They say you can see futility from space— the flickering bioluminescent SOS of a solitary storm cloud bursting over an infinite ocean.
A Passion
In the old woman’s airtight home (which she never left except to go to church) our druggist savior forever stretched his arms in benign and ruined ransom across the living room wall above worshipping masses of medicine bottles.
As a storyteller, I’m always looking for new approaches to old stories. I don’t know how many times I’ve read Mary Shelley’s Frankenstein, but one episode in particular never fails to shock and horrify me.
Poor Justine Moritz! Rescued by the Frankenstein family from poverty as a child, she grows up to become their loyal servant. But after Victor Frankenstein’s creature vengefully murders the family’s youngest child, Justine finds herself accused of the crime. Victor knows that she’s innocent, but can’t bring himself to come forward with the truth. Justine is tried, found guilty, and hanged for murder.
I decided to write a play about Justine called The Harrowing, subtitling it “A Rhapsody on a Theme by Mary Shelley.” In my retelling, Justine is a bitterly alienated young woman, exploited horribly by the Frankenstein family and all too aware of her lowly status. One night she encounters the monster (called the Demon in my version) who shows her the murdered boy’s body. She reacts with horror at first, but soon recognizes the Demon as a kindred spirit, a fellow casualty of a cruel and unjust world. Before the night is over, they have become lovers.
The first half of The Harrowingwas presented via Zoom in 2022, with the late Everett Quinton as the Demon. A staged reading of the entire play was performed in New York on October 2, 2023, at the Theater for the New City in New York. You can download the complete script for The Harrowing here.
In the following scene, the Justine and the Demon hold a macabre picnic near the murdered boy’s body.
The late Everett Quinton as the Demon in a Zoom performance of The Harrowing; photo by Denise Gregorka.
(JUSTINE and DEMON sit on the spread-out blanket, eating berries and nuts in the moonlight. DEMON is drinking straight from a bottle of wine. JUSTINE looks over at William’s dead body and smiles.)
JUSTINE. Willy, dear, won’t you wake up? You must be hungry. Would you like to join us for something to eat?
DEMON. He isn’t asleep.
JUSTINE. I know. But let me have my little lie. I have so few of them left. The world is getting crowded with truth. Sleep on, sweet Willy, don’t let us grownups disturb you.
(JUSTINE and DEMON eat a few bites.)
JUSTINE. Where did you get these nuts?
DEMON. I took them.
JUSTINE. From where?
DEMON. A tree.
(JUSTINE and DEMON eat some more.)
JUSTINE. What about these berries?
DEMON. I took them.
JUSTINE. From where?
DEMON. Some bushes.
(DEMON passes the bottle to JUSTINE, and she drinks from it.)
Frontispiece to the 1831 edition of Frankenstein.
JUSTINE. Where did you get this wine?
DEMON. From a house.
JUSTINE. Inside a house?
DEMON. Yes.
JUSTINE. How did you get inside?
DEMON. I just went in.
JUSTINE. Did you take the wine, or did you … ask somebody for it?
DEMON. I don’t understand.
JUSTINE. Was anybody in the house?
DEMON. No.
JUSTINE. Where did you find the wine in the house?
DEMON. On a table.
JUSTINE. You shouldn’t take things from houses like that.
DEMON. But I took nuts from the tree.
JUSTINE. I know, but—
DEMON. I took berries from the bushes.
JUSTINE. I mean from people. You shouldn’t take things from people like that.
DEMON. Oh. (drinks from the bottle) I don’t think I understand. I was hungry, and I needed something to eat. There were nuts on the tree and berries in the bushes. What could I do but take them? I was thirsty and I needed something to drink. There was wine in the house, so I took it. What was I supposed to do?
JUSTINE. You should have asked the people who lived there if you could have it.
DEMON. Would they have given it to me?
JUSTINE. I … don’t know.
DEMON. Do people … often … give things to others?
(Silence; JUSTINE takes the bottle from him and drinks from it.)
