Sunday, March 24, 2013

Deadline Anxiety and Dinosaurs: Or, How I Learned to Stop Worrying and Love The Work-Bombs




I began this weekend feeling triumphant.

15 Of The Greatest Jurassic Park Gifs












Working draft of an article?

Check!

Application sent off for a Postdoc?

Check Check! 



But then . . .


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I remembered that before the end of April I'll have to complete the following:

1) A conference paper on Pearl
2) A conference paper on Parcevals saga
3) A reading and parts list for the Malory Aloud session at K'zoo.
4) Another application . . . or two . . . or three.
5) An enormous pile of grading, all due before K'zoo.
6) Revisions of the aforementioned article.

Not to mention: continued Old Norsing, teaching, working on the book, working on the critical edition, blogging, etc.


After compiling that to-do list early this morning, I spent a few moments feeling like this guy:

15 Of The Greatest Jurassic Park Gifs

As a result, I may have looked a bit like this as I ate breakfast:

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Once I collected myself, I spent some time trying to figure out how I could avoid feeling like this:

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Or like this:

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as I move into the coming weeks. 


I think it's safe to say that we all have similar moments of panic and/or despair (or a hybrid of the two: "panespair," perhaps?), and that we all try hard to avoid getting to the point where we're in constant reaction mode. What works for me when faced with these kinds of situations is a combination of humor (mostly of the self-depricating variety -- hence this post), exercise, a fair dose of procrastination (hence this post), the fervent assemblage of a battle plan, and then a series of quasi-valiant efforts to adhere to said plan. So far, so good: the panic is abating, and the to-do list is looking a bit more conquerable.

Nevertheless, I know that given the amount of things on that list, I'll likely finish out the month of April kind of like this:


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I know at some level that I find myself in these situations not because I'm incapable of managing my schedule but because I know I can get through them and be better for having done so. It's an idea, anyway. This isn't to say, however, my modus operandi is optimal by any stretch. I still have a lot of work to do. I would prefer, on most days, to feel more like this:


15 Of The Greatest Jurassic Park Gifs


than like this:

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What I can do, in the meanwhile, is try to trust that I know what I'm doing. Easier said than done at times, but I have a feeling it will help. Especially when the deadlines do this:


15 Of The Greatest Jurassic Park Gifs



N.B.: Many thanks to Buzzfeed for compiling the gifs and giving me the initial inspiration for the post!

Thursday, February 14, 2013

Calling all Northern Arthurian Enthusiasts!

The New Chaucer Society has published the CFP for its upcoming conference in Reykjavik (July 16-20), and I am already counting the days before I can hop on a plane and revisit Iceland — one of my favorite places on the planet.

This conference promises an array of exciting threads, and several of them focus on intersections between Scandinavian cultures and those of Continental and Insular medieval Europe. I'm going to be organizing and presiding over a session entitled "Northern Arthurs," and I'll provide the description here for easy reference:

This panel will explore the literary treatment of Arthur and his knights in the cultures of the North, a subject that Geraldine Barnes has identified as "ripe for further investigation within the fields of medieval translation, cross-cultural relations, and the reception of Arthurian narratives." Following the work of Marianne E. Kalinke's edited book The Arthur of the North, the panel seeks to inspire additional research in this area by addressing questions like the following: how does a study of the riddarasögur -- Scandinavian versions of Arthurian narratives -- offer up new perspectives on both the literary culture of the North and on the pervasiveness of Arthurian materials? How do such narratives reflect and adapt to their cultural surroundings? What does the transmission of such texts -- indelibly tied as they are to the traditions of continental and Insular Europe -- reveal about the intersections of Scandinavian, Continental European, and Insular traditions in the late Middle Ages?

If you, or anyone you know, are interested in submitting a paper proposal on this topic, you can reach me at lknorako@gmail.com. I'll be accepting proposals through June 1st and would be delighted to hear from you. One of the many wonderful aspects of NCS is its active inclusion of graduate students, and I am hoping very much to include at least one grad student (if not more) in the session.

On a related (and important!) note, I also want to mention an upcoming conference in Oslo (23-25 May, 2013) entitled "The Arthur of the North." Paper proposals are due to the organizers by March 1st, and you can find all of the relevant details here. Marianne Kalinke — who has played a consistent and pivotal role in this emerging sub-field of Arthurian studies — will be one of the plenary speakers, as will David Wallace and Raluca Radulescu. All in all, it promises to be an exciting gathering, and I am looking forward to hearing all of the new ideas and conversations that will doubtless emerge.

