Cajun Mardi Gras Costume

Now that carnival season is almost here, I would like to show my Cajun Mardi Gras costume for 2013!

In 2013, I plan to spend Mardi Gras in Cajun country, where the Courir de Mardi Gras, or Mardi Gras Run, is held. As I understand it, this event involves costumed horseback riders who ride from farm to farm to gather ingredients for a town gumbo. I understand that large Courirs are held in Church Point, Eunice, and Mamou, with smaller ones in Tee Mamou, Iota, Basile, and other towns. I don't plan to participate in a Courir, which I think could be a bit rough for me, but rather to participate in town festivities and to watch those participating in the Courir as they come and go.

Of course, I want to be in proper costume! A Cajun Mardi Gras costume involves patches and fringes, as well as a conical hat. Accordingly, I've taken a t-shirt, a pair of pants, a conical hat, and a handbag -- and I've sewn patches of material in various colors onto these items. My costume doesn't have fringes -- just lots of patches. Below, you can see photos of the items in my costume.

First is the shirt. This took quite a bit of time because, as you can see, I used fairly small patches -- lots of them. Also, I didn't take into account that this sewing on of patches would tighten, or shrink, the t-shirt. Thankfully, I can still manage to get into it!

Shirt - front view

Shirt - back view

With the pants, I was more careful. I used larger patches, and I sewed more loosely, so I didn't have the shrinking problem. Also, the Mardi Gras colors of purple, green, and gold are more prominent in the pants.

Pants - front view

Pants - back view

Then came the conical hat. I bought a Halloween witch's hat from a costume shop, stuffed the cone to keep it upright, and sewed on patches, making sure to use purple, green, and gold for the cone.

Hat - front view

Hat - viewed from above

The final item is the shoulder-strap bag to carry things in. I used an old handbag, sewed purple, green, and gold material onto it, and added long shoulder straps.

Shoulder-strap bag to carry things in

This completes my Cajun Mardi Gras costume! Thank you for taking a look at it! I'm looking forward to wearing it at the Courir de Mardi Gras on Tuesday, February 12, 2013!

Shawls I Have Knitted, Am Knitting, and Plan to Knit

This post features my knitting projects!

I am knitting shawls -- just the knit stitch all the way through, with two strands of yarn, each a different color, producing a sort of tweed effect. I'm using 25% wool / 75% acrylic yarn. Each shawl takes three 200-yard skeins (100 grams, or 3-1/2 ounces, per skein) of each color. I'm using size 11 knitting needles, and I get about 4-1/2 stitches and about 4 rows to an inch.

Below, you can see photos of four shawls: two shawls I have knitted, the shawl I am currently knitting, and the next shawl I plan to knit (well, just the yarn for this one).

My first shawl (completed) is green and gray. It has 40 stitches to a row.

Green and gray shawl

My second shawl (completed) is rust and cream, also with 40 stitches to a row. I'm not sure why, but I found these two colors quite relaxing to work with.

Rust and cream shawl

My third shawl (in progress) is blue and maroon. This shawl has 45 stitches to a row. It feels quite different to work with two dark colors this time. I guess I would say it feels a bit wintery.

Shawl in progress - blue and maroon

My fourth shawl (not yet begun) will be light blue and white. I really like these colors and can't wait to work with them!

Yarn for next shawl to be knitted - light blue and white

Thank you for taking a look at my shawls! I'm really enjoying my knitting projects!

ROMEO AND JULIET Performed by the NOLA Project at the New Orleans Museum of Art

I recently saw a wonderful performance of Shakespeare's ROMEO AND JULIET at the New Orleans Museum of Art (NOMA) by the NOLA Project. (NOLA stands for New Orleans, Louisiana.)

The setting at NOMA is, I think, unique. The play is performed in the museum's large entrance room, with audience chairs in a large horseshoe around the perimeter, facing  the museum's grand staircase, which divides into two branches leading up to the museum's second floor, where a balcony encircles and overlooks the entrance room. So there is a built-in balcony!