JUSTINE. You were right and I was wrong. It’s best to take. Everybody takes, and nobody’s likely to give you anything, even if you ask. People have been taking things from me my whole life without asking. They don’t give anything back, even when I ask. I suppose that’s why I have so little. I don’t do enough taking. I should have known, the truth was all around me. Taking is the way the world works. What a fool I was.
(JUSTINE takes long swallow of wine, then passes the bottle to the DEMON.)
JUSTINE. I’m going to be drunk. You should get drunk too.
DEMON. Drunk?
JUSTINE. You’ll know it when you feel it.
—Wim
Illustration from an abridged version of Frankenstein in the The Cincinnati Enquirer, January 16, 1910.
We godless devils want the treasure map; you good and godly fellows want to live. It’s fair straightforward bart’ring, Cap’n Smollett, with not much elbow room for give nor take. We’ll crush this stockade underfoot like a snail. Give o’er the map, and we’ll give o’er your lives— a bargain all around, no need for losers. But this here handkerchief’s my flag of truce. May I set myself down on this tree stump? My crutch gets tired from holding up my carcass.
Now pay good heed to this bird on my shoulder. “Pieces of eight! Pieces of eight!” he caws. Old Cap’n Flint here wants to mediate, and we could do worse for a diplomat; his squawking’s scarce the nonsense you may think. He’s old—no, older—than the briny sea. He perched on the gloved hand of Francis Drake, the greatest buccaneer that e’er there was, knighted by the Virgin Pirate Queen Elizabeth herself, who might as well’ve unfurled the Jolly Roger to wave above the decks and timbers of her Sceptered Isle— for what was England in those golden days but the yarest pirate ship ever sailed?
“Pieces of eight” he croaks, again, again, till one gets sick at heart of hearing it. But what else ’tis for anyone to say? The tallied sum of all accounts is stowed in that taut turn of words—“Pieces of eight.” Cap’n Flint remembers when ’twas first spoke, “Pieces of eight,” after the Fall from Eden, when sons of men burrowed to fall still farther. His lum’nous plumage cast its precious light in the bowels of the first mines ever dug at the orders of the hunched angel Mammon, cast out with Satan and his warrior hordes— Mammon, whose rum-drunk eyes gaze ever downward.
That was the first piracy, I’d maintain, despoiling Mother Earth of what was hers and hers alone—pound by pound, ton by ton, nuggets and ingots and wagons and shiploads of her tender flesh, while Mammon conducted the hellish miners’ chorus: “Pieces of eight.” ’Twas then this parrot learned his wretched song.
But let’s scan your thinking, as best I take it. You’ll do honest with our stolen treasure if you can dig it up before we do. Perhaps you’d give it back to them whose throats we cut for it—but were it wise to go hunt them out in their current whereabouts? I hear it’s fiendish hot down in their tropics, for those blighters were no angels themselves; such sinless men as you are a rare breed.
No, you’d rather keep it, and I can’t blame you. You’re not like us, I’ll be the first to warrant; you’re decent, well-spoke, clean, and civilized— and sober, which my men are surely not; you worship a God way up yonder skyward, a God my poor brain’s too stunted to reach. It’s only square for you good honest men to snatch our stealings into your good care. But tell me—do two thefts make a right sale, first by pirates, again by honest men? Can theft cancel theft, crime unravel crime? Because what’s plundered has been stolen double is it legit’mized as a lawful haul? In short, is it more rightly yours than ours?
Answer this riddle for me if you can: What gives preciousness to gold and silver so sons of men covet such things as glister? Look, in my palm, a doubloon and a Spanish dollar, minted from gold and silver each. They don’t so much as twinkle as we spy ’em; they’ll look dullish till I wipe ’em with spit. Devious solid to the touch they feel, and yet so soft and yielding, they would melt and go to oozing ’tween my greedy fingers if I so much as puffed my hot breath on ’em. Such variable metals, gold and silver; not pract’cal for the skillets, pans, and kettles employed by sea cooks such as my good self; too ready blunted to make knives and axes; prone to bursting when hollowed out and charged with powder, too heavy for balls of shot; too scarce to forge into gallows enough to hang all them that ought rightly to hang, for who’re the souls that don’t deserve that fate?
