Not Marked Safe

Thirty-five years ago, I made a career change.

I had started life as a civil servant. Never mind that my father looked at me and said “You can’t work for government, Nico,”—not meaning that he would not permit me to, but that I was constitutionally unformed to do so. My grandfather was a good and faithful civil servant. My mother was one. My father was one. My great-uncle was, and my great-aunt. So what was stopping me?

Turns out, my father knew his daughter better than she knew herself. Three years after I started in the Ministry of Youth, Sports and Community Affairs, I changed careers. I went into teaching, which is for some people jumping from fat to fire, but which for me blew my mind.

I started at St. Anne’s High School in September 1989, and the class they gave me as a form room teacher changed my life forever.

St Anne’s Class of ‘92, top stream, you know who you are. You were 28 adolescents who looked me in the eye when you saw me walk into our classroom (which I had been in before you arrived, which I had painted and decorated and accented with a bright happy yellow) and said Youne ga last. We made our last formroom teacher cry. And he was a man.

And I said: Y’all ga leave me here.

Turns out, we were both partly right. You didn’t run me. Instead, we forged a bond for which I was not prepared. I looked into your young/troubled/mischievous/angry/nervous/eager faces and saw the lively minds behind. You caused trouble because you were bored. You were smart as whips and you knew it, and you were ready to pounce on any teacher who seemed weak or insecure. I guess I seemed, well, little, and young. Every one of you was taller than me, some of you by a foot or more. You pushed me and I didn’t move. I laughed at your efforts and pushed back. I pushed you and you grew. We fought one another, but by the end of the first year we both knew that we didn’t want to be parted.

I remained your formroom teacher till we graduated, and I left St Anne’s when you did.

The things you struggled with!

The things I made you do!

Remember the day I told you a tall tale and you swallowed it, hook, line and sinker? (At least most of you did … some of you might have been sceptical but you didn’t speak up, thank you). And then the next day when I told you I had lied? The shock on your faces was priceless:

But Ms Bethel, you’s a teacher! Teachers are not supposed to lie!

This was the lesson I was teaching you that day:

Always check the facts. Just because a teacher (or a pastor or a politician or anyone in power) tells you something that doesn’t make it true. Sometimes they lie BECAUSE THEY CAN. Check the facts for yourself.

You were a class who I knew would go far, and you did. You have. I honour you all, and when I think about that September in 1989, I almost always grin. I loved you.

***

And this week, we lost one of you. Jamie Tynes. Another gunshot victim.

I wasn’t ready.

I worried about you all when you were in high school, and then later, when you left high school and started to make your way. It was, after all, the early 1990s, and the shadow of cocaine was still hanging over us all. I worried about you all, even though you didn’t know it, until you passed through your twenties and into your thirties. I worried because despite your tough exteriors I had learned how vulnerable and how kind you were underneath—how big your hearts were, and how much striking first was sometimes the best way you had of making sure you didn’t get hurt more than you had been.

I stopped worrying so much when you crossed forty. I was amazed to be around to see that—you don’t think of thirteen-year-olds turning forty—but I stopped worrying. I let myself get comfortable, let myself believe that if you made it through your youth you could all be marked safe from random/not-so-random violence.

And I was wrong.

So here’s to my class of 1992, St Anne’s School. Here’s to our form. Here’s to Jamie. I still hold you all in my heart. Sometimes you pop into my dreams. I will always love you.

God bless you and keep you. May God’s face shine upon you and keep you safe; and …

RIP Jamie. You took a little piece of my heart.

On festivals, exposure, training, industry

Checking out the Globe stage, June 2024

Philip and I were recently in Europe. First we were in London; then we were in Prague, where the Prague Shakespeare Company is running their Summer Shakespeare Intensive. On the weekend, seven Bahamians were present at that intensive.

When we started Shakespeare in Paradise, we had some goals. We hadn’t refined them into mission, vision, etc: we just had a page-long blurb that outlined what we wanted to do with the festival, why we were starting it, and so on. (You can read a pared-down version here, on our SiP page.)