Wednesday, February 6, 2013

Mischief Managed, Part the First

The new year has definitely gotten off to a fast start! I've started my new part-time job as a lecturer at Notre Dame de Namur University, reviewed and sent off the copy-edited version of my Isumbras article, and am currently making plans to head to Norway in May for a conference called "The Arthur of the North" (more on that in a future post). Things look like they'll be getting busier from here on out as well: somewhere in the next few months I'm planning to send off an article on Middle-English Mongols for review, write a conference paper on instrumental grieving in Pearl, and get a book proposal together. There's also a third-degree black belt test in March and competing to be done at Regionals, where I'll be making my first appearance as a member of the Northwest kata team. Also, I'm still working away on Old Norse and editing various sections of my ongoing Crusades Project (my dreams these days consist of reduplicated vowels and Templars).

I regret that in the midst of this (busy but exciting) maelstrom I've neglected In Romaunce, but I'm vowing to get back on the horse. I've got a lot of working drafts, and I have plans (glorious, nefarious plans) to pull them out of my head and plunk them down into Blogger more consistently from here on out.


*****

In the meanwhile, I thought I'd share one of what I hope will be several retrospectives on graduate school -- at long last, I might add, because Kristi's been gently nudging me to post this entry for months now. Last year was a time of many transitions -- from grad student to graduate, from Rochester to the Bay Area – and these changes happened so quickly that it took me quite a while to get used to it all. There are times I still have to pinch myself to make sure I’m actually living here in California, and to make sure I'm really, truly done with graduate studies. The uprooting process is often a hard but exhilarating one and I've found myself thinking a lot of late about the past seven and all that I experienced along the way.  I've also been thinking a bit about Harry Potter.

Like the students at Hogwarts, I spent seven long years studying things many consider arcane and unusual (medieval beaver castration, anyone? anyone??), and each year presented its own unique adventures and challenges. Granted, there are many fundamental differences between my experiences and those of Harry Potter and his cohorts. For starters, there was no Voldemort to be found in my graduate program save for my own rampant neuroses and insecurities, which I battled along the way.  I had neither a penseive nor a time-turner, and dear GOD how I longed for both as I prepped for exams and finished my dissertation, the latter of which was (not-so-affectionately) code-named: FELL BEAST. A hippogriff would've been nice too, Rochester's wind chill notwithstanding. Nevertheless, age differences, magic, and nemeses aside, I certainly identified with parts of Harry's journey from his first year through his seventh. And so, I think I'll devote a little bit of time to each of my years in graduate school over the course of a few posts. My main hope is that some of these stories and experiences might be helpful to others out there who find themselves on a similar path. And while I've left a considerable amount unsaid for various reasons (some stories are best kept secret or, at most, kept between good friends), my other hope is that this post accounts, at least in part, for the major shifts and experiences I had along the way. 


Prologue: The Owl Arrives

I knew after my sophomore year at the College of William and Mary that I wanted to go to graduate school and study medieval literature. By this point, I was already familiarizing myself with all variations of the "What in the #*$! are you going to do with that?" question that all medievalists are asked at regular intervals (my evolving answer is a blog post for another day, I think). This realization didn't come overnight, but was rather the product of a tumultuous freshman year in which I realized, among other things, that I did not want to major in biology. I'd come to William and Mary with vague dreams of becoming another Jane Goodall, but after crawling my way to the finish line of that first year (during which I often felt that Admissions made some sort of clerical error in accepting me), I spent much of the summer trying to figure out what I actually wanted to do and what I enjoyed. Part of that process involved trying out environmental research in the Virginia wetlands, which typically found me, at two or three in the morning, assisting a graduate student in his research by recording bird sounds, all the while sinking lower and lower into swamp mud. I am, and always will be, an outdoorsy type, but I realized very quickly that I like having the option of doing my work outside. And so, I decided to go back to the drawing board and take classes that simply interested me and then decide what career I would try to pursue. I had always loved my English classes growing up and had been an avid reader for as long as I could remember. I decided, as a result, to try my hand at English once again, but by the time I'd reached this decision in the middle of the summer, very few courses were still open. One of these just happened to be a medieval literature course taught by John Conlee, and the rest, as they say, is history.

I fell in love with medieval literature through this course, and registered for every single medieval or early modern class I could get my hands on for the rest of my time at W&M. Highlights included Phil Daileader's brilliant class on the crusades (which I owe no small amount of thanks, since it laid the groundwork for my research in grad school), Adam Cohen's seminars on Gothic architecture and manuscript illumination, and John Conlee's unforgettable Celtic Literature seminar. I fell so completely in love with medieval literature that I went on to accidentally double major in Medieval and Renaissance Studies because I took so many elective courses in those areas. 

