Category: Creativity

  • The Dalingridge Horror – a play by Alysse Aallyn

    (Scene 4. The conservatory. VIRGINIA sits unmoving before a tea-table. Enter LEONARD.)

    LEONARD
    I see I am in time for tea. May I join you?

    VIRGINIA
    I can’t stop you.

    LEONARD

    (daringly pulls his chair to the table)

    How are you feeling?

    VIRGINIA
    Like a helpless baby on the shore of life, turning over pebbles. The ocean tosses me pebbles and I turn them over, one by one. I’m naked, a child, and no one helps me.

    LEONARD
    I want to help you. May I pour? Lovely cakes.

    (he pours two cups, carefully serves her a cake, takes one himself, munches and sips)

    Delicious. Sir George keeps an excellent cook.

    VIRGINIA
    His brain is in his stomach. Or rather, he has a stomach instead of a brain but no one’s noticed. I’m afraid the tea is cold. They won’t let me have a spirit lamp in case I set the place on fire, like mad Mrs. Rochester in Jane Eyre.

    LEONARD
    The tea is perfect. Oolong, I notice. May I sugar yours?

    VIRGINIA
    You’re certainly sugaring everything else. Why are you in such a good mood?

    LEONARD
    I’m happy to see you looking so well. What have you been thinking?

    VIRGINIA
    That I want to write a novel about silence. Depression interests me. One could make a game of assembling the fractured pieces, capturing the things people don’t say. How deeply they drive themselves into me, those things people daren’t say aloud! It seems everyone is in agreement that the truth of women must be suppressed. Repress, control. If I am going to write all this I will need a different word than novel or people won’t know what to expect. Elegy, perhaps?

    LEONARD
    You were born to write, Virginia. Your book is beautiful. I mean The Voyage Out.

    VIRGINIA
    My book? My poor sad, dull novel which shall certainly be abused? A whole made painfully from shivering fragments. “The spring, bare and bright like a virgin fierce in her chastity, scornful in her purity, was laid on fields entirely careless of beholders.” I tried to speak truth but I collapsed under the burden of my failure.

    LEONARD
    You can’t think how I envy you your spring of fantastic imagination.
    It’s beautifully written. But it’s so very sad. Tell me, why must Rachel die before the wedding?

    VIRGINIA
    Because the fiancé is based on Clive and who would ever want to marry him?

    LEONARD
    Nessa did.

    VIRGINIA
    He kept his real face very well hidden. The things he says about me to others! Adrian showed me the letters!

    LEONARD
    He’s angry because you refused him. Clive’s a monster. We’re in complete agreement. What if we eliminated monsters from your life? What would you write next?

    VIRGINIA
    It’s not possible to eliminate monsters. Look at this new war they’re brewing. War is a stupid, violent, hateful, idiotic, trifling, mean, ignoble display. Why should I dare to love you when you will only fight and die, trodden underfoot in some soggy foreign field?

    LEONARD
    

    You won’t get rid of me that easily. Dr. Craig has given me a dispensation because of my tremor.

    VIRGINIA
    

    So you’ve seen Dr. Craig. Is he as stupid as the others?

    LEONARD
    

    He thinks we need to design a healthy life. I think so too. And because your healthy life is writing, I want to hear about what you’ll write next.

    VIRGINIA
    (dreamily)

    I want to write about the islands of light swimming through the grass. I want to show the peace, the unity in the smallest flower – but whenever I try the great ugly beast on the beach stamps and snorts.

    LEONARD
    What beast?

    VIRGINIA
    He is chained, but he pulls at his chain. I’m so afraid – he might escape.

    LEONARD
    Is this a memory, Virginia?

    VIRGINIA
    What have we but memory? Women are the beggars of every family; memory is our only treasure, the only dowry we inherit. Tell the truth, said father. But mother said sometimes a lie is better than the truth, because of feelings. You must spare people’s feelings, but only if they have the right feelings. What if their feelings are false to begin with? My feelings were never the right ones. Father was my writing teacher, did I tell you that?

    LEONARD
    And what was his recipe?

    VIRGINIA
    He said only write the truth and say exactly what you mean.

    LEONARD
    If only that were possible! You saw how I botched my turn.

    VIRGINIA
    But the truth is that when father died, I hated him. I was so relieved to be free of the exacting tyrant, the histrionic, self-pitying, violent, deaf, alternately loved and hated father. We all were. We fled that house, from a crypt slimy with fungus, disgusting with mold, gushing a sour stench of decay.

    (A catch in her voice)

    How we rejoiced! But in truth we had graduated from a life of suppressed rage into one of perpetual mourning. In my fantasies, Father confesses and repents his crimes, asking my forgiveness. But he could never do that, really. Everyone saw him as the pinnacle of reason and privilege, yet he felt ill-used by everyone he knew, even by life itself. I wonder, was he haunted by a devil, by some demon? Was it not he, himself, but something sitting on his shoulder that pecked at us so fiercely?

    LEONARD
    Naturally he grieved when your mother died. He must have altered greatly then.

