A Quiet Passion Film
After much hassle, trying with a VPN to no avail (hello VPN newbie) my sought-after Amazon movie remained unavailable in my region. So, I resorted to YouTube, not really my fave. This old laptop can’t umph the volume enough for the platform. Resigned, I followed Emily’s example and set up camp as a recluse, in my room, while the rest of the family watched a popular dystopian series in the TV room. Closed the door, drew the curtains, placed the small screen on my nightstand, and sat on the edge of my Sunday dystopian bed. After surmounting the initial technical difficulties, I was ready to indulge in a film by English screenwriter and novelist Terence Davies. I realize, months later, I’ve missed out, not having seen any of his previous work. I’m practically ashamed, really. The reason is the usual one. I’ve been distracted inside the dense bubble of survival mode on. To the point of forgetting fine moviemaking is always there, just around the corner. And I’m guessing only Terrence could have portrayed her like this, being a writer himself. Emily’s lines are living art. Thus, the film had to be exactly that. The motions of her life infused by words. And the other way around too. Life propelled by words, givers of anima. An artful proposal, the scenes are akin to an exhibition, a dynamic walk through a museum, where stillness is relative to our perception of time. The Dickinson home is as much a character as the people it contains; a canvas for sober, unadorned days, apparently, because an undercurrent of passion flows through Emily and spills over, drenching all nooks and niches of the wooden abode. Even the scenes outdoors, in the garden, outside the church, are composed as if a painting from the great landscapers. Cynthia Nixon embodies Emily’s persona with her stunning performance; the quiet passion trembling in her eyes with each line, seemingly on the brink of tears, a mixture of bliss and sorrow, a strange borderline between beauty and despair. Each dialogue a jewel, a special piece of the puzzle. Interwoven are many of her longstanding quotes. Somehow they fit the scenes painlessly. I’m guessing some critics could say it sounded forced, affected, but I would argue that her words were never separated from her life, the way she lived, a type of honesty that demands outflow, be it on paper or at the family table. Her mother’s depression caught me off guard. She and her sister Vinnie cope by offering pity, a compassion that seems to emerge naturally from their inability to do more than provide soothing comfort. Not much else could be done. To me, this severe mental state is a crossroads, a symbol, almost a point of union for the poet, where the despair of it all meets her constant flux of awe. A heavy burden for sure. Davis depicted her father as a disciplined and diligent man, intellectually inclined, and emotionally contained, but loving in his own austere way. I wondered if he felt abandoned as he didn’t have a fully dimensional wife at his side. She was partly gone. Depression sucked her in, and nobody could rescue her. ¿How afflicted was he by this special type of abandonment? Emily, the town recluse, exercised freedom in her own way, like when she negotiated to use nights for her writing. I could only guess her father was the keeper of household rules, of correctness (mom wasn’t there) and these dictated the people should be asleep at such hours. And when she refuses to go to mass or to kneel when their pastor commands, as they would pray for her salvation. But she doesn’t. Maybe too keenly aware, she wasn’t there yet, ready to be saved. Or maybe it was the exact opposite. She was fully arrived, awakened, at the end of things, a presence of being that sees poles unite, dualities collide, mesh. The kind of someone who we recognize as a poet.
My Antonia
A quaint, soft-cover book had been sitting around at home for years, in one of Mom’s Mexican rustic bookcases. Back in my twenties, she bought me a batch of English classics to read up. She saw me consume the dainty hardcovers from her Jane Austen collection. Brontë’s Jane Eyre found me a new heroine in the convenient pocket paperback. The yellowish pages from mom’s Wuthering Heights copy revealed the kind of obscure romance I could get hooked on, and dwell on its effects for days. Still, it was a bit difficult for my young self to read these works, as it was an older English than the one I was used to. Also, it wasn’t my habit to halt my reading long enough to dig into the dictionary, learn new words, and above all, retain them. But I never got to My Antonia, life just threw things my way, and I got caught up and entangled in her net. I married, got my own place, had three daughters. The gift kept to itself, stowed in a sturdy cardboard box after one of our many moves. My Antonia stayed put, together with Tess of the D’Urbervilles, Saki’s collection of works, and Jude the Obscure. Somehow not gathering too much dust, loyal to the classic sheen of friendly paperbacks. But how naughty life is. She decided it was My Antonia’s turn, rain or shine. It was for the best, I needed a healthy break from my phone. Checking on social media kept reminding me of my precarious financial situation at that time. Acquaintances flaunted their trips abroad on Facebook, and then reposted on Instagram. They strode along beaches, ate amazing foods, looked great at family get togethers, and were just so happy. Nothing was there for me, for sure. When my youngest began college, we had to drive 30 miles each morning to another district. Gas wasn’t cheap. My backside didn’t take kindly to hours of sitting in the car either. So I decided to wait for her on campus, saw no point in driving back home. I took out My Antonia from her station in the card board box and set myself up to read all about her. I unfolded the seat of our cherry red hatchback, propped up my loins on a couple of old pillows from the linen closet. My morning coffee was hot and ready in a thermos. I took a swig between bites of the breakfast cookies I packed that morning. I read like my young days, when I had no real commitments. Willa Carter’s book went back and forth between districts, Monday to Friday. I built a little routine of breakfast while reading. Took a walk. Back to the car. Read some more. Took a nap. Another small walk, while pondering on the wonderful story of Antonia Shimerdas’ untamed spirit. The realistic storytelling, tidy descriptions, the earnest portrayal of the native natural surroundings didn’t need additions. All was perfect, no Facebook. Those days were for Antonia, Jim, and their part in the building of a nation. Carved out of its earth, begun at the dugouts, moved upward with ambition, sacrifice, and spirit. I wept when, towards the end, after many years, Jim went back to the countryside to visit Antonia. I worried one of them might die before that day, but bodies weren’t frail like that; they could take quite a bit of the harsh wilderness of the agrarian country before giving in to pain and disease. Jim reencountered an even more beautiful woman on that last visit. Abundant in children, she’d borne the fruits of her incessant hunger for life. A love of the land, the physicality of work, and the memories of her father’s own hardship had cultivated her soul. Naturally proud of what she had built, she seemed to know that her mission had been fulfilled. Antonia tamed Nebraska’s wildness in her heart. Her sturdy spirit spoke to me, amidst incoming chat messages I cared little for, and commutes. Those were silly nuances under the rugged will that shaped Antonia’s body. She lost almost all of her teeth to pregnancy, but her eyes shone as always, even in the haggard face of struggle. They celebrated under her garden pagoda, talking as all of Antonia´s children played around. It was victory, the climb out of scarcity, a life lived to the very last drop.