I wanted to keep my options as open as possible as I moved into my senior year, however, and I also felt the need -- excited I was about the idea of graduate school -- to take a hiatus from academia and make very sure that pursuing a PhD was something that I truly wanted to do. I applied for high school and middle school teaching positions at various local schools, and eventually landed a job teaching a mix of history classes at a small private school in Williamsburg. To save money, I moved back in with my folks, and I still can't thank my parents enough for making sure that I actually ate during that first year of teaching. Much as I enjoyed working with my students, I quickly found myself missing medieval studies. And so, I applied to PhD programs in the Fall of that year (2004), a process that was, as so many of you know already, both intensely stressful and anxiety-inducing.  Handling all of this work on top of seven course preps was overwhelming at times.  I remember almost falling asleep in karate class (while standing and punching, no less) because I was averaging about 3-4 hours of sleep a night. My planning periods were often spent frantically studying for the odious GREs or the even more odious English subject test. During the months building up to THE EXAM, I day-dreamed about ceremoniously burning my flash-cards and demon-dancing around the flames once I was done; in truth, I'm pretty sure that the first thing I did after taking that inane brutalizer was sob into my car's steering wheel (I was parked, don't worry). Added to which, the first several letters I received from grad programs were rejections, and with each one my spirits sank more and more. Rationally, I knew that the rejections weren't personal. I knew that my professors and my family believed in me and that I should believe in myself. But receiving those thin envelopes, one after another, began to wear me down, and I started to resign myself to the fact that this dream might not happen for me.

I think, more than anything else, that this entire process of applying to graduate school began to teach me how to handle situations that were, in the end, utterly out of my control. Before I even heard from The University of Rochester, I had to figure out a way to accept the fact that I had done everything I could to get myself to graduate school, but that it might not be enough. And if that was the case, that it was no true reflection on me as a person. I'm not going to say that I completely understood or accepted this process of letting go at this stage of my life (or that I even have it figured out now), but it is something I actively worked on as I endured the challenges of graduate school and of life in general (it's certainly something I've been thinking about since the posting of the MLA job list back in the Fall). Over time, I'd come to realize that I could learn a lot from rejection and the fears that it produced. Among other things, experiences like this would teach me that while it's important to reach for these kinds of goals, it’s equally important to avoid relying on them for self-worth (this is something that I still have to remind myself of on a regular basis).

UofR, as it greeted me on that initial visit.
One day though, after all of these rejections, a larger envelope arrived in the mail, and it was from the University of Rochester. I had informally visited the University back in December, and everyone there had greeted me warmly and made me feel incredibly welcome, even though I hadn't even applied yet. I vividly remember Russell Peck showing me around Rush Rhees library, Alan Lupack introducing me to the Rossell Hope Robbins Library (what would become my second home during graduate school), and Thomas Hahn (who would later become my advisor and mentor) taking the time to meet with me and introduce me to the program. I left the University that day with a full and hopeful heart, as well as directions from Dr. Peck to the waterfall in city center, which I dutifully and enthusiastically followed (see evidence below).

A picture of said waterfall!


Out of all the schools that I applied to, Rochester was the place that I really wanted to attend, especially after that visit, and I remember as clear as day the vivid excitement of receiving their acceptance letter a few months later. I journeyed up to Rochester after celebrating Easter with my family and had the good fortune to meet many of the people who would become my closest friends.

Several months later, I found myself -- with considerable help from my Marine dad, my mother, and my boyfriend (now husband) -- cramming all of my belongings into my tiny Ford Focus, and driving off to meet my future.  


Year One

Like any graduate student, I learned many lessons and faced an array of challenges during my first year. I arrived so excited about returning to academia and, as I often joked in those first few months, to being able to get “paid to read.”  While I knew that the glamour would inevitably wear off, after a year of prepping seven different classes -- none of which were in my academic field -- I was eager to become a student again and have the opportunity to teach in a different environment.