But there’s tricks in the alchemy of theft that makes of sparkling things more than they are. A coin’s value to a man is in proportion to what gets wrung out from another’s hands; its price is weighed by how some poor soul lacks it; it measures out the emptiness of bellies; it’s stamped with gaping faces dispossessed— the sick, the starving, destitute, and slain. Aye, Cap’n—aught that gets owned is blood and terror, and we pirates do due diligence by both, shirking not lives of man, woman, nor child, but toiling always to earn our proper swag. Can you kind gentlemen say nigh the same?
It’s time to play my winning hand, good Cap’n. I’ve not come here for any earnest dealing; my showing here’s a sham; we two shan’t haggle; the only settling left to do is slaughter. I’ve made a fine treaty with Mother Earth already, for we parleyed in a dream. I found her the vestige of a grand lady— Daughter of Paradise, Refuge of Sinners, Isis Unveiled, Wise Muse of Solomon, the Lavish Madonna of all Abundance, enthroned in luxury botanical, her cornucopia bountiful and brimming, a twelve-star constellation in her crown, our round world raised upon her royal scepter.
But she was weary when we met last night, her diadem drooping, her bright vestments faded, with tear-shaped pearls upon her pallid cheek and black-winged sighs heaving out of her breast— all, all, she says, because of honest men and the wrongs they wreak upon her creation.
“’Tis honest men, not thieves,” she said, “who bolt their lowly brothers in shackles, consigning them to swallow pitch black soot by the lungful in caves that harvest coal. ’Tis honest men, not thieves, who choke and suffocate the sky with smoke from heaps of flaming anthracite. ’Tis honest men, not thieves, who put the fingers of mothers and their babes to bleeding in mills fueled by sulf’rous, profitable fires, mills where raiments of the rich are made, mills where wealth is manufactured from despair, mills that weave out of tears and hunger and disease all merchandises fine and dear, mills where godliness incubates and hatches, taking wing in this vale of decency, of gluttonous virtue and righteous greed.
“Take it all,” she told me. “Reclaim the treasure from my bosom, and give me nothing in return but bloody lives of honest men— more than their lives, give me their shrieking pain, that they may feel the agony of earth, the rape of all my innocence and bounty. Don’t let your cutlasses and daggers rest until they’re slain, the cursèd multitude of all the virtuous and honorable throughout this doomed and damned bedeviled world, and thieves receive their just inheritance, for the earth shall be theirs when time gets full. Then shall my poor heart leap with exultation and my visage blush sanguine once again.”
—Wim
John Silver by William Nicholson (1872-1949), Characters of Romance, 1900. Poem previously appeared in Open Arts Forum.)
A poem should not mean But be. —Archibald MacLeish
Tomorrow’s assignment (Mr. Fritz told us, lo, those many years ago), is to find the poem’s meaning and bring it to class, in cuffs if it resists, sedated if necessary.
To find its coordinates (said Mr. Fritz) make use of concordances— one for Shakespeare and one for King James— and pluck out the heart of the poem’s mystery word by word until you’ve got the exact latitude and longitude where the meaning lies in lurk. And remember, a poem can only have one meaning, like any other equation. The meaning is x so solve for x.
But I’d have none of that.
If there was one thing I already knew for sure even at that age, it’s that meaning can’t be come by honestly, so I called the cops who didn’t even bother with a warrant. They smashed the door and stormed right in and turned the poem upside down and inside out, breaking all the furniture in sight— but still no meaning.
Now I thought I was smarter when I glimpsed a folded piece of paper tucked in a letter compartment of the rolltop desk right there in plain sight. But when I seized it and unfolded it, it was just a shopping list for the day’s necessities—
a thing with feathers a stately pleasure dome a grain of sand a wild flower a red wheelbarrow a wine dark sea
—just the usual stuff.
But when I went to consult the little French detective in his humble digs, redolent of mildew and a meerschaum, walls bedecked with Beardsley prints and Toulouse-Lautrec posters, he didn’t even have to rise from his divan to figure it out.