    VIRGINIA
    My mother’s death was the greatest disaster that could possibly have happened. Father sat through countless meals groaning aloud about how he wished to die. Do you know, it is my worst fear that I will become like him. It is a fate more to be feared than madness, to my mind. He is inexplicable. Extraordinarily gifted, godlike, yet somehow childlike. There was an infantile fixation! Bubbling up from some dark place, I suppose, below the level of conscious thought. But he was protected by society, as we were not. In the privacy of our home he seemed unbound by any of the laws of ordinary people. Yet he desired constant pity! We were the ones forced to be self-controlled and coolly analytical, plotting ways to get around him. But when he shouted at Nessa I hated him so much I could have killed him myself. Our punishment came when Thoby died. Violet and Vanessa also were stricken with typhoid but only the sheltered males perished.

    LEONARD
    Thoby’s death wasn’t punishment. Thoby died of a typhoid germ. If these men are fragile as you say, how could your father be the brute you dreamed of, stamping on the beach?

    VIRGINIA
    All you men are brutes, with your gaming, your competitions, your subjugation and your wars. Men use knives, to cut things, to sacrifice, while women use needle and thread, to sew them up. But nothing’s as good once it’s been repaired. When my father threw a fish into the bottom of the boat, I felt I suddenly was that fish, flopping, gasping, drowning in the very air all had sworn was safe to breathe. I had more in common with waves and seabirds than with that man.

    LEONARD
    Now Virginia, you mustn’t get excited.

    VIRGINIA
    The great secret is not to feel. Strong feelings create an abyss between oneself and others. No one ever says anything they really mean. I am bored by men and their silly violence and wars. I detest the masculine point of view. I am bored by heroism, virtue and honor. Men’s acquisitive instincts cause them to desire other people’s fields and goods, to make frontiers and flags, battleships and poison gas, to offer up their own lives and their children’s lives. Why should I submit to them, why endure a lifetime of unpaid service to their shoddy interests?

    LEONARD
    I agree we are a disgusting species. But man’s only locomotion is logic and reason. We must never give up.

  • The Dalingridge Horror – a play by Alysse Aallyn

    (Scene 2. The Conservatory at Dalingridge Hall. VIRGINIA sits slackly in an old-fashioned wheeled chair, gazing into nothingness.)

    LEONARD
    How are you today, Virginia? Sleep well?

    VIRGINIA

    (galvanizing)

    How can there be sleep for those of us who see the flesh melted off the world? Have you come to gloat over the shattered splintered fragments of my body? You care nothing for what they do to me! You macerate my soul. With sleep comes horrible dreams. I was trapped in a drainpipe with the savage hairy man who squats, gobbling and belching, dabbling at my entrails. Soon I will be shrouded in snail slime sticky from the hollow stalk.
    Get away from me! I don’t want to see you!

    LEONARD

    (humbly)

    I’ve brought chocolate creams. You used to love those.

    VIRGINIA
    You are a shadow. You torment me with shadows of the people I might have been, all my unborn selves. Go away, Leonard. Your cause is hopeless.

    LEONARD
    No cause is hopeless as long as we can talk.

    VIRGINIA
    I have nothing to say to you. Your kind disgusts me.

    LEONARD
    You can’t realize how utterly you would end my life too if you died or ever dismissed me. Aren’t I still your precious Mongoose? Aren’t you my beloved Mandrill?

    VIRGINIA
    Any real relationship between men and women is unattainable. It’s all nonsense and lies.

    LEONARD
    Weren’t we going to create our own special relationship? A real marriage, unlike everyone else’s, a vital, living thing. That’s what we promised.

    VIRGINIA
    And then you brought me to George’s house, you traitor.

    LEONARD
    Officialdom requires certification following suicide attempts! You’d be a ward in chancery! This is the only way!

    (He seems about to sit down, she stops him)

    VIRGINIA
    If you sit I’ll start screaming and I won’t stop.

    LEONARD
    I’m so afraid of the future, Virginia, if you can’t get strong.

    VIRGINIA
    You want me to tolerate filthy fingers stuck down my throat! That’s what it comes down to, isn’t it?

    LEONARD
    Is eating chocolate creams so terrible?

    (He offers the box)

    VIRGINIA
    Don’t come near me.

    (He sets the box on the little table, kneels)

    LEONARD
    I would grovel to you and kiss your toes if you would only listen to me, Virginia. Aren’t you better now? Aren’t you getting stronger? Look, you’re free and out of your straps. You’re sleeping some and eating a little. Have the hallucinations gone away?

    VIRGINIA
    I’m terrified of sleep. I’m terrified of chloral and the nightmares it provides. When I wake at night and understand all the terror, violence and unreason still presiding over the universe it is worse than death. I am nothing. I am nobody. I am I-less.

    LEONARD
    Didn’t you always say that only writing that brings order to madness? You called art humanity’s one defense.

    VIRGINIA
    Art is a conspiracy among the civilized. Yet how can we call people civilized who insist on enslaving half their populace? Behold myself, empty-handed and force-fed, by your order. I know I have a good mind, but you have surrendered me to the very people bent on destroying it.

    LEONARD
    Civilization is largely humbug, Virginia. That may be the only thing I’ve learned. I always felt I’m playing a part upon a stage. You’re the only honest person I’ve ever met and now you’re at risk. I just want you to get well, Virginia, so we can plan our hundred books.

