Don't Call Me Human

I'll be your Rag Doll:
You can play with me till your amusements flee
Rip my seams with your rough play-
Don't worry, you can fix me again
For another day

Just call me your China Vase;
I'll collect your tears
Fill me with your sorrow and pain-
My pattern may fade and my corners chip
But your tears will fill up to my very tip.

I can be your Life Jacket
As you drown into the depths of despair;
Wrap me around you until you float back to the surface...
Throw me away when you are safe.

Just please, don't call me human,
Don't treat me like an equal.
Don't speak to me like I understand.
Don't believe I have emotions;

After all, who will be
Your Rag Doll,
Your China Vase,
Your Life Jacket?
                                       

Beautiful Mercy

A fragment of you still remains-

Taunting my past, our history entwined-

Your shadows still grip-

Where the light ought to shine-

Your face still reflects-

In water, glass, my mind-

Your imprint still burns-

Upon the hole you used to reside-

Please be kind-

Let these memories unwind. 

The Shining

You stand there,

Shining amidst a sea

Of bodies floating

Endlessly throughout existence.

All our words were whispered willingly-

Entire souls were spilled securely.

All but ash now; ravaged by the flames of absence.

Now dawns the evanescence

Of past, present and future.

Yet, I must strive on.

I stand here,

Fading into a sea

Of bodies floating

Endless throughout existence. 

C'est La Vie

Ok guys, here is the second piece for my creative writing portfolio to university. As I am restricted to only four pages in total, I have had to limit the amount I write for this play; this is not all of it! But I hope you enjoy it all the same! 

Production Notes

The Screen Device: Throughout the play, this image must be stationed hanging in the air, to the back of the stage. It should be large enough so that every member in the audience can see every detail, down to the very last car. With this, I hope that the main focus of the play remains with the audience throughout its duration; additionally adding to the visualisation of the play’s location. No other scenery must be used as the minimalism contributes to the plays reception and meaning.  

The Music: When the audience arrive, throughout the duration of the play, and until the audience leave, the sound of a traffic jam should be played. This should include: the constant humming of many engines, the sound of horns tooting in frustration, the distant shouts of angry, weary travellers. The music should not be too loud, more like one would reminisce a distant memory: quiet and not overbearing. Much like the Screen Device, this will provide a greater depth of realism and minimalism.

Costumes: Every character must wear a combination of black and white clothing. The only character whose clothes must be comprised of specific attire is Teller: who must be garbed in black trousers, black shoes, a white T-shirt and a long black Mackintosh. The other characters attire is not specific, just black and white.

Lighting: The lighting of the play should be dark, with only spotlights to illuminate characters when talking. The Screen Device should be lit at all times.

The Play

Act one-

Teller enters the stage, seemingly ignorant of the audiences’ presence. He motions towards the image at the back of the stage, sauntering in a lazy fashion. He stands sideways to the audience and the image, as if torn between the two, yet does no lift gaze from the image.

Teller: Good evening everyone! I say good evening even though we may be in the midst of a blazing summer afternoon, or the beginning of a bitter winter’s day; yet here, we are shrouded in evening’s dying glow… I apologise if you find my speech drowned amongst this sea of engines and horns, but who am I to prevent all these people of their futile journey?

It is humorous! We live in a society where man can traverse the globe in hours; but here, even an inch of advancement is enough to celebrate… [Whispered] C’est la vie! [He moves swiftly from the image and stands at the front of the stage] I apologise! Where are my manners? My name is Teller; I am not part of this play as such, although you may refer to me as your humble narrator, your director of direction, the composer of dreams. [He bows, then hurries back to the image and continues to stare at it] Whilst I have been alive on this Earth, I have learned a great deal. Yes the typical things: five times six is thirty, Shakespeare wrote many plays and the world has engaged in two world wars (so far), but the most valued aspect of life in which I have learnt a great deal about, is this: human beings have a large aptitude for ignorance. [He turns away from the image again, and runs to the front of the stage] All through life we float from cloud to cloud searching for a multitude of things. For some it may be fame, others wealth, while few will just be content with acceptance… We drift through our stages of life focused on our needs and wants, concealed within our self-contained bubble of naivety and greed. Take these people for example [He throws his hand towards the image] each is concerned with reaching their final destination, entrapped within their metal shells. They sit amongst an expanse of beings in the same situation yet; have no consideration for their fellow human…