There is no stage set or furniture. (The only exception is a table draped in white with Juliet lying upon it, wheeled in for the final scene.) The actors simply act right on the floor of the entrance room, in front of us.

This means that, when Juliet drinks the potion provided by Friar Lawrence, so that she will appear to be dead, she has no bed or other furniture to fall back upon when she loses consciousness. This scene is done very cleverly. As Juliet prepares to drink the potion, two spectres -- each one draped and hooded in white and carrying a candle -- descend the two branches of the grand staircase, meet in the middle, continue on toward Juliet, reach her just as she drinks the potion, lock arms with her, and walk her off. Very impressive! Later, I figured out that the spectres are the ghosts of the slain Mercutio and Tybalt.

An added point of interest is that the performance was preceded by a raffle for dinner with Romeo! The actor playing Romeo would take you out to dinner (I've forgotten at which restaurant), you would receive a necklace and roses, and a violin would be played at your table. Of course, Romeo would have to be prepared to have this dinner with a woman or a man of any age. There was no gender or age requirement for this raffle! It was won by someone named Juanita, who was not present. I really like the idea, and I hope that Juanita and Romeo have a great time!

The Message I See in CALEB'S CROSSING by Geraldine Brooks

SPOILER ALERT

My previous post gave an introduction to Geraldine Brooks and an overview of CALEB'S CROSSING. This post will focus on the message of CALEB'S CROSSING, or at least what I see as the novel's message.

CALEB'S CROSSING is about a Wampanoag Native American Indian in 17th Century Massachusetts who educates himself in the white educational system, graduating from Harvard College in 1665. Caleb's goal is to serve as an educator for his people, helping the Wampanoag to bridge the gap between their culture and that of the white people, who are coming to dominate more and more of the physical, psychological, and cultural space in Massachusetts.

I find that CALEB'S CROSSING has a profound message about life purpose. The message is that, in following what we feel called to as our life purpose, we may be fulfilling a very different purpose. We may be doing something deeper or parallel of which we are not consciously aware, all while going about what we think we are doing.

Here is how this plays out in CALEB'S CROSSING.

Caleb understands himself to be called to serve as an educator for the Wampanoag people, to help them live in a world that is increasingly dominated by white people. To accomplish this, Caleb educates himself in the white educational system. He studies first in the Mayfield home near his own, where he is instructed by Mr. Mayfield, a missionary to and educator of the Wampanoag. After this, he goes to Cambridge and enters the school of Mr. Corlett to prepare for admission to Harvard College. Finally, he spends four years at Harvard, earning his bachelor degree in 1665. All of this involves rigorous intellectual work in a culture and an educational system very different from his own.

After the many years of intellectual discipline and rigor, Caleb falls ill of consumption (the lack of exercise and the unhealthful city air have ruined Caleb's lungs), and he dies within a year of his graduation. He never fulfills his calling to be an educator of his people. All his preparation has gone for nought; Caleb's life purpose remains unfulfilled.

Or does it? I would say that there is another purpose that Caleb prepares for and eventually fulfills -- but it is very different from what Caleb has envisioned. Along with Caleb, another Wampanoag also undertakes the same rigorous course of study with the same life purpose -- Joel, the son of a chief who has converted to Christianity. All the while that Caleb and Joel are preparing themselves as educators, something else is also happening -- their souls are being knit together. They are the first among their people to take on this type of intellectual pursuit in the white educational system, and they become fast friends. At Harvard, their classmates initially exclude them from social activities, so they rely even more upon each other for friendship. The creation of deep soul bonds with Joel is the real preparation for Caleb's actual life purpose.