    VIRGINIA
    You care nothing for my plans! Shall I ever write again one of those sentences that gives me the most intense pleasure? For years now, people jerked wires to make me jump like a jack in the box when all I want is peace. I long to be ten miles beneath the sea. Here I am stuck in polar ice, harassed by barbarians.

    LEONARD
    Your ice drifts toward home.

    VIRGINIA
    

    I have no home.

    LEONARD
    

    You will get well and our life will become possible again. As soon as you gain weight and master some calm and some cheer, we are free!

    VIRGINIA
    Calm and cheer in a world like this one! Don’t treat me like some retarded infant. When we walked together at Asheham you inveighed against the world as a stupid, corrupt brothel.

    LEONARD
    And I still believe that. I wanted to go into politics but politics is brutal and discouraging. Now I think I must change the world through workers’ cooperatives. We must stand up against all the evils that we see.

    VIRGINIA
    You said writers are born to be unhappy.

    LEONARD
    I fear to some extent that must be true. It’s harder on you, because you’re a sensitive, poetic writer. But if we swear to support each other –

    VIRGINIA
    My punishment is unending. Mother didn’t approve of school for girls. Boys should go everywhere and know everything, and girls should stay home and know nothing. All my brothers were sent to school, where I must say they did horribly. George and Gerald were incurably stupid and Thoby jumped out a window rather than write his prep. But I learned Greek! I learned Latin! I read every book in Father’s library, all on my own! And here I am, sentenced to Bedlam for it.

    LEONARD
    When you have seen the squalor that I have, you will realize that Dalingridge Hall is no punishment, Virginia.

    VIRGINIA
    It’s a punishment for me. Think of its owners, in their smug pride, rulers of the universe. How can you of all people, abide them? But they seduce even you with their privilege, luxury and glamor. What is the use of the finest education in the world if it teaches people not to hate force but to use it? Why can’t we learn the arts of understanding people’s lives and minds? All that the professions preach is worship of the sacred tree of property.

    LEONARD
    The doctors say you pushed yourself too hard.

    VIRGINIA
    Is that what you really think, that diving deep is dangerous? Go away, Leonard. I can’t bear to hear you lie to me.

  • The Dalingridge Horror – a play by Alysse Aallyn

    Following her honeymoon Virginia Woolf attempted suicide and was sent to recover at her half-brother’s estate, Dalingridge Hall.

    CHARACTERS

    Virginia Woolf: a sensitive young artist having a breakdown

    Leonard Woolf: her new husband, nervous, forceful, an “outsider”

    Dr. Craig: bluff, elderly, genial, doctor to the wealthy

    Dr. Hyslop: a fashionable eugenicist

    Two orderlies: rough & tumble Cockneys ALF & BOB (orderlies & doctors played by the same actors)

    (Scene 1: Dalingridge Hall, An ostentatious faux British castle with all the updated luxurious mod-cons. A pair of white-coated orderlies maneuver a stretcher into a sickroom.)

    ALF
    Hold up a mo, let’s have a fag.

    BOB
    Buckle her in, and then we’ll have a fag.

    ALF
    Now that’s right stupid, that is. Tie her up, the job is done. No time for a fag then.

    BOB
    Oh, right. I get you. Where can we stow her? She’s heavy.

    ALF
    Tall as a man and strong like one, so they say. Prop her up over here. Careful, now, you got me shin!

    (They lean the stretcher against the wall facing the audience. Fumble with cigarette packs. ALF sits on the bed.)

    BOB
    I don’t like her looking at us.

    ALF
    Oh, she’s well out of it. Off to dreamland. Took the mickey out of her, they did.

    BOB
    So what’s up with this one? Trying on hats and ordering jewelry too much for her?

    ALF
    I heard it was her honeymoon what sank her!

    BOB
    Oh, Lord!

    (they both guffaw)

    BOB
    Wonder it doesn’t happen routine-like, what with the shock and all. I mean, she’s not used to seeing the farm animals getting frisky in the spring. She’s not walking to church with the village lads. She’s not sharing a bed with the brothers and sisters. So everything seems right and proper until the big night and then –

    ALF
    All hell breaks loose!

    (they laugh uproariously)

    BOB
    So, you seen the husband?

    ALF
    Oh yes, he was hanging about. Wringing his hands.

    BOB
    So what’s he look like, then? One of them muscle-bound rowing blues?

    ALF
    No, no, no. Nervy bloke. Just back from the East where he’d been sorting out the blacks.

    BOB
    Oh, Lord! Used to carrying a big stick is he?

    (they gasp, cough, laugh and fall about)

    VIRGINIA

    (groggily)

    What is this place? What vast forces of good and evil dropped me here? I burn, I shiver. I turn, I tumble, I am stretched. I am nailed like a stoat to the stable door.

    ALF
    Oh my jugs and jiggers, she’s coming out of it. Look here, you take that end.

    BOB
    Hold her up, hold her up!

    ALF
    She’s heavy, I’m telling you. They feed them women up like Strasbourg geese. Look sharp now.

    BOB
    There’s hell to pay if she’s not buckled in.

    (They get her on the bed. Much buckling and strapping.)

    VIRGINIA
    Who are you? Where am I? I have been diving through seas of horror to come up rotting in dirty ditchwater. Don’t touch me!