For the first ten years, our goals were part determinations, part dreams. But this summer, two separate Shakespeare companies in two different places invited Philip and me to talk to them about this: Shakespeare’s Globe was one, and the Prague Shakespeare Company is the other. And both talks went well. We were left with the impression that we are doing something remarkable. So to explore that, to mine that possibility, I’m trying to write down what we have talked about.

When we started our festival, these were our goals:

Street in Prague, July 2024

  1. Celebrate and develop Bahamian theatre: We wanted to honour Bahamian theatre, to encourage younger playwrights to be inspired by and build on the giants of the past.

  2. Educate and expose performers and audiences: We wanted to expose Bahamian audiences to a wide range of theatre from around the world, from Shakespeare to Saunders.

  3. Develop the theatre community: We wanted to give people in the community who have talent and passion the opportunity to hone their skills and develop their craft.

  4. Create a theatre industry: We wanted to make it possible for young Bahamians who want to go into theatre to not have to leave the country to do so. We wanted to make it possible for young Bahamians to make a living from theatre at home.

So where are we now? How are we doing?

Celebration of Bahamian Theatre

This happens almost every festival. We present classic Bahamian works in revival, we offer premieres of new Bahamian work, and what’s more, we place these plays side by side with our works of Shakespeare. We’ve called ourselves Shakespeare in Paradise, yes, but we are critical both of the Shakespeare part of the equation and the idea of Paradise. Neither of these things is neutral in our country, and we have tried to tackle them head-on. We want to give our audiences something to think about. We want to inspire them by showing them the great works of the past, and we want to give them the opportunity to understand that while the works of Shakespeare can be deeply tragic and great fun, we also have Bahamian work that can stand beside those plays, and we design our festivals to let audiences know.

Earl Francis and Dominick Stubbs in 2023’s production of Mr Speaker by Pat Rahming (YOBT, August 2023)

Beyond that, though, for anyone who was around in 2023, you’ll know that we chose to produce thirteen plays by different Bahamian playwrights, celebrating the depth and breadth of Bahamian theatre over the past fifty years. This is important, we believe, because younger Bahamian performers should be aware of what went before understanding (a) what their heritage is and the tradition in which they are creating; and (b) what standards have been set already in our theatrical history, so that they can aim to meet and surpass those standards. Our Year of Bahamian Theatre presented sixteen plays by fifteen authors over thirteen months.

Training and Exposure

At first, the training was 100% hands-on. People in The Bahamas learn theatre as they go. We don’t have drama classes pretty well anywhere super accessible: there’s virtually no formal drama education in most schools, and very little drama education at the university level. People are introduced to theatre in church through cantatas and pageants mostly, and we fly by the seats of our pants. Two non-profits keep theatre alive in the country and offer people who want to go on stage the opportunity to do so: the Dundas Centre for the Performing Arts in Nassau, and the Regency Theatre in Freeport.

So when we presented what we do and how we do it to our friends in the UK and Czechia, we indicated that part of our philosophy is training is by doing. To train by doing requires high standards. The other thing that helps us in Shakespeare in Paradise and in our parent company, Ringplay Productions, is the principle of shared responsibility. Anything that goes up under our name has to meet our standards, and that means that more than one person has to look at our productions. Every show we do is watched in the last week of rehearsal by more than one person on our executive, and any of those viewers has the responsibility of giving the cast and the director feedback to make the vision better.