The first several weeks were a complete blur, but there was one particular meeting with Tom Hahn that I would never forget.  He talked to all of the first years about the ins and outs of the program and about what we could expect from our first year. In particular, he spoke about the so-called “imposter complex” — something I had never heard of before, but with which I became all too familiar. In essence, he warned us gently that at some point we would inevitably come to fear that we were the “weakest link,” that everyone else in our year was smarter and more capable than we were, that eventually we would be “found out” for the pseudo-intellectuals that we felt ourselves to be. He explained that these perceptions, which are utterly inaccurate, come about because we care so very much about what we're doing. He also said that the complex is a product of the very work that we do. In essence, we spend our time as literary scholars-in-the-making creating an intricate and highly polished lens which we use to view and scrutinize the texts that we encounter. He warned us of how easy it can be, especially with all the pressures of graduate school and of life in general, to swing that lens around onto ourselves.

I took this meeting and his words very much to heart, and even though there were many points during my graduate career where I forgot his advice, his words were ones easy to come back to and easy to use as a way of diagnosing the various anxieties that cropped up along the way.  I remember feeling like an imposter for much of my first year, especially once the honeymoon phase was over and the hard work truly began.  I felt more than a little like I did in my biology classes my first year in college, realizing that I needed to find new, more complex ways of digesting even the texts I though I knew well. 

This lesson became abundantly clear at the end of spring semester, when I turned in a paper on Sir Isumbras to my medieval romance professor. I worked hard on it, but when I handed it over I knew it was far from my best work.  Predictably, the feedback that I received was harsh and rightfully so, but I took it upon myself to prove (to both the professor and myself) that I could do good work. Ironically enough, this near-disaster of a paper would go on to become the raw material for my first accepted article publication (due out this October), for an array of conference papers, and for my dissertation. For these reasons, and more, being taken to task and forced to rearticulate my ideas and make them better was quite honestly the best thing that could have possibly happened to me at the end of that year. I didn't know that at the time, however. All I knew was that I had affirmed a lot of my own anxieties about being an imposter. I ended that first-year certainly feeling like one, but I'm glad to say that the intensity of that feeling did pass thanks, in no small part, to the marvelous friends I made throughout that first year.

I'm not going to name names here out of respect for everyone's privacy, but my dear friends will (I hope!) know who they are, and I also hope that what I will say here and elsewhere in these posts will give them some idea of how much I cherish them. To start, I owe a great deal to the person I lived with for much of my first year. She remains one of my dearest friends, and she taught me so much (more than she knows, I think) about how to survive graduate school as a woman, and how to live as unapologetically as possible.  She also taught me that what you intend your words and actions to mean matters far less than how those words and actions are received by others. It was a hard lesson to learn, and I cannot thank her enough for it. 

I also became friends with someone who has been my “brain twin” since our first year. We have endured many of the same experiences and hardships on our journey through the program, and having a partner in crime -- not to mention someone willing to prank our advisor and hide an array of gnome candles in his office (true story) -- has been such a comfort and a gift.  Moreover, I had the serendipitous experience of sitting next to none other than Kristi (whose name I feel I can mention, since she is my other partner in crime and co-blogger) at a prospective student dinner when she came to visit Rochester after being accepted into the program. We connected instantly over our shared interests, academic and otherwise, and I knew I'd found another kindred spirit. 


Letchworth State Park, 2006.
These friendships and others helped me to step away from grad school when I needed a respite.  Some of my fondest memories of that year, in fact, involve hiking in freezing weather in Letchworth State Park with the aforementioned brain twin; occasional stitch&bitch gatherings; and Scrubs marathons (complete with sinfully good pizza, cheap beer, and matching Rochester hoodies) with my roommate. But the stresses of that year were still tremendous and foreign. One thing I learned very quickly, as a result, was how important it was for me to have things to do outside of the program as a way of clearing my head. Karate, more than anything else, was that activity, and it was something I couldn't sacrifice no matter how little time during the week I had.  I had to scale back the number of trainings I attended, but I went as often as I could. There was something so intensely gratifying about stepping onto that floor a few times a week and leaving all of the troubles and worries behind me for the hours that I trained. As my sensei has always told me, if you can do that, the world tends to seem more manageable after training, and I certainly found that to be true. 


Letchworth State Park is also Narnia, apparently.