    (She starts struggling when it’s too late. She’s already buckled in. The men rest, gratified but exhausted.)

    ALF
    Nothing to fear, my lady. You’re all right now. You’re safe here at Dalingridge Hall.

    (His last words reverential)

    VIRGINIA
    Dalingridge Hall! Now the agony begins, horror has seized me with its fangs! I am turned, I am tumbled, I am stretched and everyone pursuing!

    (She starts screaming)

    ALF
    Hypo! We need a hypo!

    (ALF and BOB rush about panicked. Enter LEONARD. Exit orderlies.)

    LEONARD
    What is it? What’s happened?

    VIRGINIA
    Dalingridge Hall! They’ve taken me to Dalingridge Hall!

    LEONARD
    Virginia, your brother Sir George and his wife Lady Margaret have kindly lent us this splendid mansion. They’re staying up in London and have left it all to us. Up to date comfort. Plenty of servants – French chef – the food is magnificent. Eleven bathrooms! Spotless, hygienic, – the nurses are impressed I can tell you.

    VIRGINIA
    Now this monstrous ugliness is explained. I hear the crack of antlers as if the beasts of the forest are rearing, plunging among the thorns. One has pierced me. One has driven deep within me. You have left me to undergo this squalid humiliation served out like soup by greedy, casual scullions, coarse, ogling, brushing, destroying everything, smearing even our love with impure fingers. “What is this secret sin, this untold tale, that art cannot extract nor penance cleanse?” Don’t you understand? ALL DEATHS ARE ONE DEATH.

    LEONARD
    

    Would you like to see Sir George?

    VIRGINIA

    George! That obese alligator who used to roll me round my bed of an evening as if I were a minnow shut up in a tank with a frenzied whale. I would rather touch a decaying dogfish than that man’s body.

    LEONARD
    Hush, Virginia. George is an Adonis, a true man of the world, adored by great ladies and parliamentarians alike.

    VIRGINIA
    George has the eyes of a sow! Or is it an elephant? Sows look so much like elephants on the Duckworth side of the family. He used to fondle me so I couldn’t read my Greek. The very locusts deform the trees with their lusts.

    LEONARD
    George claims chastity until hi marriage. That’s more than I managed.

    VIRGINIA
    What liars men are! George was a pig, snuffling, rolling, grabbing, calling me Beloved. How he tortured both of us, me and Vanessa alike, Greek slaves in the harem promised him by Eton. He smothered us with caresses until Nessa told Dr. Savage and Dr. Savage made him stop. George told Dr. Savage he was only comforting us for the illness of our father.

    LEONARD
    Virginia, you’re romancing. Dr. Head says longing for adult attention creates a wish-fulfillment leading to ideas like these. He says the only way out is the talking cure.

    VIRGINIA
    So it’s wish fulfillment that has trapped me in George’s house? Dr. Head is another booby, Leonard. We were right to dismiss him. He knows nothing.

    (she grabs him)

    Don’t you understand that we are poured to the very edge of the abyss, Leonard, where we shall be broken together into nothingness and flames? Help, help! Get me out of this thing!

    LEONARD
    Dearest, you threatened to harm yourself, remember? You attempted suicide.

    VIRGINIA
    You left the veronal unlocked. I thought it was an invitation. My father praised the Duke of Bedford for having the courage to shoot himself. Surely you longed to be rid of me. I’m a bad bargain all around.

    LEONARD
    

    No Virginia, no. I love you. I moved heaven and earth to save you.

    VIRGINIA
    But I’m already dead, Leonard. I am certainly in hell. Fallen in a duck pond and strangling in duckweed! Quack, quack!

    LEONARD
    Virginia, why do you reduce me to madness too? If you could only comprehend how insane you sound.

    VIRGINIA
    You can’t think what a raging furnace it is to me, madness and doctors and being forced. I am bent like a tree under a remorseless gale. The crass blindness that poisons childhood still threatens bitter storms. Children will be trodden under. Speech is false. The demand to submit must always be returned with cries of pain, hate and rage because that’s all they understand.

    LEONARD
    You were violent, Virginia. You attacked your nurses. Don’t you remember?

    VIRGINIA
    I was defending myself. They attacked me! Forcing food down my throat. I will go down with my colors flying. Father used to say, “Face the inevitable with eyes wide open.”

    LEONARD
    You vomited on Lily and you struck Susan with a platter of cold meat. You must eat to gain weight, Virginia. Then the voices will subside, the doctors say. That’s why they’ve ordered a rest cure.

    VIRGINIA
    Those doctors! My life is a constant fight against doctors’ follies. That cretin, Savage? He’s not fit to be about. Borrowed from another century.

    LEONARD
    Four doctors and all of them in agreement. You know this, Virginia. You chose Head yourself – because Roger Fry recommended him – Vanessa suggested Craig and I found Hyslop.

    VIRGINIA
    Really, a doctor is worse than a husband. I’ve given up expecting doctors to listen to reason. If only those pigheaded sawbones could see I speak the sober truth without excuse! Alienists know absolutely nothing. Their vanity is as profound as their ignorance. What does their “treatment” amount to? It is all eating and drinking and being shut up in the dark, sequestered with lunatics.