Right at the time of graduation, Joel returns for a visit home and dies at the hands of those among his people who oppose what they see as his desertion to the white people. Soon after, Caleb falls ill. In his sleep, Caleb is agitated, sensing that Joel's soul cannot find his way home in the spirit world. Joel's Christian upbringing has not allowed Joel the grounding in the Wampanoag ways of navigating in the world of spirit, a grounding that Caleb has received.

Bethia Mayfield, Caleb's friend from age twelve, is also living in Cambridge but returns home to seek out Caleb's fearsome uncle, a Wampanoag medicine man, to beg for a cure for Caleb, whose consumption the white doctors have been unable to heal. The uncle senses what is troubling Caleb about Joel's soul and sends Bethia back with a song for Caleb to sing.

The song turns out to be a death song, and Caleb understands immediately. He must help Joel. He sings the song, reaching out to Joel's soul, calling Joel home -- and he dies. Bethia, witnessing this, is certain that the strength of Caleb's song has reached Joel and that Joel has been able to hear and follow Caleb home. Bethia's only question is -- which home? The heaven of the Christian god or the after-life lands of the Pagan gods?

(I would say that Bethia's background prevents her from seeing beyond this dichotomy. As I see it, if there is an after-life, it doesn't exist in one location for Christians and another for Pagans. It's the same after-life, the same spirit world. The different descriptions are each culture's or religion's way of symbolizing what we in our earthly life haven't yet experienced.)

Caleb fulfilled his life purpose. He felt a call to serve his people as a cross-cultural educator. In his faithfulness of consciously preparing himself for this purpose through years of rigorous intellectual study, he was unconsciously preparing himself for his real purpose through his deep soul bonds with Joel. When Caleb's real purpose became apparent, he did not hesitate to embrace it -- singing out as he died to call Joel home.

Of course, there are people who feel a life calling, prepare for it, and go on to live it out. Sometimes, the life purpose is lived out very nearly as envisioned. Other times, the life purpose evolves in ways that weren't envisioned but that do fit with the original vision. However, I love the idea of being open to the possibility that one may prepare for and fulfill a life purpose that is different from, deeper than, parallel to the life purpose to which one believes oneself called. It suggests that life is so much more than we think it is.

Thank you, Geraldine Brooks, for CALEB'S CROSSING and its profound message about life calling and life purpose.

Geraldine Brooks and CALEB'S CROSSING

I have recently read CALEB'S CROSSING by Geraldine Brooks and have been deeply struck with the novel's profound message. This post will give first an introduction to Geraldine Brooks and then an overview of CALEB'S CROSSING. My next post will include my reflections on the message.

GERALDINE BROOKS

Geraldine Brooks takes the themes for her novels from hidden pieces of history, small historical tidbits about which we know very little. She uses these historical tidbits as the seeds for her novels, the setting and time period of which she researches thoroughly. Here is how this plays out in her four novels.

1. YEAR OF WONDERS. This novel is about the arrival of the bubonic plague in the village of Eyam in 17th Century England. Eyam is extraordinary in that the people of the village voluntarily quarantine themselves as soon as the first sign of the plague is noticed among them; they choose not to flee to other towns with the hope of escape but also with the danger of spreading the dread illness. Brooks came upon the seed for this novel by chance during a walk through the English countryside. An intriguing sign pointing to PLAGUE VILLAGE brought her to the parish church of Saint Lawrence in Eyam, where she found a highly moving display of the village's voluntary quarantine during the plague. Starting with the few known facts about Eyam and the bubonic plague, Brooks builds her novel.
2. MARCH. Here, Brooks takes the minor character of Mr. March from Louisa May Alcott's LITTLE WOMEN and writes her own novel around Mr. March's character, his story, and his experience as a United States Army chaplain in the Civil War. She does this through Mr. March's journal, where he tells a story of his war experience very different from the milder version he writes about to his wife, the beloved Marmee. Granted, Mr. March is not an historical figure, but he is a background character in a well-known 19th Century novel, and Brooks brings him to the foreground in her own.
3. PEOPLE OF THE BOOK. This novel is about the extraordinary journey of a very special book, a centuries-old copy of the Jewish Haggadah with exquisite illustrations. Brooks' seed is the Sarajevo Haggadah, which came to Brooks' attention while she was in Sarajevo as a newspaper reporter during the Bosnian war. The Sarajevo Haggadah had been saved from destruction twice, during World War II and during the Bosnian war, each time by a Muslim scholar or librarian. Brooks uses historical research and her own imagination to follow this book back in time through the people through whose hands it has passed.
4. CALEB'S CROSSING. The seed for this novel is the very little that is known about Caleb Cheeshahteaumauk, a Wopanaak Native American Indian, who crossed cultures by becoming highly educated in the white educational system, graduating from Harvard College in 1665.

