Another October the 12th is passing, which means one more year to look back on Matt's lamentable death, one more year to get all moody and self-referential, and yet another opportunity to lapse into a misanthropic grouch-fest and hate the whole world because it's such a downer. I seriously need a more positive way to remember this person whom I had never personally met but who has changed the course of my life in ways I didn't expect. I need to find a way to commemorate this day in a way that does justice to him and celebrates him in a positive light, not simply as a victim.
So, where can I go for a different perspective? Since I'm a medievalist, I guess that my natural impulse is to look backwards to the past for insight, and so pondering my problem eventually brought me to thinking about medieval memorial practices. In medieval Christian society, for instance, monasteries often kept a calender or roll of their brothers and associates (called a liber vitae or "book of Life") in order to remember their passing.
Although a name in a Liber vitae was an act of commemoration in of itself, sometimes calendars of names organized by death date were used so the community could read their names aloud during the prime hour service as they performed the "work of God" in the cloister. In those lists, the death date of a person is recorded as their dies natalis-- that is, their "birthday." It makes a lot of sense from a medieval perspective, as Christianity often talks of that as the day that we are finally and truly freed from the bondage of sin and attain our real home with God when the soul is "born" in heaven. It's the date of our heavenly birthday.
This kind of commemoration was important in the monastic setting because it reinforced the sense that their brotherhood was an eternal bond, and that those who passed should continue to be recognized as a part of their community. It reinforced that death really cannot sever their social, religious and personal ties, and that the departed who served the community in life are still a benefit to their abbey.
And so, in my struggle to find an appropriate way to remember this day, I think I'll do it with a celebration of Matt's continued presence and life within my community. From here on out, this will no longer be for me a time when I'm forced to revisit a horrible, brutal crime that has scarred so many and ended a human life; instead, I'm going to mark this day as Matt's dies natalis, to recognize the part he still plays in my communities: in Laramie, in the states, and in the lives of those who loved him. Is this the sensible approach that everyone will accept? Probably not; all I know is that it helps make all of this make sense to me.
Happy 12th birthday, Matthew Shepard. You are still very much a part of us all.
PHOTO CREDIT:
Okay, so I couldn't find a picture of a liber vitae under a CC license, so the above picture is a leaf from Yale University, Beinecke Library MS 923, an unusual travel foldaway calendar and prayer book, which is available for CC use via the library's Flickr photostream. This text lists the feast days and/or dies natalis of popular saints (marked with giant, stretched out N's) in October. The pic of Matthew's memorial is mine and very much free for use.
If you'd like to see what a liber vitae looks like, you can follow this link to one of the more famous manuscripts from the time period I work with. On this single page of the Durham liber vitae, there's literally dozens of names written in hands at least three centuries apart, and it's remarkable.
On a side note, October 12 marks the dies natalis for two of the more famous Anglo-Saxon saints: Wilfrid, who tended to stir the muck, and Edwin, who was the first Anglian king to take up Christianity. One of the most famous passages of Anglo-Saxon prose comes from his conversion, as recounted by Bede in his Ecclesiastical History 2.13.
Calling all Theater companies and performers!
Open Call to Theater companies, performers, researchers:
I would like to hear other voices besides my own on this blog. If you'd like to write about your TLP experiences here, e-mail them to me and I'll put them up.
Topics can include dramaturgy to staging to personal responses to the play. Anything goes!
I would like to hear other voices besides my own on this blog. If you'd like to write about your TLP experiences here, e-mail them to me and I'll put them up.
Topics can include dramaturgy to staging to personal responses to the play. Anything goes!
Showing posts with label saints and sainthood. Show all posts
Showing posts with label saints and sainthood. Show all posts
Tuesday, October 12, 2010
Sunday, March 7, 2010
Lost in Translation
You'd think that, as a literature major, I wouldn't be as resistant to symbols and abstraction as I am. I live in the realm of abstraction; it's a comfortable place, they know me here. I'm getting a degree in it, even. I'm so used to dealing with the realm of the metaphor and story, actually, that it can be really hard to turn that part of my brain off sometimes. "Will you just sit back and enjoy the movie?" my husband occasionally smirks at me. (Other times, he's worse than me. We laugh it off.)