That works really well for contemporary theatre of most kinds, and particularly for developing new Bahamian works. In particular, Philip Burrows keeps current with trends and ideas in global theatre by travelling to see shows all around the world. This year, in the UK, we saw two shows at the Globe, several others in the West End, others on the South Bank, and we watched them critically. Not everything we see abroad is great; although the acting and performances are always of a very high standard, the productions can leave some things to be desired. Some plays are over-produced for our taste; some are gimmicky, some are too concept-driven to serve the stories they’re telling. But some things are enviably great, and we come home inspired by those. (One of the trends we liked this year was a tendency to use dance prologues and dance curtain calls, particularly in Shakespeare productions … you might see that appearing in what we do sooner or later.) We love the fact that scenes are changed without ever going to black, keeping the movement going, never having anyone have to look away from the stage. You may see that in one or two productions coming up as well. You may have guessed it: This is the exposure part of the equation.

But what about training? Training by doing works well for a lot of contemporary work, as I said, but it reaches its limit when we’re dealing with classical theatre like Shakespeare or others. For one thing, the language is challenging, and it can be a barrier for performers and actors alike. We have long felt that our Shakespeare offerings are the least polished of our repertoire. So! Let’s talk about what we were doing in Prague.

Summer Shakespeare Intensive: Bahamians in rehearsal, July 2024

The Prague Shakespeare Company runs a series of Shakespeare Intensive programmes which immerse actors in Shakespeare’s work from three to six weeks (depending on which Intensive you attend). Students in these sessions take classes in movement, combat, voice and speech, and acting styles, and they also put on a series of Shakespeare plays. In the three-and four-week Intensives you’ll perform in one play; in the six-week Intensive you’ll appear in two.

Four of the Shakespeare in Paradise team have been invited to be faculty at the Shakespeare Intensive. Philip and I spoke about what we do in SiP, and Jovanna and Patrice taught electives: playwriting and acting.

All five of the Bahamians attending the Intensive are in plays that are part of the repertoire: fifteen Shakespeare plays directed by faculty and performed in by a mix of students and faculty. Today, Philip and I sat in on some rehearsals which are in different stages of preparation. They work with different directors who have different processes and in the process, they grow.

This is the training and exposure we don’t yet have at home. We’re beyond excited that we can now provide our actors with opportunities to access the kind of conservatory training they otherwise may have to pay thousands of dollars for (e.g. UK £23K, US $30k per year). And the fact that seven Bahamians are part of the process? We’re reaching one of our goals. Each of these is a touchstone, who can share what they’ve learned with others who are training by doing—thereby developing the theatre community.

So how are we doing? We’re moving closer to our goals. We are preparing, as we had intended, a generation of Bahamian actors, directors and writers who are ready to go from Nassau to the world. Almost universally, our actors are impressing the people they work with, from London to Prague. Our high standards and focus on getting the job done, on getting the story told, on impacting our audiences so that they leave not only having been entertained and diverted but also by having been asked to think and reflect on the world in which they find themselves, are paying off.

Creating an Industry

There’s only one thing that’s missing from this equation. It’s the theatre industry part. That is, by and large, beyond our control; a non-profit theatre alone, especially one that works in a space that can hold 80 seats at most, cannot offer salaries to its participants. But even here, there’s some movement. In 2023 we’ve seen several shows appearing in places where actors are being paid, where people who perform on stage are being remunerated. It’s in its infancy, but could it be there’s a theatre industry on the rise as well? To make it succeed, we need to link it to the tourist market—that’s where the money is that can pay actors to act full time—but even so, that seems to be on the table. Let’s see where we go from here.

Not Ready: What Independence Could Truly Mean, but doesn’t

Fifty years ago, there was a debate raging in The Bahamas. It was your pretty typical Bahamian debate. One group of Bahamians were agitating for full self-determination, in this case political independence from Great Britain. The other group of Bahamians were arguing that we were “not ready” to govern ourselves.

I was nine years old at the time. That didn’t make me old enough to really understand what was going on, but I could feel the passion in those around me, and I appreciated it was kind of a big deal. On the one side were people on my father’s side of the family, who, along with my mother and my uncle, were super-proud and super-nationalist. They argued that the only way to be ready was to take the plunge. On the other side were people on my mother’s side of the family, who suggested that we needed to learn how to govern ourselves before we could govern ourselves. That independence so early was foolhardy and we would make a mess of things. We weren’t ready.