CALEB'S CROSSING

The novel is written in the first person, through the eyes of young Bethia Mayfield, whose father is a Christian missionary to and educator of the Wampanoag Native American Indians in Massachusetts. At age twelve, Bethia meets and develops a friendship with Caleb, the son of a Wampanoag chief and the nephew of a Wampanoag medicine man. The freindship between Bethia and Caleb allows each to begin entering the other's very different cultural landscape.

Caleb and Bethia continue their friendship as Caleb comes to study at the Mayfield home with Bethia's father, as Caleb enters Mr. Corlett's school in Cambridge to prepare for Harvard College with Bethia indentured to Mr. Corlett's service so that her brother Makepeace may also study there, and as Caleb goes on to Harvard College with Bethia obtaining a servant position at Harvard so that she can eavesdrop on the male-only lectures and further her own learning.

Caleb is preparing himself to be an educator of his people with the aim of helping the Wampanoag to bridge the gap between their culture and that of the white people, who are occupying more and more physical, psychological, and cultural space in Massachusetts.

My next post will focus on the message of CALEB'S CROSSING.

Fractals and THE CASUAL VACANCY by J. K. Rowling

SPOILER ALERT

My previous two posts focus on the adult characters in THE CASUAL VACANCY by  J. K. Rowling and on the various purposes for which they use language. This final post on THE CASUAL VACANCY will focus on the concept of fractals as explained by the philosopher Jean Houston and on the application of this concept to the character of Terri Weedon in THE CASUAL VACANCY.

THE CASUAL VACANCY, a novel for adults, is J. K. Rowling's first novel since her Harry Potter series. It is set in the fictional rural English town of Pagford. A "casual vacancy" on the Pagford Parish Council has resulted from the sudden death of council member Barry Fairbrother, due to an aneurysm. Rowling takes us through the political process of filling the newly vacant council seat and through the many directly-related and tangentially-related inter-personal interactions that unfold. Through all this, we learn that the seemingly idyllic town of Pagford is far less idyllic than it appears at first sight; tensions that have simmered for years begin bubbling and even bursting to the surface.

TERRI WEEDON. One very interesting character in THE CASUAL VACANCY is Terri Weedon. My preious post focused on Terri's use of language as a way of defending herself against others and of keeping herself in others' good graces. This post will focus on additional aspects of Terri's life. 

Terri Weedon is one of the "undeserving" poor of the Fields, an impoverished area to the north of Pagford over which Pagford has jurisdiction. Many in Pagford regard residents of the Fields as the "undeserving" poor, who do not work but drain society of resources - in contrast to the "deseriving" poor within Pagford itself, who work and contribute to society. The poor of the Fields are seen as lazy free-loaders and their children as undisciplined trouble-makers.

Terri Weedon, in fact, is considered to be a particularly "undeserving" resident of the Fields. Terri is a heroin addict who has cycled through the Bellchapel Addiction Clinic more than once, only to return to her drug habit. She is a prostitute. She is the mother of four children. Her eldest two were removed from her home and raised by others. She lives with her sixteen-year-old daughter, Krystal, and her four-year-old son, Robbie, and her fitness to care for them is highly questionable. Krystal often escapes the chaos of her own home life by spending the night at the home of her friend, Nikki. Robbie, at four, is still wearing diapers and is frequently absent from the nursery school where he is enrolled.