This evening I shall present to you a slither of life, a fraction of non-fiction, a piece of the picture. [He runs back toward the image] You will experience the lives of a few of these people the very second this image was captured in time. [Slowly exists off stage] I shall return when your journey has ended, farewell for now… [He exits the stage, the music grows louder]

Act 2-

The stage is dark, with only the image illuminated. The music begins to return to its original volume as three characters enter the stage, lit by a single spotlight. A man, Simon, precedes the trio, with two children, Elizabeth and George, following behind. They stop in the middle of the stage: Simon standing at the front, his hands clutching onto an invisible steering wheel, with Elizabeth and George behind him standing side by side. The formation forms a sort of triangle.

Elizabeth and George are arguing loudly, their words blending together to create an incomprehensible din. A look of frustration and fatigue contorts Simon’s face.

Simon [glaring into the non-existent windscreen mirror]: Will you two just shut the fuck up for two seconds? I have had it with your constant arguing! It’s bad enough to be stuck in this traffic, let alone with two screaming kids making my migraine worse as well!

Elizabeth [Sounding as if she will burst into tears]: We, we, we’re sorry Daddy! George won’t stop poking me-

Simon: I don’t care what George is doing! Just shut up!

George: Don’t talk to her like that! She’s only five!

Simon: You can shut your mouth as well! Don’t you dare talk back to me like that!

[They sit in silence for a few seconds; Elizabeth sniffs loudly attempting not to erupt into tears. Simon exhales deeply before beginning to talk]

Simon: Look, I’m sorry for snapping and swearing at you. I’ve just been a little touchy recently and this traffic is not helping. Once we get to Grandma’s and get the funeral stuff sorted everything should be back to how it was.

George: But how can it when Mum’s not here?

Simon: I know it’s been difficult these past few weeks, but we need to be strong for each other. [Simon turns around to face his children] You need to be a responsible big brother for your sister. That means trying not to annoy her. Before you know it everything will be better, just wait and see…

[The spotlight on the characters dims down, and they exit the stage.]

Act 3-

A woman enters the stage with one hand to her ear as if on the phone, and the other on an invisible steering wheel. She stops in the same place as the previous characters.

Ann [Shouting in a rage]: Tell them I want it finished by Monday or they can find another job to waste their time in… [She is silent for a few seconds] I don’t care if he’s already over seeing two other projects, we can’t afford to lose these clients; they account for over a quarter of our revenue! [Becomes silent again] I have had enough of these excuses! If I don’t see any plans on my desk by tomorrow, he can consider himself unemployed!

[She takes her non-existent mobile from her ear and dials another number] Yes? Hello? Is Mr Weller there? He’s already in the meeting?! Tell him I will be right there, I'm stuck in traffic… [She becomes silent for a few seconds] I'm sorry? He said what? Look this isn't my fault! No! Tell him I can sort this out! No, please don’t do this! I need this contact otherwise how can I continue the business? Hello? Are you still there? [She screams and throws the non-existent mobile to the ground, then begins to sob.]

The light dims out and Ann exits the stage.

Growing into Existence

Let me explain this poem first, before you all think I'm mad! For one of my applications to university I had to provide a creative response to "A place where I grew up" Well I took it literally... Take a look! 

 I lay floating, drifting, turning within human existence,

My undeveloped thoughts embrace me, concreting my near subsistence.

How long have I remained amongst the void and gloom?