This is a debate that I have heard again and again and again over the course of my life. No matter what the topic, it seems, no matter how we look at it, no matter how long it has been since we took the plunge and headed for independence, we are still making the same old argument. Fifty years on, there are still groups of Bahamians who take the stand that “we” are “not ready” to do … whatever it is we know we ought to do.

Right now, what’s most pressing for me personally, as an Associate Professor at the University of The Bahamas, the only Bahamian university in the entire world, the same debate has had a major impact.

What, it seems, “we” are “not ready” to do, fifty years after Independence, is lead our own university.

Bahamians are not qualified enough, experienced enough, exposed enough, whatever enough, to lead a Bahamian university. Apparently knowing something about one’s country is, well, not enough.

These days, we seem governed by this maxim: the first choice is foreign, the second choice a Bahamian who lives in foreign, the third choice a Bahamian who stays here.

It wasn’t always so. In 1974, when the College was founded, we sought to be led by the best among us.

But times, it seems, have changed.

Almost a year ago, after an international call for applicants to serve as the next President of the University of The Bahamas, the inaugural UB Board of Trustees and its search committee sat down to deliberate on who would be the best choice. By summer they had narrowed it down. After having screened over 70 applicants (so I’m told), several of them Bahamians with creditable experience (one of them the former Provost of the University of The Bahamas), the shortlist was released, as follows:

  • Sir Anthony Seldon, retired Vice-Chancellor of Buckingham University

  • Dr. Erik Rolland, Dean of Business Administration at California Polytechnic & State University

  • Dr. Ian Strachan, President of the Northern Bahamas Campus of the University of The Bahamas

Three men.
Two white men.
Two non-Bahamian men.

For the Bahamas’ national university. 47 years after its establishment.

In the part of the twenty-first century when Me Too and Black Lives Matter are making other lilywhite, Eurocentric universities around the world rethink the people they put in charge, we here in The Bahamas seemed to think that a shortlist like this was acceptable.

But wait, I said to myself: at least they have Ian Strachan on this list. After all, who could be better suited for the job? He’s been being groomed for it at least since 2012. He was elevated to VP status seven years ago. He was mentored directly by a former UB president. He was promoted to Vice-President of the Northern Bahamas campus, presumably to continue grooming him for the top job of the whole university—and in that capacity built that campus even after its destruction by Hurriane Dorian. And round about the time he submitted his application for the presidency, he was elevated to President of the Northern Bahamas Campus. It’s a no-brainer, right? This man, this graduate of the Bahamian public school system and this product of the College, is going to be our first Independence-era, homegrown, home-educated President. What better message can any governing body send to the nation they are representing than that?

Dr. Ian Strachan, President of UB North Campus

Not so fast, Nicolette.

Apparently, plenty of people—led by the Board of Trustees of the University of The Bahamas, but followed, it seems, by many others—think that retired vice-chancellors of private British universities or serving deans of state polytechnics are as qualified to lead The Bahamas’ only national university as a man who grew up here, was educated here, gained international experience in stellar HBCUs and eastern seaboard colleges (Ivy Leagues among them), returned here, wrote his dissertation about here, published his books about here, built critical political awareness through theatre and discussions here, is raising his children here, is planning to send those children to the very university he wants to head—here.

More qualified, in fact, because the job has been offered to the Dean.

Not the Bahamian President.

The best is foreign.
Second best is Bahamian who lives in foreign.
Third best is Bahamian who stays here.

But maybe there’s more.

Maybe that word “foreign” is code. We live in a world, after all, that Europe made. We live in a world that was shaped in such a way to build a pyramid of worth and value that had Europe at the top and Africa at the bottom, and if we’re not careful, we will continue to build that pyramid forever.

Because I ask myself this. What does a dean of business administration of a polytechnic university have that makes him more suitable to lead a national university in a postcolonial nation than a president who already works there?

