distraction from) All Saints and All Souls, or because it looks at the dead as menacing, some thinkers from Pope Francis to US Evangelicals have seen this is something to be viewed with a deep mistrust. As one writer puts it,

“…the underlying essence of our celebrations of Halloween is based upon  modern Wiccan interpretations of pre-Christian paganism and involve occultic  rites and practices that Christians should have no dealings with.”

Once upon a time, the missionary elements of Christianity might have been tempted to view the unchristian as anti-Christian. Matthew 12:30 (perhaps contra Luke 9:50) suggests that Jesus’ teaching backs this up; certainly “He who is not with me is against me,” and other similar sentiments, suggest an uncompromising attitude. Modern opposition to any kind of syncretism uses these texts, and lines from Paul about “having no dealings with darkness.” There is another strand to this, however: when Gregory the Great writes concerning the mission to the Angles he exhorts Mellitus to baptise, rather than destroy the pagan temples, so that “seeing that their places of worship are not destroyed, the people will banish error from their hearts and come to places familiar and dear to them in acknowledgement and worship of the true God.” It might be that this leads to a syncretism that Christians (or maybe some Christians) would find theologically unsound. I can’t make the time to rehearse this argument, from Basil on the use of pagan “classical” authors through to musings on Christian/Jewish or Christian/Islamic relations in Vatican II (and beyond), but there has been at least some uneasy dialogue with culture outside orthodox Christianity throughout its history, maybe from the moment Luke quotes Euripides in his account of Paul’s experience on the road to Damascus.

So what of schools and Hallowe’en?

There seem to be two different practices developing here: one is to ban it as a modern invention, as American and/or anti-Christian (I’ve heard a teacher say she wouldn’t have it in her class “because it’s contrary to my belief”), as in the arguments glanced at above.  The other is to allow, or encourage some forms of celebration, whether with the whole pumpkin and fancy dress thing, or with a more muted event, with maybe a ghost story and witchy songs.

The first has an odd lack of logic, at least in a state school (not controlled or aided by a religious group): if Hallowe’en is the pagan festival of Samhain, then surely the school’s equal opportunities comes into play. The pro viso – as with any celebration – is that there should be some sense of respect and real knowledge, and that it should fit with the long-term planning for a school, or a class. And this is the caveat for the second: it’s got to be a learning opportunity. But then again, so has Christmas.

This has hardly been a proper sic et non, so my final reflection only hangs to the above by the fingertips, but here it is.

Winter is on us, or just around the corner. Our food is changing, too, and tomatoes give way to squashes. The days are shorter, darker. And when you are four, or five, or six, these are big changes. In particular, the child that is afraid of the dark, or who now has to come to terms with coming home in the dark after After School Club, needs time to explore it. They also might need a way of celebrating their control of it – through lanterns, through the sanitised parade in fancy dress, through seeing this potential occasion for fear minimised and mocked. Look it in the face and see it as something to play with.

There is certainly unthinking excess, a possibility for going over the top with children, and adults have a role to play here, but I would end with a plea: take Gregory’s injunction to baptise the nefas, to take the secular and use it. We live with this at so many levels; why not counter fear of the dark, the gloom of winter, with saying “I am bigger than this”? It’s not a bad message for children, after all.

 

Two events

to be recorded here, both slightly off message. One is to share the marvellous poem I had on my Office door yesterday for National Poetry Day from the late Seamus Heaney:

In Illo Tempore

The big missal splayed

and dangled silky ribbons

of emerald and purple and watery white.

 

Intransitively we would assist,

confess, receive. The verbs

assumed us. We adored.

 

And we lifted our eyes to the nouns.

Altar stone was dawn and monstrance noon,

the word rubric itself a bloodshot sunset.

 

Now I live by a famous strand

where seabirds cry in the small hours

like incredible souls

 

and even the range wall of the promenade

that I press down on for conviction

hardly tempts me to credit it.

 

and the other, of less craft but engaging nonetheless, and useful (to some extent) because of the conjuncture of my outdoor learning module and the feast of St Francis, is Donovan’s version of the Canticle of the Sun from Brother Sun, Sister Moonautumn-09003

 

 

 

Looking in the Distance

…by Richard Holloway could well be a book I recommend in the Spirituality module next year for people whose own searching is part of their reason for joining the class. This is the link to the book on Amazon and this links to my last thoughts about people’s disclosure in the class.
This poem by Tessimond that Holloway quotes rather sets the tone, at least for the first part, so I’ll reproduce it here:
Portrait of a romantic

He is in love with the land that is always over
The next hill and the next, with the bird that is never
Caught, with the room beyond the looking-glass.

He likes the half-hid, the half-heard, the half-lit,
The man in the fog, the road without an ending,
Stray pieces of torn words to piece together.

He is well aware that man is always lonely,
Listening for an echo of his cry, crying for the moon,
Making the moon his mirror, weeping in the night.

He often dives in the deep-sea undertow
Of the dark and dreaming mind. He turns at corners,
Twists on his heel to trap his following shadow.

He is haunted by the face behind the face.
He searches for last frontiers and lost doors.
He tries to climb the wall around the world.

220905 fog 1

 

For more “instant Holloway,” look here from Canongate films 

Children, Spirituality and Death

Not an easy topic for me in March, not an easy topic for anyone. With an added poignancy that this was a class on spirituality on Maundy Thursday, I ploughed on.

We looked at SeeSaw and at Cruse, and watched the moving Saying Goodbye charity video. We looked at the questions raised in children’s literature about how death is represented, from the goblins in Outside Over There to the skeletons in Funnybones, revisiting stuff I’d done on visual methodologies for the Hallowe’en seminar in 2011. A smaller class meant that the time I set aside for discussion was ample.  I gave a warning at the start.