I also had to figure out really quickly what my priorities were, what I valued the most, what I couldn’t live without. I had always known and believed that my relationships with my family and with my husband (boyfriend at the time) were the most important things in my life, but it’s amazing how distance and a host of stressors can make it hard for someone to remember as much.  These relationships suffered in that first year in no small part part because of how mono-focused I became on my own struggles, and they took a while to mend.  Experiencing all of the resulting turmoil, however, really pulled me up short.  It made me realize that if I wanted to succeed in graduate school without sacrificing my relationships with my loved ones, I had to make sure I devoted enough time to them.  It was a simple but hard-earned lesson, and it’s one that I have never forgotten.  It’s not something that everyone will understand, however, and I was accused on at least one occasion of treating graduate school as a nine to five job, as if my refusal to sacrifice everything in my life for the sake of my degree was a sign of weakness or a lack of conviction.  I have always said, in response to this kind of detraction, that my successes are due to the fact that I strive to maintain a particular kind of balance (strive being the operative word). What creates equilibrium in my life is not going to be what creates equilibrium in another’s, but I have found myself the happiest and the most productive when I'm able to balance a variety of seemingly contrastive interests. For me at least, when I treated my graduate studies more as a nine to five job and less as a monastic calling, this equilibrium came more easily. I did better work and was less crazed and off-kilter in the doing of it. 

The frozen Genesee.
To those of you who might be feeling similar pressure to treat grad school as an all-consuming vocation, all I can recommend is that you keep the balance that you know you need in your life.  Nurturing a relationship that turned into a marriage, creating and maintaining friendships, keeping up with karate, getting up from my work to play with my cats, even taking up new hobbies on occasion (Icelandic horseback riding? Why not?!) absolutely allowed me to finish strong in the face of heavy odds. I’m not saying that you need to do any of these things to be fulfilled while in grad school, nor am I saying that they're marks of success.  They were (and are) simply aspects of my life that I cherished and that brought me joy amidst the chaos. I held on to them as a result, and if I have any advice to give on this score it would be to do just that: to keep the things that bring you joy firmly in your talons as you work your way through grad school.  This lesson, more than anything else, is what I took away from my first year, and it's something I carried with me into the next six.

Those years, however, are blog posts for another day!  I will, however, close on a few bright notes, because while the first year was a challenging one, it was also a time of great discovery and excitement.  I travelled to Iceland with my boyfriend for Spring Break, with no idea that the rollocking adventure would inspire a series of poems, a burgeoning love of photography, and a series of research projects. I began to uncover my fascination with all things crusades-related. I saw more snow in a season than I'd ever seen in my entire life and -- even with the frigid walks from Park Lot to the library, the nose-hair freezing, and the need for asinine number of layers -- my inner child never really got tired of it (until April, perhaps). I learned to be truly grateful for sunshine because it appeared so rarely. I fell in love with city's murder of crows that swarmed around campus every afternoon. And, last but not least, I adopted my two cats, Minerva and Bjorn, who -- among their many talents -- managed to keep me from taking life so awfully seriously throughout my time in the program.

The first year was, in the end, a long shake-up and transition. Success -- as someone once said to me, and as I've said to many others in turn -- laid in survival, in simply making it to the finish line more or less in one piece (shreds of dignity being optional). And in remembering to nurture the things in my life that truly mattered.



Reykjavik, 2006.


Did I mention I loved the snow?

Monday, December 31, 2012

Fever in a Snowstorm: Musings on Perspective

I've had a fever for the past couple of days, and it's got me thinking about perspective. There's something surreal about feeling the heat radiate from your own skin as you watch the snow fall and fall. The dissonance between my experience of the world right now and the fluffy, frozen reality of the world mingles with the haziness of my fevered brain. Of course people always feel temperature slightly differently. I joke with a good friend that we could never get married because the thermostat wars would be epic. But fever brings these differences of experience into sharp relief.

Not only do we feel the air differently, but we often see the world differently as well. I bicker with my mother when she mentions a blue car that I am quite sure is violet. I've never understood why such moments of seeing color differently are so annoying, but now I think that it's those very trivial moments that call our attention to the fact that we may not be looking at the same thing as everyone else when we open our eyes. We go about our days resting upon the assumption that we're seeing basically the same things as the other people in our vicinity. Our sense of sanity rests upon this premise. But when you say that's a grey shirt and I insist that it's tan we bump uncomfortably into our own assumptions. Color definitions are more tangible than other differences of experience, such as one friend commenting that it was a lovely dinner party just as another blurts out that it was a terribly awkward evening. Such moments are startling, but we can chalk them up to mood, whereas color seems more objective, verifiable.

Yet color, like everything else, exists on a spectrum. Even assuming I am not color blind, I neither see nor identify color in the same exact way as everyone else. Primary colors are fairly straightforward, but things get murkier as we delve into the complicated depths of the color wheel. It's incredible how three basic pigments can produce such infinite variety ... And it's not just how we define colors, but how we experience them. What emotions they provoke.