It's not really myth or symbol itself that bothers me. It's seeing that process of myth-making firsthand that's been so disorienting. When a deceased person passes from a living, imperfect being to a myth, to me it almost feels like an annihilation of the individual who once lived but now can't speak for themselves. And yet, I'm a medievalist, for crying out loud, I've read saint's lives. Sanctification, many times, is a process of forgetting; when the imperfections that made them a mere person are gone, then someone writes a text to exemplify their holiness. And that's how you make a saint in the early Middle Ages: forgetting, coupled with a narrative. No wonder that some of my favorite holy people are often the tenacious ones, the royal pain in the asses who spoke for themselves or left a record of their frailties: Perpetua, Augustine, Boniface, Leoba; Thomas á Beckett; Julian; John Donne.
Abstraction anxiety?
And a lot of it is my feeling that the media is portraying Matthew Shepard as a saint. And making him as a martyr. And I don't think he was. I don't think he was that pure.
-- Sherry Johnson, in TLP (2001): 64
Although thinking of what has happened to Matt as a translation to sainthood is admittedly anachronistic, the process that Sherry dislikes above is nevertheless a good fit: forgetting, coupled with a story, makes Matt something more than human and less than human at the same time. He's a symbol or a myth. When that happens in a story like TLP, where's the real person? To where, and as what, does he get translated to? And I also wonder: where does that very human impulse to translate the flesh and blood of a real person to symbol come from? Sherry Johnson fears that impulse, I would say, for all the wrong reasons; she merely believes that Matt isn't a good candidate based on the slander and hearsay she's picked up around town. I'm just as hesitant, but I'm more concerned about the ethics of making a man into a myth in the first place. Is it fair to the deceased? Or, is it what they would want?
Sunday, January 3, 2010
Life in the confession booth
So, I've been thinking hard over the last few days about a weird change I've been noticing about myself this past semester: I'm telling everybody I can corral for ten minutes about what happened when Matt was murdered. And, I'm starting to wonder: is this necessarily a healthy thing? It really started with my minister friend back in August. We were having a theology discussion at a local bar (yes, we do that sort of thing) and he was trying to come up with topics for a lecture series on campus.
With what fruit, then, O my Lord... do I confess, not only in your presence but to men also by these writings, what I now am, not what I once was?
--Augustine, Confessions Book X, Ch. 3
"What about a roundtable on theology and homosexuality?" He asked innocently. I leaned over the table and thumped my finger on his legal pad.
"Absolutely not. You might as well lob a grenade in the middle of our campus as do that," I answered.
Later, I apologized and explained to him why I was a little sensitive to that issue, and he was really surprised. Then, when the Laramie Project: 10 Years Later came to our town, I told "Joe" the entire story, and then the cast. It's sort of snowballed from there. Each time scared the utter heck out of me, but then I've felt so much more... liberated, I guess. And I keep doing it.
Reactions have been mixed. Some people just sort of edge slowly for the door, like I'm going to pounce on them. One colleague suggested that I needed a vacation. And then one of my classmates just opened up and shared with me the trauma in her own life she's been silently packing around for seven years, and I was stunned. She and I have started talking a lot.
So I find myself in the twenty-ninth year of my existence in the middle of an all-out confession fest. Why? I have never really felt impelled to air out my dirty laundry for the world. In fact, one of the hardest things for me has been that whole "Confess your sins to each other" business in the Book of James (there's a reason Protestants don't like that book.) But I'm starting to wonder just a little bit about this little glut of storytelling: is all this some kind of exhibitionist tendency, or is it something more-- or something worse?
Labels:
identity,
memory,
narrative,
saints and sainthood
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