The purpose was to look at the less comfortable sides of spirituality, to explore beyond trees and sunshine and quiet. If, as Andew Wright says

“Our spiritual lives are marked by a need to wrestle with questions of the meaning and purpose of life, of our origin and destiny, and of the ultimate nature and truth of reality”

then some of this is about where was I before I was born? and where am I after I die?

Can I evaluate the success of the class? Hmmm. If I’d placed it earlier, I was worried it would have unduly affected the students’ choices for their essays – and last week, Theo’s anniversary, I simply couldn’t have managed. Later would not have given it due weight, maybe, or would have made this look like a Finale.

What always strikes me about this module is the amount of personal disclosure the students do. Often we – I too, I mean – talk about our faith communities. Sometimes we discuss practice. Very frequently we discuss memories (a good topic for further research?).  This leads me back to my musings on anecdote: how personal should a class get?  Would that class be better or worse if it stuck to the research of others?

 

Light, dark, and points in between

How do we use figurative language with children when discussing issues of spirituality?

This (first attempt at a) Prezi on spirituality gives three images, which I’ll discuss here, and a couple of quotations to ponder.

The first thing is to point out that the bells-and-whistles approach doesn’t really help. I have seen Powerpoint destroy an argument in much the same way: so many ways to change from image to image, different sounds from slide to slide. Here the seasickness pills are required from when we lurch through the window to going round the sun (although I’m sneakily proud of that) to the seven-league boots leap to the Zen circle at the end.

The second is this idea of dark and light, common, as far as I can see, to all religious language. “Lead me from dark to light, from death to immortality” say the Uphanishads, and the Hebrew Bible tells us that “The people who walked in darkness have seen a great light.”  A basic figure of speech in discussing spirituality – even when faced with the iconoclasm of St John of the Cross and his much-misquoted “dark night.”

But why the figurative language? What are the limits of language or experience that it seems inappropriate to discuss spirituality without reference to light, or wind, or bread (and wine)? And (for the point of view of my module on children and spirituality) what is the impact of this on children?

Nativity Plays…

…are always poignant, partly because Christmas brings its own nostalgias, regrets, hopes and fears. Julian Grenier in Inside the Secret Garden has posted a really lovely incident of a child who overcomes a sadness with a sense of wonder: “He had held onto something that was fascinating him, despite his upset, and he had wanted to share it with [his key person] once he felt calm enough.” Maybe that ‘wanting to share it’ is why I’m posting what I’m ending this blog post with now.

To explain: this post fulfills a promise to separate people I meet on Twitter: Bosco Peters (@Liturgy) and Zoe and Andy from Saying Goodbye (@SayingGoodbyeUK). Bosco, a priest in NZ, maintains this website, and Saying Goodbye can be found here. Their interests (hardly the right word) coincided recently when Bosco posted on mourning the deaths of infants. They coincide with mine too.

What follows is the contribution I wrote eight years ago:

Lully Lulla: For Theo, Four and Three Quarters at Christmas

A Christmas might-have-been

Whose eyes like tunnels let down into dark

Let me go to this place or that perhaps

To snowy possibilities where that hand

Is slipped in mine, and off we go:

Me unbegrudging, happy of the chance

To revel in the play, in cheap mulled wine,

Sit on the cramped school chairs, be proud

As one small tea-towel stumbles on his line.

Did I see him there? Perhaps

Some small Christmas ghost

That Dickens overlooked sits with me still

(or always); then yes I saw him there.

If not, I saw his absence only;

He was not here except

As a dim shape ahead of me

In this great blizzard of regret that for a moment

Blinds my steps to Christmas.

They can also, of course, be funny, charming, fraught, competitive… Boscos’s blog has a link to something I think is an exemplary use of video – and a real baby!


Wellbeing without Art?

When I link to RSA, I usually have something to link that’s a talk, or one of the entertaining RSA animations, like this more recent Divided Brain one. Today, it’s merely this: the connection between art and wellbeing, explored here, and the point made at the end of the blog entry about measurability. While Marlow’s article in the Guardian suggests all sorts of projects that try or have tried to quantify happiness and to promote wellbeing, with this one to my mind being the most straightforward (and the questionnaire rather revealing, in the way of such things) , I can still hear Kathryn Ecclestone echoing John Stuart Mill, on whether asking the question “Are you happy?” adds much to an understanding of ourselves.  Of course this links to the post below on Flow and the TED talk from Mihaly Csikszentmihaly. So, to end, a final link: If you’re happy and you know it is an interesting overview of the notion of the pursuit of happiness.

Michael Morpurgo on why I come to work

There must be more than just this briefest post at some point, but here  is the current link (how long will an I-player link work?)  to Michael Morpurgo’s inspirational Dimbleby lecture and here is the link to Morpurgo’s own website and text.

I notice that the harder-lined chatterers are already out with comments like “He is a well intentioned, but clueless person. He has a big old fashioned left wing heart, good at bleating, but short on analysis.”  I disagree: we are not dealing here with “wrong but romantic versus right but replusive”  but with a whole set of practices and assumptions that ultimately defeat the work educators try and do.  I write this  because the points he brought in – the power of books to transform understanding, school starting age, the complexities of discussing oppression, life-chances and school experiences – all made rather a clever argument for the right of children to be able to access  a well-thought-out and effective educational experience.

And if there was the occasional bleat, I’m afraid I prefer it to to a snarl.