Senses are strange. We speak of our senses as ways of directly engaging with the world, of accurately assessing our surroundings. Yet what does accuracy mean when something that looks suspiciously like opinion flavors our sensory perceptions? This song sounds beautiful to me, but you say it's just noise. That food tastes delicious to you, but I find it revolting. What factors mediate our senses? And what do we do when our most direct means of accessing reality proves to be so fickle?

Perhaps it can be refreshing to admit that we have individual perspectives. Maybe we could see the world more clearly if we admitted that none of us is omniscient and that multiple perspectives are useful. I am part of an interdisciplinary group in grad school, and we joke that all our discussions boil down to how we approach T/truth. We read the same text, but notice different things and approach it in different ways. We define words differently. Like the cliched story of the blind men and the elephant, we all emerge with a bigger picture when we compare notes, when we engage in dialogues rather than monologues (and promoting dialogue is certainly at the heart of my teaching). What good does it do any of us to assume that our own way of reading is the correct one, that alternate methodologies are silly? Rather than devalue other disciplines, I find myself grateful that so many people are trying out so many different paths. I find the best approach is to acknowledge that my perspective is both valuable and limited, and that it is more valuable if I can admit that it's limited.

Granted, a fever is an extreme. Certainly this illness alters my perception in potentially dangerous ways. But as I try to nurse myself back to health before I have to head to Boston for the MLA conference, I consider that fact that we're all always perceiving things differently to a greater or lesser degree. And maybe these perspectival particularities could be useful and even delightful.

Tuesday, December 25, 2012

In fields where they lay: The Second Shepherds' Play as the original Christmas special

In keeping with my tradition of writing a holiday blog (started last year with Gawain and the Green Knight), I would like to write this year on another of my favorite medieval Christmas stories, The Second Shepherds' Pageant. The Second Shepherds' Pageant, also called The Second Shepherds' Play, has been burdened with its confusing title simply because it's the second play on shepherds in the Towneley manuscript (though the two weren't necessarily meant to be performed as a pair). Though the play is anonymous, the author has become known as the Wakefield Master. The play inserts common shepherds into the nativity story, and it combines social commentary and humor with piety. Simultaneously medieval England and biblical Bethlehem, the play is a beautiful example of the ways in which biblical stories were alive for medieval people through medieval dramatic practices.

The play opens with a lone shepherd's complaint. The weather is cold, and conditions are intolerable for poor men, who are beaten down by hard living and made submissive to the gentry. Both the weather and the social structures described sound an awful lot like late medieval England. As other shepherds arrive on the scene, squabbling (good-natured and otherwise) ensues. When Mak, a man of unsavory reputation, makes an appearance, the shepherds greet him with suspicion. Their suspicion soon proves well-founded, as Mak slips away while the shepherds nap and steals a prize sheep. He takes it to his wife, Gill, and the two concoct a plan. If the shepherds come looking for their missing sheep, they will put the lamb in their cradle and Gill will pretend to be in childbirth. Mak and Gill are known for having children constantly (sometimes twice a year, Mak complains earlier in the play), so her sudden condition shouldn't take any one by surprise. The trick works well at first. The shepherds do show up quickly (and angrily) to seek their lost lamb, but Mak begs them to pity his wife in her childbed while Gill makes terrible moans. The shepherds finally leave, and Mak and Gill breathe a sigh of relief. But then one shepherd realizes that he gave the new baby no gift, and the others respond in kind. Their generosity proves troublesome for our thieving couple, when the shepherds return and pull the swaddling clothes aside to present the child with birthday presents. They cry out that the child is a monster, and then recognize that monster as their own missing lamb. It's no accident that they only discover their lamb once they turn from anger against Mak and Gill to generosity toward the "child." At this point the play, so farcical in tone, could turn deadly. The shepherds have a right to execute Mak for what he's done. After some deliberation, they turn merciful and decide to toss him up in a blanket instead, a humorous solution to the problem. Tired out, they lie in their field to sleep. As if in response to their mercy, a star appears and an angel tells the shepherds of the birth of a savior. They go to seek the Christ child in his manger, and this time they do remember gifts. They give cherries, a bird, and a ball (meant to symbolize life in a time of death, the holy spirit, and a royal orb, respectively). This story, an alternate to the Magi, shows us not wise men, but everymen. They are common shepherds, people the audience might know, granted entrance into the joyous and miraculous scene of the nativity itself.