I have waited, grown and prepared; when is my time to bloom?

 What lies beyond this isolated world?

Success, happiness, excitement, all I have dreamt, floating here curled.

… It’s dazzling, pure, breath taking and blazing!

This light that engulfs me, simply amazing!

Now is my time, to leave this transitory place

Never to return again, to this growing base…

Practice Makes Perfect: My first English Exam Essay

"Showing convincingly how characters develop and so achieve a sense of identity is an essential way in which novelists and poets engage fully with their readers"

    Authors often use varying techniques to engage fully with their readers. Charles Dickens, the author of Great Expectations, has been analysed to create a sense of identity through demonstrating how characters develop. This technique has been argued to be one of the essential ways in which Dickens engages with the reader fully, as it explores a much untouched area of society for his era- upward social mobility. However, when digesting this novel, it is unambiguous to see that Dickens utilises other methods in which to fashion a sense of identity to engage the readers, rather than showing development; two such approaches being symbolism and setting.

    

    To embark upon this exploration, we first need to analyse the limited ways in which Dickens uses development to create a sense of identity thus, engaging the reader.  A pinnacle aspect of identity development in which Dickens explores is social mobility. This rare progress in the nineteenth century is one of the key elements in which the book revolves around, and commences when Jaggers states “that he be immediately removed from his resent sphere of life and from this place, and be brought up as a gentleman.” (Ch. 18, Pg. 117) However, the beginning of the character Pips’ development of identity can be gleaned to be tainted with negative connotations. The quote stated prior is quite impersonal, and uses the legal dialect of the character Jaggers to describe this otherwise joyous and exhilarating transition in Pip’s life. Due to this, Dickens may very well be leaking his opinions upon his contextual society through this scenario. Mirrored in his novel, Dickens, like Pip, was a poor boy who rose to success and through the social classes, to eventually obtaining a high status. By describing Pip’s identity development into higher standings in such a way, could suggest that Dickens was not content with his new life. From being raised as poor, and to be catapulted into fame and fortune as a result of his writing, Dickens may have found this transition difficult to contend with, and may have been met by adversity from members of the upper class. Alternatively, Dickens could be representing his opinion on the class system as a whole. The author could be implying that to band people as rich or poor is to consume ones identity, and that identity can only be achieved through materialism, not personality.

    Contextual readers in the nineteenth century may have been fully engaged with this novel when reading it. As described before, by developing Pip’s social standing and creating a new sense of identity for him, Dickens explores a much isolated topic within his society. Readers then may have been shocked at such a concept: that a poor boy could infiltrate their lives of money and luxury. Today, contrastingly, readers may not be as engaged with this concept, but rather relate to it easier. The invisible barrier of class has become more penetrable over time; therefore readers may be able to relate to Dickens’ characters more, than during his era. As a result, by showing how characters develop and achieve a sense of identity, readers may become fully engaged within the novel.

    Although the development of characters can be a powerful way to achieve a sense of identity, this is not the only essential way in which Dickens engages the reader fully. Rather, Dickens’ use of landscape and setting can achieve similar or even better results. Many novelists use setting to covey a certain message to the reader. Dickens uses this technique in such a way that the characters identity is portrayed through their surroundings; therefore, engaging the reader. Dickens describes Pip’s home to be “marsh country, down by the river, within, as the river wound, twenty miles of the sea.” (Ch. 1, Pg. 3) There are a lot of connotations associated with this use of setting which can reveal deeper depths to Pip’s identity. Not only does it give immediate impressions of an underprivileged existence, the use of the river and the sea gives certain fluidity and movement associations with Pip. Dickens may be suggesting here Pip’s need for change, as the tide changes; combined with Pip’s confinement, like the water flowing within the rivers course. As a result, a sense of identity is created, without the need to show development.