    LEONARD
    The food here is delicious. May I bring you some?

    VIRGINIA
    Once when we travelled by train to St. Ives the lemonade spilled on the sandwiches and turned them into mush but Nurse still made us eat them and I was sick and then I was punished. Leonard, don’t you see that when I am weighted with food I can no longer make the moments flow together. I become an excreter, an excretion. No, of course you don’t see. You’re in a conspiracy, plotting against me. I see your grinning, I know your subterfuge, I hear you sneering behind my back.

    LEONARD
    Virginia, the people who love you are trying to decide what’s best for you. I’m trying to make the best decisions I can.

    VIRGINIA
    You’re punishing me for disappointing you. For being a bad wife.

    LEONARD
    When you’re well, you admit you’ve been mad.

    VIRGINIA
    My sister wanted to be rid of me. While she threw away our father’s possessions I lay in bed and heard the birds singing Greek.

    “What bird so sings, so yet does wail?
    Tis the ravished nightingale
    Jug, jug, jug, tereu she cries
    And still her woes at midnight rise.”

    LEONARD
    You’re hurting yourself with all this wild talk. No one can understand anything you say.

    VIRGINIA
    People know very well enough but it’s a secret. King Edward spewed the foulest possible language amongst the azaleas and yet they crowned him. “Swallow, my sister, O Sister Swallow,” I sing. If I become king of the lunatics shall I escape molestation? God, I wish I were dead. I will soon have to jump out of a window.

    LEONARD
    These violent oscillations, Virginia! If I could only get you to see! A whirlwind brings madness in its wake!

    VIRGINIA
    How long can any man love a woman without driving her mad? How long can I protect my clean visions from the odious masculine point of view – from the egotism of men? You crack my brain like a thrush cracks a snail – hammer, hammer, hammer.

    LEONARD
    I am not your enemy, Virginia.

    VIRGINIA
    Then who else is? Why shouldn’t I be frightened? I wanted to spend my life innocently indifferent among the trees and rivers but instead men expose themselves whenever I step out doors. I saw a woman pinned beneath a car and horses falling in the street. Outside our scullery a man cut his own throat. His jowls were whitened as codfish. The human face is hideous. What are you doing? Don’t touch me!

    LEONARD
    Trying to loosen your straps. You’re getting excited. Doctor!

  • Writing a novel for class – a memoir by Alysse Aallyn

    THE PINCH OF DEATH – Writing a novel for class

    After my fiancé graduated law school in Kentucky, we came East – where our families lived – to get married. I applied to Brooklyn College for the MFA program and was hired as a writing fellow. What followed was an experience so discouraging I can well understand why graduate students are at a high risk of suicide.

    First, there’s the contrast between the high prestige of the position and the pitiable pay. You could literally make more money (and spend the same amount of time) combing the subway for lost change.

    Next, there’s the “job” they want you to do, which is to prepare seriously undereducated freshman to write an essay justifying their admission into the hallowed world of academe.

    I had fun developing my own syllabus, which was basically teaching critical thinking in the most fun way I could possibly imagine. A teacher “reviewer” who came to watch the class wrote me a rave review – I don’t think anyone in my life has ever praised me as much as he did. I still cherish that evaluation. But don’t get excited – the second guy (months later) disparaged me so much that if you add the two reviews together I think you’d have to give me a sad C-. But at that point, They Knew About Me – that I had no college degree -and so they were trying to get rid of me. Really, you can’t blame them – how could I prepare students to get something I didn’t have myself? And what – you may ask – was wrong with MY thinking and reasoning powers that I had not expected this?

    The truth is, I had flouted “rules” all my life – they always seemed ridiculous – and because I was a “rara avis” I usually got away with it. But clearly, this could not continue. Much chastened by my brush with the universe (which represented itself as “sanity”) I did go ahead and get a BA degree in psychology from LaSalle. I even got half a masters under my belt from Springfield College until I saw that it was useless.

    But back to Brooklyn. There were classes I took, of course, in WRITING – which was my absorbing interest and passion. I kept the fact that I had actually published a novel a secret because the class expressed such a tragic belief that being published was their deepest desire and most desperate and holy quest. I knew that it was the writing of the book itself – finding the subject AND the expression that was your spiritual release into the world – that was the most important absorbing and exciting. My first book was written to specifications – what was “popular” – under the ingenuous theory that I would develop important publishing relationships (my editor lost her job, my company bought out and revamped.) You could hardly brag about an experience like that.

    For my class on the Novel I decided to write a novel. I thought it would be fun. If you wrote a chapter every week you would have a novel at the end.

    One of my classmates was an ex-nun – a most interesting person – whose experiences strongly affected me. I effortlessly adapted her into my heroine, because my book was a mystery. Surely these are the easiest to write – they must evolve according to a plan. You have to introduce the problem, then the suspects, give clues, and make the reader care about the outcome. I had an idea it would be less emotional than my first book, which got bogged down into a bizarre love story about a fatherless girl pathetically seeking mentorship. THIS book would be all business.