FRACTALS. The concept of fractals comes from mathematics and especially from the work of mathematician Benoit Mandelbrot (1924-2010). As I understand it, fractals are irregularly-shaped repetitive patterns, such as those seen in a head of broccoli, in trees, in the arteries of the human body, in the bronchi and alveolar sacs of our respiratory system, in our heartbeat, in clouds, in ocean waves, in coastlines. A fractal pattern repeats itself in larger and smaller scales: the pattern of a whole head of broccoli is repeated in smaller and smaller form down to the smallest broccoli floret; a fractal pattern can be traced through the distribution of trees in a forest, an individual tree, a branch of that tree, a twig of that tree, and an individual leaf. Traditional geometry with its circles, squares, rectangles, and triangles applies to human-made shapes; the shapes found in nature tend to be fractal patterns instead.

The concept of fractals has been applied to human life patterns by the philosopher Jean Houston. In her online course "Awakening to Your Life's Purpose," Jean Houston says that "if we look at the events in a human life in the same way as we look at nature or a coastline, we might discover another order of fractals present in the themes recurrent in the larger and smaller eddies of the happenings, the events, moods, tragedies, comedies of your life," and that "each life is made up of multiple interpenetrating waves, fractal themes which build up a standing wave of extraordinary complexity and beauty."

I believe that we can see an important but unfortunate fractal pattern in Terri Weedon's life: a fractal pattern of abandonment.

ABANDONMENT PATTERN IN TERRI WEEDON'S LIFE. In Terri Weedon's life, we see the pattern of abandonment repeated again and again, like a fractal.

• ABANDONED BY HER MOTHER. Terri's mother left when Terri was eleven years old and disappeared forever from Terri's life. This is a crucial and excruciatingly painful abandonment.
• ABANDONED TO AND BY HER FATHER. When Terri's mother left, she not only deprived Terri of her motherly presence, but she also left Terri alone in the care of an abusive father, Michael Weedon, who beat and raped eleven-year-old Terri. It wasn't long before Michael Weedon put Terri in the hospital by hurling a pan of hot fat at her, burning her seriously. It is a witness to the horror of Terri's life with her father that she remembers her hospital stay as a glorious time during which, in spite of the physical pain, she was in clean surroundings where people were kind and attentive to her. We might also say that Terri's father abandoned her in the sense that he deprived Terri of proper fatherly care.
• ABANDONED BY NANA CATH - FIRST TIME. Nana Cath, Catherine Weedon, is Terri's grandmother. During Terri's hospital stay, Nana Cath was Terri's only visitor. Nana Cath sat with Terri in the hospital and then brought Terri to her own home when Terri was well enough to be released. Terri felt that she was in heaven in Nana Cath's clean and loving home. But after several days, Michael Weedon came for his daughter, and Nana Cath simply couldn't stand up to her brutal son. Terri was forced to return to her father's abuse until she finally ran away at thirteen and was caught and put into state care.
• ABANDONED BY RITCHIE ADAMS. Ritchie Adams is the father of Terri's two eldest children. He left Terri.
• ABANDONED BY HER ELDEST CHILDREN. Actually, this was not the doing of the two children themselves, but of the social workers, who removed each child from Terri shortly after the child's birth and placed the child into an adoptive home - which actually makes sense, given Terri's unfitness as a parent. Terri never saw either child again.
• ABANDONED BY BANGER. Banger is perhaps the father of Krystal and maybe of Robbie. Banger, too, left Terri.
• ABANDONED BY NANA CATH - SECOND TIME. Shortly after Robbie's birth, it seems that Nana Cath became fed up with Terri's drug addiction and prostitution. Apparently, there had been an ugly scene that Rowling describes on page 266: 

      You don't even know who the father is, do yeh, yer whore/ I'm washin' my 'ands of yeh, Terri, I've 'ad enough.