The setting of the play is particularly resonant, since it is always both Yorkshire and the Holy Land. The characters talk of walking on the moors, and mention many English locations throughout the play. When Mak first arrives, he pretends to speak with a southern English accent, and the others tease him until he resumes his customary Yorkshire speech. People and place all seem firmly located around Wakefield itself. Yet when the star appears, the shepherds need not travel far to find Bethlehem. And, as David Bevington notes in his Medieval Drama, there would have been two platforms for the play. Mak and Gill's house would have been parallel to the manger on the set, with the shepherds' field in between, connecting the two and presumably holding the audience as well. Bevington explains how the staging gives "a visible form to the parallelism of the farcical and serious action. Although the Wakefield Master never calls explicit attention to the resemblance between the two births, the stage itself would help make the point" (384). The playing space would have visually enacted the themes of the play, yoking together sacred and profane, past and present, there and here. For many people in medieval England, the Bible itself was inaccessible. Books were expensive and the Bible was in Latin. Medieval Drama was thus an important way in which people of the period engaged with scriptural material in a highly interactive way. They wrote and acted in these plays. They stood in their city centers among biblical set-pieces and cheered and laughed and booed and cried. Perhaps they threw things at devils and perhaps they sang along with songs they knew. Puritans were horrified by such spectacles, wanting people to have access to scripture itself instead. But the plays give us insight into the way people of late medieval England saw these as living stories, as stories that were real parts of their own lives and with which they could engage actively. Real emotions, including humor, could be part of sacred drama. Biblical time and place collapsed with contemporary English spaces. The Second Shepherds' Play takes the collapse of time and place to an extreme as the play inserts Yorkshire shepherds into the nativity. In fact, the majority of the play follows these shepherds, who could be anyone from anywhere and anytime, and yet are also clearly from Yorkshire. It's not until the star appears near the end of the play that we get any overt hint that this is a Christmas story. The play seems to suggest that even mundane moments can be part of a miraculous larger narrative, that we are all part of this narrative together and that it thus continues to have real existence in the world.

I had the good fortune to see the play performed at the Folger Institute several years ago when my good friend and colleague Dan Stokes and I participated in an Early English Drama workshop there, and the performance was engaging, beautiful, hilarious, and moving. I laughed; I cried. I know that sounds cliché, but I really did laugh and cry over the course of the production. And I wasn't the only one. The most amazing part was the mixed audience. Scholar of medieval drama sat next to families with small children, and all were captivated. Dan and I were having a pint at the pub after the performance, and we saw the actor who played Mak there. When we told him how much we'd enjoyed it, he was thrilled and offered to buy us a round. Apparently, the actors had been terribly nervous that night, since they knew that the academics were coming to the show. We reassured him that they had managed to make the play both wonderfully accessible and scholarly fascinating. In fact, I found it fitting that this play had remained so engaging to so wide an audience. The way in which the play infuses the familiar and yet incredible story of the nativity with everyday people and their hijinks is striking even to modern audiences. The way that these quarreling, complaining, scheming characters can be so moved by the baby in the manger lends the final scene a real sense of awe.

As funny as the play is, the ending is surprisingly poignant. These characters we have come to know seem a bit awkward in the holy scene, but they are so genuinely enamored with the baby that it's hard not to feel a shared sense of joy in the moment. Their gifts to the child may be simple, but they are heartfelt. And the manger is a humble space not unfamiliar to our common shepherds. A play that could have ended in death (either of the sheep or of Mak), ends instead in miraculous birth. And while the symbolism of the lamb in not lost, nor is the audience unaware of the larger story which includes the Passion, we are allowed for a moment, like the shepherds, to just enjoy the scene. Affective piety was popular in the later Middle Ages, and holy people imagined themselves at the foot of the cross and felt the pain and sorrow of that moment. The Second Shepherds' Play gives us a chance for a different kind of affective engagement, one in which we place ourselves instead in the manger and feel the shared joy. After I saw the play performed, the group of us remarked at how moving it was to all of us, despite our different belief systems. The message is one of mercy and joy and hope, a sense that any one of us could play a part at any moment in something greater than ourselves. This year has been difficult for many, and these last few weeks filled with unimaginable heartache (see Kate's recent beautiful post on the Coventry Carol). I only hope that we can respond to tragedy with compassion. Like the red cherries picked in the frozen white winter, like the baby born when nights are longest and days are coldest, even the bleakest moments are available to hope and beauty. And the beauty of basic human compassion is that we all have the power to bring it into the world. Perhaps this is the perfect time to think about how the simplest things can be miraculous. Even moments that are common or silly or petty or sad can be made precious if we remember to treat each other with kindness. With that in mind, I wish you all a season filled with love.

