30/07/2024
I have another short story for you. I have kept the real name of only one person. I think you will understand why. Please read on.
Magi
I read T.S.Eliot’s The Journey of the Magi, for the first time when I was in my last year of school? It was part of the general English course. Do they still let students read stuff like that? I’ve been hooked on the poem ever since, absorbed with the idea of life as a journey to who knows where. I read it every Advent. Seems appropriate.
“All this was a long time ago, I remember”
is a line towards the end of the poem, and it means a lot more to me now, than it did in 1959: so much that happened a long time ago, but seeming as if it were yesterday. The thing about great literature, and other forms of art, is that you keep finding something new in them. You gaze, re-read, think about them and discover something old which seems to be new, but which is something that you finally understand a bit better.
A little better, but you feel that there’s still more to be revealed.
I decided to put on a Christmas play in Yambio, with the majority of students still in house over the holidays because neither we, nor they, could afford the return homeward journey. And it is an age-old principle of human management that you keep the troops busy, whether bashing the parade ground or, preferably, gainfully employed to keep them out of mischief. What better subject then, in the days leading to Christmas, than to adapt the Eliot poem to the setting of Yambio in South Sudan, and to create a play from it?
Were there three wise men in the college. I had little doubt about that, for many of the students had studied at the University of Hard Experience and had come up smiling, compassionate and ready, willing and able to experience and learn from the next adventure that life presented to them. Sorting through the students, I was sure that Gaspar, Melchior and Balthazar could do the job.
Next, I had to decide where to put the play on, how it would be lit, where the entries and exits would be, how many players could we use while still having an audience, what costumes were available and what is the attention span of a population not experienced in being part of an audience for drama? If the weather was suitable, could we perform outdoors? Or would it be safer to stay indoors?
I settled on the extra large classroom, with rows of seating around three sides which was enough space to sit the ninety or so who were not acting. We found some battery powered lanterns and a few lamps that could be used as spotlights. There were enough sheets and pieces of material about to create minimalist costumes that would be sufficient to suggest who a character was. I was happy to trust the audience to fill in the details using their own imaginations.
There were not the resources to build a traditional set, but nor was there any desire to do so. I thought about having an easel somewhere which would have a series of story boards, telling the audience where each of the scenes was to take place. But that seemed to be rather static, and key information might have been missed. The best solution came from the boxing ring where, when the contestants retired to their corners at the end of a round, an attractive young lady paraded around the ring holding a big number over head to tell everyone what was the next round. I had just the young lady for the role.
P***a Namunu (pictured here scrubbing the dining area tables on a Saturday morning) was in the first semester group, but already stood out as an intelligent, attractive, hard-working and popular student. She was destined to become a fine teacher. Her cheek bones were high and wide, as was the smile which revealed a more regular set of teeth than most her classmates, who often showed a space between their two front teeth. There was a coy, but playful air about P***a too, so that it was hard to tell if she was teasing us, or teasing herself, when she wore a bright green T-shirt with the words “I'm so happy when I get what I want.”
She readily accepted the role I described to her, and I left her to create her storyboards, knowing they would be done exactly how I wanted them. In this instance, as in the classroom, she was quite happy to do what I wanted and, in the end, hers was one of the most memorable performances in the play. Her first storyboard, greeted rather quietly, announced that the action would take place:
"Somewhere in the East".
It was there that Gaspar, Melchior and Balthazar decided to respond to the call to travel westward, convinced that a royal child was about to be born, that they needed to be there to pay homage to the infant, and that they would be led to the place by a star.
As it happened, we didn’t have any camels on the campus, so our wise men walked and carried their own luggage. The star, which the luggage carriers dutifully followed, was another female student, carrying a twinkling battery-powered light as she glided sedately around the room from Somewhere in The East, to An Oasis, to An Inn Nearing Jerusalem, as one scene ended and P***a led us into another.
There was some trouble at the inns and the caravansaries, where the innkeepers were “charging high prices” as T. S. Eliot would have us imagine. T. S. also has us envisioning camel men “cursing and grumbling and running away, and wanting their liquor and women.” Of course, we didn’t have camel men to be doing all these things but Balthazar, while less certain of his lines than the other two wise men, had an innate sense of drama and timing. To him fell the task of paying charges and reporting indignantly on the grasping nature of our ubiquitous, unbending inn-keeper. Balthazar also had a bit of an eye for the ladies, and commented on those he had seen. As part of his continuing refrain, he commented on the attractiveness of P***a, and even the twinkling Star, to the extent that Gaspar and Melchior had to reprimand him and remind him that he was, after all, supposed to be a Wise Man!
The journey around the classroom was not an easy one, and the audience, I was delighted to see, were totally involved, paying careful attention to every word that was spoken, but roaring with laughter when the wise men with their suitcases had trouble keeping up with the star which broke into a run, and again when two dastardly audience members crept from their seats one ‘night’ and stole the Magi’s luggage.
When P***a’s storyboard finally announced that the next scene was:
"A Stable in Bethlehem"
I held my breath. The stable scene could not have been simpler: a large square of golden brown cloth with a lantern at the top end. The lantern was now the only lighting in the room. There were no words. The Magi simply knelt before the lantern and presented their gifts of gold, frankincense and myrrh. I was relying on the imagination and sense of theatre of an audience that had had little or no experience of Western drama, and the audience rose to the occasion.
I was more than a little moved by the result. There was dead silence. Even after the Magi had moved away, I had the feeling that the audience could have gazed on that lamp and the gifts for some minutes, just letting the scene wash over them. But, in due time, P***a led us out of Jerusalem and back to Somewhere in the East, where the Magi found themselves to be:
“no longer at ease here, in the old dispensation,
With an alien people clutching their gods.”
At the end, I gave every student a copy of Eliot’s poem and read it to them, while some of the images were hot in their minds. My hope was that one or two of them would take to the poem, as I have, and that it will give them something to reflect on as they take on their own Journeys to God knows where.
Before many months were past, the Covid epidemic descended upon the Earth. By government decree, the college was closed down and the students were dispersed to points all over South Sudan and beyond. They were sad days. There was the expectation that Covid would run through South Sudan like wildfire, and that the basic health services in the country would never be able to cope. Being of that elderly age which was said to be at risk, I was duly moved back to Somewhere in the East, namely Australia. I had not been long gone when I heard the saddest of news.
P***a Namunu is dead.
To this day, I do not know the cause of her death, except that it was through illness. There was no storyboard to tell us, warn us, that it was going to happen. I was too far away to be able to share my grief or to try to console those who needed to be consoled. P***a’s life is as a candle snuffed out, or a lantern extinguished.
I am left as confused as T. S. Eliot:
“were we led all that way for Birth or Death? There was a Birth, certainly,
We had evidence and no doubt. I had seen birth and death,
But had thought they were different; this Birth was
Hard and bitter agony for us, like Death, our death.”
Rest in Peace beautiful P***a.