    I got such massive pushback from the class I’m kind of surprised I went through with it – but I was enjoying the writing and the characters were alive to me. “Criticism” in class was students laboriously reading each others’ work, describing its emotional effect on them and describing different ways things could be said. The forward motion of a novel – the sweep, the assumption of power – was thereby utterly dissipated. Everyone just rewrote the first chapters of different books endlessly. So it shouldn’t have been called “Novel Writing”, it should have been called “Paragraph Writing” – a class I wouldn’t take.

    This teacher and I butted heads on all kinds of issues. First off, he said great writing couldn’t have a “happy ending.” I saw his point but I thought it shallow. Surely completion of a quest – solving a mystery – is an enormous relief. But mysteries aren’t serious writing, he insisted. (Uh oh. Since I was engaged on one.) Well, what about the Odyssey? Jane Austen? {Probably Tom Jones, if I could recall the ending.)

    MODERN literature!! He insisted. We can’t have happy endings anymore!

    That was when I realized the whole thing was bogus. If I was bogus, they were even more bogus. I was eight months’ pregnant at the time and this man’s feeble philosophy defied the spinning of the planets, the arrival of spring, the creation of Life itself. What a silly fellow.

    I finished Pinch of Death, and still reread it with pleasure, A very charming book.

  • The Demon Lover – a play for 2 voices by Alysse Aallyn

    SCENE IV – THE LAST SCENE

    EVA
    I am gnawed by an aching hopeless wish.
    Loneliness leads to breakdown,
    Becomes dementia. I batter
    Around the rooms of this castle,
    However brightly-plumaged,
    Knocking into furniture,
    A tragic bird who’s trapped indoors.
    Even dizzy with drink I maintain the frigidity
    Of an Edwardian hostess
    Intolerant of scenes at meals.
    Without you life’s a half-lit room.

    EVAN
    I’ve become a character in your melodrama
    An absurd creature of romantic vice.
    Hopeless dilemma.

    EVA
    What could be more beautiful than our ten days in New York,
    Walking among the perverted architecture.
    No loss of illusion, rather an increase.
    I’m in the midst of a dreary financial crisis,
    Having breakdown on my feet.
    I hope I don’t sound too shocked and sad.
    You are life to me as nothing is.
    My fingers still tremble,
    Touching you after 17 years.

    EVAN
    This is the Eva I first met, first knew, first loved.
    We waited it out and didn’t lose each other.
    I was sane or mad to doubt you & myself.
    We are like two people sweating blood
    I feel further from you than ever. I dread losing you
    But Elayna’s power still holds me.
    I fear I may do one of you harm.

    EVA
    Thanks for the money,
    I hope it doesn’t embarrass you too much.
    You are a reviver and a balm.
    We must be in Paris together before we die.

    EVAN
    If you want me to be unselfish, let me be unselfish.
    You are my greatest friend. I’m
    Trying to keep off the drink while you’re here,
    Otherwise I know I’ll wreck everything.
    Three manhattans makes me crazy.
    Your feverish cheer does not seem solid.
    Is this the wreckage of our love?
    Once frightened of your clinical eye
    Now I’m more frightened of my own.
    I’ve matriculated in
    Your fearful university.

    EVA
    We sheer away in horror
    Scenting fumes of evil
    As we lose control.
    Defeat and exhaustion, alarm and despondency.
    Demoralized and sad.
    Slam down the lid on pain and resentment:
    I have taken against your family.
    Let’s dance. To sit
    In silence denigrates our love.

    EVAN
    My heart aches for you.
    We talked for the first time in weeks
    About hurt and resentment.
    I could manage my life if it weren’t for you
    And you could manage yours if it weren’t for me.
    You infect me with your despair and I flee to my wife
    To release the pressure.
    Her quickening influence works my imagination.

    EVA
    I hate that you are in New York without me.
    You pervade that place as God pervades our hearts.
    My life is based on my assumption
    Of togetherness and my
    Secret fear you’re being got at
    When we could be snug together.
    I obsess that you’re in places where I’m not.
    I could not live without seeing you.
    I dread our visit may turn sour.

    EVAN
    Everything except your beautiful self rusts
    Or dies or goes away.
    My love only seems dead;
    it’s alive underneath. If you die
    I shall never forgive you
    We need ideas that are less about ourselves.

    EVAN
    I hurt Elayna tonight
    But there’s no help for it.
    She cares for me and I only care for a life apart.
    A clean break, an amputation
    Makes me frantic and guilty.
    She says we have a happy marriage only because
    She willed it. This smell of death and decay
    Makes me long for sex.
    Could you help me find a girl – any girl you choose –
    Or will you call me a sex mad degenerate?
    Panic makes my hands shake.
    I thought of Elayna and I wept.

    EVA
    I received your sad, wild letter.
    I accept that you can’t free yourself.
    Do you accept it?
    I feel so very near you.
    I accept that you make sex
    Desperately with strangers –
    Do you accept it?
    Can anyone love such a cold-blooded person?

    EVAN
    How silly I am, I thought
    I was reconciled to our ending,
    Expected a falling off of tension & illusion.
    But it’s a prospect I can’t face.

    EVA
    Miracles happen but
    The gift of love causes guilt & pain.

    EVAN
    I am utterly becalmed.
    What I dread most is silence,
    The latest form of impotence.
    I need stringing up and tautening.
    Revenge on love. Revenge on me.