     That had been the last time they had ever spoken, and Nana Cath had called her what everyone else called her, and Terri had responded in kind.

     Fuck you, then, you miserable old cow, fuck you.
 

• ABANDONED BY SOCIAL WORKERS. Social workers came and went. Terri would have one social worker for a while, then that social worker would leave and be replaced by another one. Terri liked the social worker Kay Bawden, who truly tried to help Terri, but Kay was actually just filling in during the absence of Mattie, Terri's assigned social worker, so when Mattie returned to work, Kay, too, left Terri. This must be quite difficult for poor people who are assigned to social workers. Social workers have a great deal of say-so in important aspects of one's life, yet one has no control over which social worker is assigned to one's case, and the social worker assigned to one's case can change at the drop of a hat.
• ABANDONED BY NANA CATH - THIRD TIME. When Nana Cath dies, Terri again feels abandoned. Now there will never be an opportunity to reconcile with Nana Cath. Nana Cath is gone from Terri's life forever.
• POTENTIALLY ABANDONED BY THE BELLCHAPEL ADDICTION CLINIC. Terri has been making some headway in battling her heroin addiction at the Bellchapel Addiction Clinic in the Fields, but now the Pagford Parish Council is threatening to close Bellchapel. If this happens, Terri will have to go to Dr. Parminder Jawanda, her physician in Pagford, to receive her methadone treatments. Terri abhors the idea of going so frequently into Pagford, where people treat her even more disparagingly than she is treated in the Fields.

THE ONE WHO DIDN'T ABANDON TERRI: Unfortunately, Terri sees the drug dealer and pimp Obbo as the one person who has stuck by her. Terri met Obbo when she was fifteen. They had gone to the same school and had smoked their first marijuana together. Obbo had once hidden Terri from Ritchie, the father of her first two children, when Ritchie turned abusive, and Obbo occasionally gave Terri free heroin. In Terri's eyes, Obbo was more trustworthy than anyone else, including Nana Cath. 

FINAL ABANDONMENT OF TERRI: Terri is finally abandoned by the two children who live with her, four-year-old Robbie and sixteen-year-old Krystal. While Robbie is in Krystal's care, Krystal has sex with Fats Wall by the river, after instructing Robbie to wait for her on a bench. But Robbie wanders off, falls into the river, and drowns. On learning this, Krystal returns home, barricades herself in the bathroom, and injects herself with a lethal dose of heroin, thus committing suicide. We last see Terri at Robbie and Krystal's double funeral. 

THE ABANDONMENT FRACTAL: Abandonment is a fractal pattern in Terri Weedon's life.
 

• CORE EVENT: The core event, establishing the abandonment pattern, is the abandonment of Terri at age eleven by her mother. In a good home, when a parent dies, much can be done to surround the child with supporting love. But Terri came from a highly dysfunctional home, where her mother's departure was devastating for two overwhelming reasons. 

1. First, Terri's mother left willingly. She chose to leave, and Terri never saw her again. This is far different from a death. This is saying to a child that the child means nothing to the mother, usually the most important person in a child's life.
2.  Second, Terri's mother left Terri in a horrible situation. Granted, Terri's mother was escaping from a very abusive husband. But she orchestrated her own escape without planning for her children. The three children were left in the care of the abusive Michael Weedon. The two older children were able to escape by moving in with their boyfriends' families. But Terri, at age eleven, had nowhere to go. She was left with a terrifying father who beat and raped her. Her mother's abandonment did not just leave Terri motherless; it left Terri in hell.