    This use of setting has many personal connections with Dickens. Dickens, as a child, was moved to Kent with his family. For Pip’s home and further locations in the novel, Dickens draws upon personal experience to fuel his location choice. By doing so, Dickens may be showing his fondness for these landscapes, as they played an important part in his life. On the other hand, Dickens continues to describe Pip’s location as a “bleak place overgrown with nettles” (Ch. 1, Pg. 3) this may indeed draw opposed inferences upon Dickens’ opinion of his childhood home. By depicting the setting as “bleak” with “nettles” does provide negative connotations; implying that Dickens may not have reminisced his childhood with fond memories.

    This novel has often been related to having aspects of the gothic nature. A typical gothic genre includes landscapes and settings that are far away. By using setting to achieve a sense of identity may engage readers as Dickens uses local, familiar locations in his novel, rather than exotic, ostentatious ones- as in line with the typical gothic genre. Both contextual and modern day readers may experience a sense of familiarity within Great Expectations, due to this choice of setting, making it increasingly easier to become engaged with the novel. If Dickens selected a more outlandish setting, readers may not have been able to engage fully with the book; even more so for nineteenth century readers, as travel abroad was not as accessible as it is today. Therefore, as a result of Dickens using setting to achieve a sense of identity will engage the readers fully within the novel.

    The last exploration into Great Expectations takes the form of symbolism. This method is often a favourite of Dickens, and appears throughout the novel. Dickens uses symbolism in such a way, that like setting, it can achieve a more profound sense of identity while engaging the readers fully. Time and Miss Havisham are often related heavily, exposing certain elements regarding identity. When Dickens writes Pip’s first encounter with Miss Havisham at Satis house, he notices that “her watch had stopped at twenty minutes to nine, and that a clock in the room had stopped at twenty minutes to nine” (Ch. 8, Pg. 49) This symbolism of frozen time can demonstrate certain characteristics of Miss Havisham’s identity. A certain air of self-created, timeless pain emits from this imagery. Dickens’ symbolism here may be highlighting Miss Havisham’s prerequisite for self-torture, as she decided to freeze time at the moment her fiancé left her. Ideas of a self-created purgatory exude from this symbolism also; as if Miss Havisham is destined to remain in her timeless state until her revenge has been accomplished. Thus, this symbolism may reflect upon her identity, as her need for pain and continuous torture.

    Such ideas could be imitated from Dickens’ past. Like Miss Havisham stuck in her timeless hell, Dickens’ father was sent to prison for his collation of debt. His father, much like Miss Havisham, created his own ‘unhappy ending’ by not paying his debts. It could be inferred that Dickens is suggesting that people create their own bad outcomes, and inflict pain upon themselves, rather than being products of other people’s actions.

   Using symbolism to achieve as sense of identity can engage the readers fully, as they become more involved within the novel. A tone of mystery can be created when introducing symbolism to the reader, as they attempt to interpret its meaning; as a result, the reader becomes actively involved within the novel.

     

   Showing convincingly how characters develop and so achieve a sense of identity can be an essential way in which novelists and poets engage fully with their readers. The use of social mobility to highlight development is quite effective in creating identity and engaging the readers. However, Dickens does use alternative techniques with a more successful result. Using location and setting portray an instant impression of a characters identity, and the familiar of the setting can create engagement; while symbolism can conjure mystery into a novel, that makes the reader engage by interpreting the hidden meanings. However, does identity have to be the central motif to create engagement? Can other motifs such as the class system or the criminal justice system engage the readers just as well?

Bibliography:

Charles Dickens (1992). Great Expectations, Wordsworth Classics, Hertfordshire

Façade

 The mirror,

Its reflective face taunts me as,

I glare into the unforgiving depths.

The hand,

Caresses the un-crafted scars,

Prize of the former and forthcoming.

The tear,

Cascades over the lies and hatred,

Crafting the familiar path. Unchanged.

The silence,

Engulfs the beating,

Refining the veils.

The self-destruction remains.

Concealed by my,

Façade