    EVA
    I am suffused with love because I am free.
    My work becomes our child,
    An extension of us. Immortal. Still,
    Something vanishes when you’re not there.

    EVAN
    Elayna broke her hip.
    How irreplaceable she is to me.
    Our brand of married happiness is entirely unsung.
    I shrink to leave her even for a day.

    EVA
    I’m sorry it’s not fatal.
    Am I dispensable to you?
    You love no one. If you turn against me
    I’ll die in a week because
    I have no one looking after me.

    EVAN
    Turn against you! Agonizing!
    In spite of the hangover of humiliation
    I broke down all reserves so we could be together.
    A very happy day and I was sorry to leave you.

    EVA
    Wed & sad.
    Past distress is muffled by age & habit.
    Today we meet formally as if at a garden party.
    A promise unfulfilled.

    EVAN
    You looked so ill
    I was nagged by fear I bored you.
    I long for the happiness of old age,
    Guilt free, pain free, fear free.
    In your silence
    I feel your calming hand.

    EVA
    I invited Elayna to lunch.

    EVAN
    I am not best pleased.
    The day you come to like each other
    Our love will die. It will be
    Poison to our love.
    Elayna rarely admits depression.
    I have had not just love but loyalty.
    Your ghost will haunt me till I die.
    You force ruthlessness.
    It is a good thing your throat is sore
    Or you would never stop talking.

    EVA
    Are you sending me your signet ring?
    I want something solid to remember you
    As I dodge death, fight off this
    Paralyzing loneliness.
    Our last communion.

    (EVA fades away. EVAN is alone.)

    EVAN
    Is the flaw in love a flaw in me?
    I never should have married.
    My heart jumps with pain like a hooked fish.
    I am rudderless. Upon your death
    My ring comes back,
    All your contrivances revealed.
    Now you are gone, I find you everywhere.
    We will never see each other again;
    Never, never, never.
    You are gone from me forever.
    I walk the streets and weep.
    Is this delayed shock? Boredom or despair?
    I will never cease to feel this pain till
    I cease feeling anything.
    For the last three nights, I dreamed of you.
    Did I anger you, neglect you?
    It’s too late to pray –
    I await your final book with horror.
    I need to know I was your life.
    Please
    Come back one last time to tell me
    Just for an hour.
    If you ever thought you loved more than I
    You are revenged.

    THE END

  • The Demon Lover – a play for 2 voices by Alysse Aallyn

    SCENE II

    EVAN
    Do you really love me?
    Why should you?
    I don’t seem any longer
    To be able to cope with friendships.

    EVA
    It is a horror, an outrage
    That we should not be here together. I struggle against
    The wound of not knowing where you are each minute.
    Everything you do is more important to me than my own life.
    The whole of me is with you.
    I see and feel you so distinctly,
    your beloved cold hand in mine
    Your touch on the nape of my neck.
    Both joy and agony
    – my insides torn by pincers.
    A double goodbye would have been awful
    – two bites on the bullet of pain.
    This love is like something we have given birth to.
    We must never blunt our imagination or tenderness.
    Don’t get a cold in your soul.

    EVAN
    I disappoint everyone.
    I deliberately left one of your letters for Elayna to find.
    With me love is linked with
    A need to betray. I invite possessiveness.
    She made me promise our love would never be physical.
    I lied fluidly.

    EVA
    Even the thought of
    Such a loss of pleasure tears at my heart
    Like some medieval torture.
    You harrow me unbearably.
    My defenses are down.
    I’m filled me with a sense of ghastly injury.
    How I wish I were more beautiful –
    It’s my mouth that ages me.
    I want you seeing all of me –
    Even if it hurts.
    You are your own child,
    You preserve your youth with the harm
    That you cause.
    I am dead and already
    Interred – in you.
    You are my eternity.

    EVAN
    You can’t have everything.
    I am kept aloft by the conflict of
    Unbearables.
    I am happy.

    EVA
    Our dancing life is over –
    Shall I enter a convent?
    There’s no point in being alive
    if we’re not together.
    I show my deepest self to you alone.

    EVAN
    Please – no more shaming conversations
    Over Irish whisky. Let’s cut our losses
    And get some fun from life.

    EVA

    
The gash in our love might close
    But I can’t forget it’s there.
    Life with you is a remote happiness to which I cling.

    EVAN
    And all this time you write
    Fantastic books. If you were as unhappy as you say,
    You couldn’t write so well.
    I am the whetstone on which you sharpen –
    I should be thanked for all your works.

    EVA
    You shed your light around me.
    I am always aware of that other world we share
    – Or do we? Our pattern seems set –
    If treachery can’t break it,
    There is no death.

    EVAN
    I am losing interest in sex.
    My bed gets so icy in the small hours of the morning –
    I feel I am trying to communicate with the spirit world.
    I am in limbo and will never escape this place.
    The adolescent remains alive in me, I have a
    Panic fear of conformity.
    So I cast myself as the elderly rake.
    I’m the bore –
    Marriage gets me down.

    EVA
    When you go on and on about yourself
    You’re a man I don’t recognize.
    I prefer your adolescent self.
    The man of the house is a free agent.
    A respected prowler
    Who looks benevolently upon the faces of his womenfolk.
    Then he’s away – with mistresses or boyfriends.
    In my attack of loneliness, I’m housebound,
    Eating baked beans and drinking stewed tea.