Could the answer possibly lie in the one attribute that Ian Gregory Strachan does not have? A white skin?

Is that what makes a dean more suitable for a growing, challenged, complicated, difficult, postcolonial black national university in a growing, challenged, complicated, difficult, postcolonial black nation than a president?

Does whiteness really still trump local expertise, commitment and vision?

Does it drown out the achievements of the man who has given his career to his nation and his institution, who has raised a drowned campus from its sediment?

If you white, you all right.
If you brown, stick around.
If you black, hang back.

Fifty years on, we are, apparently, still not ready.

But I might be wrong. Judge for yourselves. I’m giving the last word to the man who was and remains my pick to lead the University of The Bahamas and prepare the next generation of Bahamians for the next fifty years of Independence. You listen. I might be wrong. You tell me.

What I'm up to

Heading to Harrisburg tomorrow, god willing (and COVID allowing), to participate in the Shakespeare Theatre Association conference IN PERSON!!

Shakespeare in Paradise is taking a contingent of four. There, we’ll be participating in some sessions, attending others, and making connections preparatory to bringing the conference home to The Bahamas in January 2023. One year to go. Need to start counting like Junkanoo artists do.

Democracy and American elections

Here’s what last week in American politics has taught me:

Democracy is alive and well; and

Democracy works.

Now I’m not referring to the outcome of the election, though for anyone who knows me well enough will know that I am happy/relieved/satisfied that the Trump presidency is likely at its end. 

I’m referring to the election process itself. 

Let me explain myself a little bit. 

Fascism in the background

I wasn’t prepared, four years ago, for the Trump election. I’ll be very clear. The election of Donald Trump, to my mind, signified a fascist turn for the USA. By fascism I mean a governing philosophy that thrives on the glorification of strength and violence as a means of establishing power, the silencing of criticism and the avoidance of dialogue, the stripping of rights and dignity from those who are different. On emphasizing social divisions as a means of consolidating power. On elevating one group of people by trampling on others. On celebrating exceptionalism, the idea that that the favoured group deserves its favour because of some inherent superiority within itself—“our” greatness versus the shit-hole-ness of others. And on the bolstering of that favoured group through force: deploying armies, creating internment camps, building border walls.  

Photo by Mert Kahveci on Unsplash

This turn towards fascism helped elect Donald Trump. Trump didn’t create it: he is its embodiment. And in return, whether intentionally or by the way, the Trump reality legitimizes that fascist vision. The result? A state some members of the non-favoured groups took to calling AmeriKKKa. 

Lest you think that I am singling out the USA, look around. Fascism is rising everywhere. Its voice is being heard in Brazil, in Great Britain, even in places like The Bahamas where we are ruled by men who are not white. We see it in the violence with which we talk about our Haitian brothers and sisters, in the bruises that Bahamian children and women carry under their clothes, in the words and rhetoric we use to dehumanize those people in our midst who are not heterosexual or cisgender, in the infantilizing of the citizenry in the way we impose our lockdowns. We see it in the separation of the Bahamian children of Ham, locked down in their homes and neighbourhoods, from the wealthy and white who move freely behind their walls and gates. Blackness is contagion, whiteness the badge of good health.

If one is a social scientist, the revival of fascism in the twenty-first century is not something that surprises. Fascism is often a predictable response to massive social change. It offers comfort to those for whom the world works well. It offers the promise promise that the world that has made you comfortable will be kept in place by hook or by crook—by force, even genocide, if need be. It stabilizes the world that is tipping, even if only for a little while.

And the west is tipping.