Mon dieu, mon ami! (he said, pouring each of us a glass of absinthe) What silliness you talk! Can you tell me what it is, this thing you speak of, this—this meaning? I can tell you for certain there is no such animal as a meaning. It is a make-believe creature for the hazing of— —how do you call them, you Américains?— Boy Scouts, n’est-ce pas? They put a tenderfoot alone holding a bag by a hollow log and tell him to stand there waiting deep in the night for the meaning to show his little head, and they watch just out of reach of his earshot snickering to each other, those comrades of his, while he keeps waiting there like an idiot.
No, mon frère, a meaning is a chimera, a mere opinion, and the poem holds opinions in contempt. The poem is smart, the poet its useful fool. Now as for the poem in question— never having read it I am quite au fait with it, for having read one poem, I have read them all and know wherein their secrets may be found.
You see, the x you sought is very big, the biggest thing there is, the only thing there is, and you were—comment tu le dis?— getting warm to think you saw it right where anyone else could see it. But it wasn’t in plain sight, it was plain sight. For a poem is not a thing that means, it is a handless springless clock that tells only the moment, only what is really there. It is a thing that conundrums the sense, so to speak— that blisses the heart and fierces the brain and verbs its breath into a world.
—Wim
“The letter stolen again,” illustration by Frédéric-Théodore Lix for “The Purloined Letter” by Edgar Allan Poe.
I just finished writing a new two-character play: “The Rake’s Visit: A One-Act Capriccio on a Theme from Don Giovanni.” It is a revisionist take on Mozart’s opera, his wife Constanze, and especially the notorious adventurer Giacomo Casanova. You can download the entire play by clicking here.
Here’s a synopsis:
Prague, 1787: It is the night before the scheduled world premiere of Mozart’s opera Don Giovanni. The aging roué Giacomo Casanova has read the libretto by his libertine friend Lorenzo Da Ponte—and he hates it. He goes to Mozart’s lodgings hoping to rewrite it, only to find that Mozart wants nothing to do with him. But Mozart’s wife, Constanze, is intrigued by the legendary rake, and the two of them pass the night in the “alchemical brandy” of storytelling.
This exchange between Constanze and Giocamo takes place early in the play …
GIACOMO. (thumbing through the libretto) Would you help me … to fix this dreadful libretto? Or just a little bit of it, at least? Maybe just an aria or two? If you don’t mind very much? I’d hate to have squandered both my time and yours with nothing to show for it.
CONSTANZE. What’s wrong with it?
Portrait of Constanze Mozart by Joseph Lange c. 1782
GIACOMO. Well, obviously it’s an abomination. I knew it would be vile, but hadn’t expected—this, not even from Lorenzo, who is shameless as only a priest may be (and, oh, I can assure you, he was even worse before he was defrocked). What he has done here with the Don Juan legend … well, he has cast to the winds the abundant moral lessons of Tirso and Molière out of sheer infatuation with this scoundrel. Giovanni is the lying looking-glass that shows Lorenzo as he loves to see himself— a rake of irresistible allure; his very villainy flatters men’s dreams of debauchery, of what they might do were their desires untethered from decency or respect for womankind. Oh, of course, in the end Giovanni does get swallowed up by hell and all— the traditional perfunctory comeuppance to lend an obligatory veneer of redeeming moral value. But believe me, if you knew Lorenzo as I do— well, he considers an eternity of hellfire a paltry price to pay for a lifetime of glutting his earthly appetites and ruining the lives of myriad ladies.
CONSTANZE. Aren’t you a fine one to talk about ruining ladies’ lives?
GIACOMO. My dear Frau Mozart, of the thousands of women who have conquered my heart and eyes and loins, I challenge you to find one— even one— whose life I have ruined, or one still living with whom I do not remain on the most cordial terms even after many years. I am not a deceiver, nor have I ever been deceived; I have never been unfaithful, nor have I ever been betrayed; I have lived a happy life, and I have generously shared my happiness. Friendship is my categorical imperative— I treat every woman I meet as an end in herself and for herself, not as a means toward an end. For you see, the pleasures of flesh upon flesh are brief and all the sweeter for it, while friendship— ah, friendship!— is eternal— but only when it really lasts!