Friday, December 21, 2012

The Most Interesting Man in Medieval Studies: Redux

As a sort of holiday gift to all our readers (that is, if you consider medieval jokes gifts and not afflictions), I decided to revisit a post I composed a little over a year ago. I realized that our most interesting man was sorely in need of some new accolades, and so I've provided the newest top ten below. Please add to the mayhem in the comments -- the more the merrier! I'm convinced we can't have enough of these.

And so, without further ado, I wish you all a happy holiday season and give you:


The Most Interesting Man in Medieval Studies . . . Redux. 


1. The MLA recently awarded him a prize for his translation of Piers Plowman   . . . into flawless Dothraki.

2.  Flashmobs the world over have popularized his interpretive dance of “The Complaint” (also known as "Hoccleve Style").

3. Students refer to any uncertainty on his part as “The Cloud of Unknowing.”*

4. He once travelled from the Syria to Northumberland by rudderless boat . . . just to see what it would feel like.

5. When he registers for a conference, he does so twice: once for himself, and once for his beard.

6. When he sleeps, Langland has a dream vision . . . about him.

7. Conferences are held annually to unpack his stirring analysis of Scandinavian rune sticks.

8.  His lectures on the absence of stirrups in Merovingian Francia regularly move audiences to tears.

9. He lulls his children to sleep at night by reading to them . . . from the 13th century Rolls of Parliament.

10. To protest Greenblatt’s most recent book, he will host an open bar at Kalamazoo 2013. Drinks will be shaken, not swerved.





*Many thanks to Kristi for the idea behind this one! 

Sunday, December 16, 2012

A Coventry Carol

"The Coventry Carol" always seemed a terribly odd, and terribly eerie song for the Christmas season, given that Christmastime — as one commentator on the Sandy Hook tragedy poignantly lamented — is supposed to be joyful. Full of good cheer. This particular carol, however —the sole survivor of a now-lost 16th-century mystery play— tells an important part of that story. A bleaker part. It is sung from the perspective of a mother lamenting the loss of her child, one of many slaughtered on Herod's orders: 

Lully, lullay, Thou little tiny Child,
Bye, bye, lully, lullay.
Lullay, thou little tiny Child,
Bye, bye, lully, lullay.
O sisters too, how may we do,
For to preserve this day
This poor youngling for whom we do sing
Bye, bye, lully, lullay.
Herod, the king, in his raging,
Charged he hath this day
His men of might, in his own sight,
All young children to slay.
That woe is me, poor Child for Thee!
And ever mourn and sigh,
For thy parting neither say nor sing,
Bye, bye, lully, lullay.

On this day, as the updates on the incomprehensible Sandy Hook killings continue to come in — and as the press performs their shameful, but predictable, pandering for ratings by dwelling on the killer's story — I am struck by the fact that while we know and remember Herod for the awful orders that he gave, we have no names of those he ordered to be killed. We only know them by their epithet: the Innocents. Little children killed on the orders of — according to the stories that come down to us — a single, scared, hubris-addled man. 

And yet, though we have no names for the children of this legendized narrative, their story survives and is told again and again. In a gospel. On the church floor of Siena's Duomo. In countless other artistic renderings. In medieval mystery plays. In "The Coventry Carol." Their deaths are inextricably wrapped up in the Christmas season, and they remind us of the profound sadness that can, and does, course through the clamoring joys of the season. 

Its haunting melody gently challenges the very idea that Christmas is supposed to be filled with simple joy. I've grown to strongly distrust the word "supposed" and its cousin "should." Having spent the better part of a very brutal year chiding myself because I "should" be happier, I can definitely attest to how inertia-inducing (even damaging) the word can be. The fact is, for many people -- certainly the survivors and the families of the innocents killed this week -- this time of year could not be further from joyful. This time of year, for them, has become something to be survived, and it becomes so at least in part because of the cultural pressures that insist on joy as the only acceptable feeling of the season. 

"The Coventry Carol," however, reminds those who suffer in this time that they are certainly not alone. That a long time ago, as magi came to Bethlehem to find a babe in a manger and rejoice in the finding, and as hosts of angels sang of his birth to bedraggled shepherds, there were also many families weeping for a loss too profound and too final to comprehend. It forces those of us fortunate enough to experience joy at this time of year to remember those with bleaker stories to tell. And, hopefully, to remember to be that much more grateful for our joys because they are so very fragile.