• PATTERN: Each successive departure of someone significant from Terri's life re-enacted and entrenched the abandonment pattern. The initial core abandonment was so devastating that Terri would configure all later departures of people from her life as manifestations of the same fractal.
• POOR MODEL OF FAITHFULNESS: Because Terri was so sensitive to abandonment, she was ready to see ANYONE who stayed with her as faithful, even the drug dealer and pimp Obbo. Obbo undermined Terri's attempts to stay off drugs and endangered Terri by asking her to hide stolen and illegal material, but Terri saw him as the one faithful person in her life because he was always there and didn't out-and-out hurt her.
• THE FUTURE: It is hard to imagine what will happen to Terri Weedon next - beyond the deaths of Robbie and Krystal. What a painful abandonment to add to all the previous abandonments.

OVERALL: I find the idea of fractal patterns in life to be very helpful. Observing the fractal pattern of abandonment in Terri Weedon's life and seeing how it recurs and re-entrenches helps in viewing with compassionate eyes a person who repeats negative behavior. It is easy to condemn Terri's visible drug addiction, prostitution, and lack of parenting skills, while ignoring the invisible pain of her abandonment fractal pattern.

It is also clear in examining life fractal patterns that these fractal patterns are matters of interpretation. Terri INTERPRETS departures as abandonment. She could interpret them differently.

I think that a key for my own life is to recognize fractal patterns, consciously reinforce the positive ones, and re-interpret the negative ones so that they are no longer negative. For example, in a fractal pattern of abandonment, one might reinterpret people's departures as simply their moving on to something else, rather than their abandonment of me.

Reflections on Terri Weedon's Use of Language in THE CASUAL VACANCY by J. K. Rowling

SPOILER ALERT

My previous post focuses on the adult characters in THE CASUAL VACANCY by  J. K. Rowling and on the various purposes for which they use language. Most of these purposes involve ways in which these adults seek to enhance their own significance. In this post, I will focus on one particular character, Terri Weedon, and on what I find to be her very interesting and revealing use of language. 

THE CASUAL VACANCY is set in the fictional rural English town of Pagford. A "casual vacancy" on the Pagford Parish Council has resulted from the sudden death of council member Barry Fairbrother, due to an aneurysm. The process of filling the vacant council seat reveals the dark underbelly of the seemingly idyllic town of Pagford.

As this political process and various directly-related and tangentially-related inter-personal interactions unfold, we see that the town of Pagford is divided in its attitude toward the Fields, a poor area to the north over which Pagford has jurisdiction. Many in Pagford regard the poor within their own town as the "deserving" poor, who work and contribute to society, but they see the poor of the Fields as the "undeserving" poor, who do not work but drain society of resources. The poor of the Fields are considered as lazy free-loaders and their children as undisciplined trouble-makers.

TERRI WEEDON. Terri Weedon is one of the "undeserving" poor of the Fields. Terri, in fact, is particularly "undeserving." She is a heroin addict who has cycled through the Bellchapel Addiction Clinic more than once, only to return to her drug habit. She is a prostitute. She is the mother of four children. Her eldest two were removed from her home and raised by others. She lives with her sixteen-year-old daughter, Krystal, and her four-year-old son, Robbie, and her fitness to care for them is highly questionable. Krystal often escapes the chaos of her own home life by spending the night at the home of her friend, Nikki. Robbie, at four, is still wearing diapers and is frequently absent from the nursery school where he is enrolled.

As far as I can see, Terri doesn't use language very much. She rarely initiates conversation, and she gives very brief replies when asked a question. Terri seems to have learned that language can entrap you, but that two uses of language serve as a defense: denial and agreement, each with its specific context for use.

DENIAL. When speaking with someone whom she perceives as an accuser, often a social worker who is trying to ascertain whether Terri is staying off illegal drugs and caring properly for Robbie, Terri simply denies having done anything that the social worker would not approve of. The denial is automatic and sometimes nonsensical. For instance, Terri may be clearly under the influence of heroin, yet she will steadfastly deny having taken any. Below is an example of Terri's knee-jerk denial in a conversation that includes Terri, her sixteen-year-old daughter Krystal, and social worker Kay Bawden. I have excerpted the words of the conversation from pages 109-110.