A diminishing west

Courtesy of https://imgbin.com/

Courtesy of https://imgbin.com/

Western society, built on guns and whips and ships and planes and bombs and factories and machines as much as on medicine and education and engineering, (and not so much on liberty, equality and fraternity)—is by definition a white male supremacist arrangement. It is individualistic and acquisitive. It rests on possession, on conquest, on dominion over nature (which many people misread as domination). It amassed its wealth not so much by merit and hard work, but by invasion and conquest, kidnapping and genocide, forced labour and forced migration and the establishment of centuries-old, states-wide death camps other people call plantations. And it’s modelled its religions in its own image, ultimately replacing Catholicism, with its paternal God, its veneration of motherhood, and its soft and suffering Christ, with a muscular, well-armed, masculine Christianity: a kind of Teddy Roosevelt of a religion, speaking not all that softly and carrying a really big stick packed with gunpowder.

This world was justified by the idea of civilization as a ladder, with the dark-skinned at the bottom and the white man at the top, bearing the burden of civilizing the rest of the world, by force if need be. And it was bolstered by a population explosion that made Europeans the largest group of people in the world for roughly a century. 

This is the world western civilization made.

But in twenty-first century western society, this world that favoured the white, the male, the heterosexual, the hypermasculine, and the Christian is eroding. Something else, something alien, is pushing that world aside. 

Since the middle of the twentieth century, the reality that gave western civilization its power has been changing the world over. Slowly. Surely. Inexorably. 

There has been, first of all, a shift in population. White men are a world minority now. To use the words of the innocuous children’s hymn that sowed racist seeds in our tiny minds, the red, the yellow and the black far outnumber the white in the global population. 

This shift in population brings with it a shift in culture. The dominant narrative about the world and our respective places with it is now a hurly-burly of disparate voices, of different stories. Now, as we move into this century’s third decade, that change is bearing real consequence within democracy itself. As the population of white people, particularly of white men, shrinks, so does their democratic power. The world created on the myth of white supremacy, the world that was shaped and dominated for the past five centuries by the European man, is disappearing.

It’s a change that is evident throughout the USA. And that change is terrifying those who remain.

It’s the zombie acopalypse, embodied.

And so, fascism. And so the existence, the popularity, of Trump.

The Trumpist response

Donald Trump, for all his buffoonery, his bluster, his cartoon-friendly vanity and bullying, is a symbol of these dying times. He is, for those threatened by their growing irrelevance in and centrality to the world, a saviour.

I wasn’t prepared for his election. It frightened me. The world is changing, but it’s not yet changed. And times of change are dangerous times. All too often people die in them. 

I tend towards pacifism. I support gun control. I would rather have dialogue with a enemy than attack straight away. But I have quietly told every non-white friend and family member I could reach in the USA to arm themselves, because they can. It’s a dangerous time if your skin is not white. Trump as president personified that danger.

Because I look at the world in this way, I fully expected four more years of Trump. Not on his own merits, but because I was not convinced that the American democratic systems were still robust enough to withstand they way they were being assaulted by the American fascist turn. I have watched so many of the checks and balances of the American system overturned or ignored, watched as the fourth estate—the media, that last bastion of a democratic government—grow so fragmented by algorithms and economic profiling that there was no ground left for the dialogue on which democracy thrives. 

I had lost the audacity of hope.

The triumph of democracy

Photo by Obi Onyeador on Unsplash

This week has taught me something different. 

It’s reminded me of why democracy is so powerful.

Why it works.

Why it’s so frightening to would-be despots and tyrants who want to control the world.

The self-same things that put the cracks in the American system are the very things that can repair it: the individual voice, the individual’s power, the individual vote.

American politicians may have abandoned the democratic systems and principles, but the American people have not.

This is why I was not at all impatient that the counting of the vote took—is still taking—so long. It is taking as long as it is supposed to; the checks and balances built into the American democratic system are working, even working well. Let the counting continue, I say. Let the run-offs take place. Let the voice of the American people be heard, and heard in full. Let the voters prevail.

It doesn’t matter to me that so many people voted for Trump. The United States of America is still a democracy, and that is what democracy is: one’s right to hold one’s belief, and to choose according to that belief, no matter what the outcome may be. That half the country supported Trump is no surprise to me at all; white Americans are still a majority—just—and they are trying to hold on to what they have. They have that right.