KAY: Terri, you'd used when I arrived yesterday, hadn't you?

TERRI: No, I fuckin' hadn'! Tha's a fuckin' -- you're fuckin' -- I ain' used, all righ'?

KRYSTAL: You fuckin' --

TERRI: I ain' fuckin' used, you ain' go' no proof --

KRYSTAL: You fuckin' stupid.

TERRI: I ain' fuckin' used, tha's a fuckin' lie. I never fuckin' did, righ', I never --

Hoping to find a way to keep Terri in the Bellchapel Addiction Clinic's program, Kay says, "I think the only way you can possibly avoid being thrown out . . . is to admit, up front, that you've used, take responsibility for the lapse and show your commitment to turning over a new leaf" (page 112). Rowling then explains, "Lying was the only way Terri knew to meet her many accusers" (page 112), and "She seemed to be trying to take in what Kay had said to her: this bizarre, dangerous advice about telling the truth" (page 112).

AGREEMENT. On the other hand, Terri never says no to a demand or a request. When a social worker gives instructions, Terri agrees to follow them. When Obbo, a drug dealer and pimp of Terri's acquaintance, makes a request that involves breaking the social worker's instructions, Terri agrees to do whatever Obbo is asking. The agreement to requests and demands is just as automatic as the denial of accusations.

When Kay Bawden, the social worker, agrees to try to keep Terri in the Bellchapel Addiction Clinic's program, Kay also says, "But, Terri, as far as we're concerned, I mean the Child Protection team, this is serious. We are going to have to monitor Robbie's home situation closely. We need to see a change, Terri" (pages 112-113). To this, Terri typically responds, "All righ', yeah" (page 113).

Just as typical is this conversation on pages 409-410, several weeks later with Obbo:

     "Listen, said Obbo, "couldja keep a bit more stuff for me fer a bit?"

     "Kinda stuff?" asked Terri, prying Robbie off her leg and holding his hand instead.

     "Coupla bags o' stuff," said Obbo. "Really help me out, Ter."

     "'Ow long for?"

     "Few days. Bring it round this evenin'. Will yeh?"

     Terri thought of Krystal and what she would say if she knew.

     "Yeah, go on then," said Terri.

     She remembered something else, and pulled Tessa's watch out of her pocket. "Gonna sell this, whaddaya reckon?"

     "Not bad," said Obbo, weighing it in his hand. "I'll give yeh twenty for it. Bring it over tonight?"

     Terri had thought the watch might be worth more, but she did not like to challenge him.

     "Yeah, all righ' then."

DENIAL AND AGREEMENT. Denial. Agreement. Denial. Agreement. This seems to constitute the bulk of Terri Weedon's language repertoire. She seems to use language largely for two purposes: to defend herself against others, and to place or keep herself in others' good graces.

In other words, Terri's language has little or no relationship to the truth of the matter under consideration. Whether or not Terri has used heroin, she will deny using it when questioned. Whether or not Terri intends to follow a social worker's instructions, she will agree to do so when instructed. The only way to understand most of Terri's language use is as defense or acquiescence, not as expressing any sort of truth about what she has actually done or what she actually intends to do.

It certainly seems important for people in positions like that of social worker to understand this kind of "communication" dynamic and to recognize when they may be dealing with it.

My consideration of language in this post and the previous one suggests that I might benefit from paying more attention to my own language use. Do I use language to express the truth, or at least my truth? Do I ever attempt to hide the truth by my use of language? Do I ever use language to manipulate? Good questions.

My next post will be my final post on THE CASUAL VACANCY by J. K. Rowling. I will examine a relationship I see between Rowling's novel and an idea I've learned about from the philosopher Jean Houston. Jean Houston speaks of the mathematical concept of fractals and how fractals apply to our lives. In particular, I will examine the fractal pattern of abandonment in the life of Rowling's character Terri Weedon.