But so did the people who voted against him as well. And that, too, comprises half the country. It’s a challenging time, and democracy may be strong enough to weather it after all.

Last words

Am I happy that Biden and Harris have prevailed? I am. Happy, surprised, and very cautiously hopeful. 

Am I dismayed or surprised that the struggle was so long and drawn out and hard fought? Not in the least. 

That struggle is what democracy is all about. And the peace that accompanied it is even more important than the struggle itself. 

Democracy lives. Let us watch the whole process, and learn.

And then let us do everything we can to make the democracy we have here at home do the best job it can.

Facing the Future: Silence and Miracles (because we need them more than ever)

I welcomed the tiny miracle of my wallet because it made me believe just a little that maybe miracles could happen on a larger scale, and maybe a generation of leaders will rise up—soon—with the vision and courage and determination to make the country better not just for themselves and their families and the people who worship them but for us all. Every citizen. Every resident. For us all.

Read More

A Journal of the Plague Year (2)

What’s so cool about rereading A Journal of the Plague Year during the COVID-19 crisis is how little humanity has changed in 3 centuries.

Marathon by night-deserted.jpeg
...it was a most surprizing thing to see those streets which were usually so thronged now grown desolate, and so few people to be seen in them, that if I had been a stranger and at a loss for my way, I might sometimes have gone the length of a whole street ... and seen nobody to direct me ...

Not to mention the kind of discussion that happened at the same time as the plague: what people saw or thought they saw, read or thought they read, the visions and the signs that they talked about.

I could fill this account with the strange relations such people gave every day of what they had seen; and every one was so positive of their having seen what they pretended to see, that there was no contradicting them without breach of friendship, or being accounted rude and unmannerly on the one hand, and profane and impenetrable on the other.

A Journal of the Plague Year

Defoe’s A Journal of the Plague Year—by which he referred to the great plague of 1665—the last year in which the bubonic plague broke out in London (plague year conspiracists, beware selective dating) was one of my favourite books when I studied 18th century literature some thirty-five years ago.

Defoe’s book cover, from 1963

Defoe’s book cover, from 1963

Me, Tuesday night (born 1963)

Me, Tuesday night (born 1963)

In it, an unnamed narrator, whom we learn to call “the saddler”, provides what he calls a first-hand account of the Great Plague of London. On first glance, the book is what it says it is: an account of the plague year. But we realize by page 2 it’s actually a memoir, and as we read further (if we’re paying attention) we realize that it’s not even that. It’s fiction, rising (maybe) out of an assemblage of facts.

Or maybe it’s lies. We’re never too sure. There are tables and lists and first-hand accounts all through the book. But here’s the thing: the more “facts” the saddler lays out on the page, the more sure we become (as we continue through the book) is the more likely the facts are, in fact, fake. Some are impossible. All we do know is that the more definitive the saddler gets, the less likely what he says is to be true.

Sound familiar?

...It seems that the Government had a true account of it, and several councils were held about ways to prevent it ... but all was kept very private.

I’m going to be rereading this book as we move through our lockdown, as we move into the predicted surge of cases. I’ll post bits and pieces here as we go on. If you’ve never read it, go look it up. It’s fiction, yes. But it’s also uncannily true, the way literature, in its most imagined, is truer than anything we see on the news.

“From the hygienic comfort of the twentieth century, the terrible calamity which Defoe described with such accurate, vivid realism seems remote, an experience that can never be repeated. But such suffering can still visit mankind—the great influenza epidemic of 1919 killed far more people. The terror for Defoe’s London last in the awful concentration of the disease. In his pages a metropolis does before or eyes; the streets empty; grass grows where life reigned. A Journal of the Plague Year is a tale of horror, told by one of the great masters of realism.”

J. H. Plumb, Cambridge University, 1960
introduction to the Signet Edition of A Journal of the Plague Year