    EVAN
    In other countries women
    Are less bossy and more decorative.

  • Film Review – The Three Faces of Alfred Hitchcock

    APOLOGY FROM ALYSSE – Somehow the first version of this came out in Plaintext! Sorry.

    Film Review: Spellbound

                A Viennese psychiatrist in this movie demands a dream “the more cock-eyed, the better” and Hitchcock obliges with this wildly uneven picture offering us Alfred at is best and worst. This film about psychoanalysis is schizy; pretentious, illogical, childish and afraid of its own emotions. Unfortunately it starts with an awkward, talky beginning in which misogynist doctors accuse Ingrid Bergman (for the first time in her life, I’m sure) of being a “glacier” who’s uninterested in men.

                No one heats up a screen like Ingrid Bergman, shooting smoke and fire in all directions from the get-go and it will surprise nobody to find out she and Gregory Peck conducted a hot affair during filming. 

                Dr. Constance Petersen is a psychoanalyst at an upscale Vermont looney bin full of nymphos and weirdos, galvanized by the arrival of Gregory Peck as the new doctor in charge and he’s just as worked up about her. It doesn’t even faze her to discover that he’s an impostor, the real Dr. Edwardes is missing and her swain is accused of his murder.

                The film begins to gather speed as the couple goes on the run together with Connie telling everyone they’re on their honeymoon.  She takes the amnesiac to her training psychotherapist’s house in Rochester where she promises to “cure” him.

                Her teacher tells her that “love smitten analysts playing dream detectives” make “the best patients” but she is making good progress breaking down Peck’s resistance when the police show up and the couple flees to a ski resort called “Gabriel Valley”. 

                The famous dream sequence designed by Salvador Dali is pretty interesting – gamblers in a club decorated with eyes, a man tumbling down a rooftop and a masked man laughing behind a chimney brandishes a wheel.  Constance interprets this as her boss murdering Edwardes on a ski vacation to prevent the younger man from replacing him and framing her lover for the crime.

                When she tells this discovery to her boss he threatens her with the very same gun, but she faces him down and he shoots himself instead. Seen from the killer’s perspective the gun fires directly at the screen.

                Film ends with Constance Petersen and her Big “100% Cured” male making out at the train station. To get to this point Hitchcock had to battle a sappy film score, (Bernard Hermann wasn’t available), a bossy, clueless, tone deaf producer (David O. Selznick) and a woman-hating screenwriter (Ben Hecht) to ignite a modicum of his signature passion and suspense. At least it was a huge hit and broke all records. What a film this could have been without the frozen art direction, the awkward rear projection and the hysterical film censors. Someone should definitely take another stab at it.

  • Secrets of the Self – Second Book Contract by Alysse Aallyn

    My second book contract was a two-book contract. I had long been working on a novel, Model Prisoner, that was based largely on the true crime story described in Barthel’s Death in California , where a man murdered his best friend and kidnapped the friend’s wife. I was working through the issues created when women are forced to cooperate with dangerous men. As often happens, the characters hijacked the story. The relationship between the two men became more and more important – my poor heroine was just a marker of success or loss. In a lucky flash of intuition, I realized the mythic proportions of what I was dealing with – my protagonist became Persephone, uncomfortably contended over by two Lords of Darkness.

    Another character pushed his way onstage – Persey’s dog, Digger. Because Persey loved him, he was an object of jealousy by the Lords of Darkness, who wanted her all to themselves. This evoked the legends around domesticating wild creatures into household pets and the story became Woman Into Wolf.

    When I was ready to submit the novel I discovered my publisher Bridgeworks had been bought by another publisher, Rowman & Littlefield, so I sent it to them and prepared myself for the uncomfortable weeks long wait for consideration lowly authors are subjected to. A few weeks later I heard from my old editor (who I’d dedicated my second novel to!) that Rowman & Littlefield in fact had no editorial department, and so my contract was essentially null and void. I submitted Woman Into Wolf to my old editor to see if she had any good ideas about what I should do next. She suggested I de-emphasize one of the characters (the Bird Lady) and play down Persey’s past life – I took all her suggestions. But when I sent her the revised manuscript I discovered she had forgotten all about it and wanted me to tell her how the novel USED to be!

    At that point I lost faith in her. My trusty Girl Focus Group (my daughter’s friends) loved the book, and I feared further monkeying around might break something important! It seemed a better idea to jut publish the thing myself. And the reviews bore me out.

    …a thrill-ride, unique and highly recommended reading.” –Entrepreneur.com


    “deceit, rape, fertility, imprisonment and a mother’s grief…as each piece of the tightly coiled fiction was loosed I waited for the revelation to come…she couldn’t imagine the extent of the deception until it was spelled out. Neither could I.” – MyShelf.com

    “one of the most unusual mysteries I have ever read…I loved reading Woman Into Wolf … kept me on the edge of my seat right through the end…I highly recommend this novel to fans of crime mysteries that also
    enjoy some extra spice in their stories.” – Readerviews.com

    “a very fine psychological thriller…
    the characters in this book are as bright
    as crystal and as sharp as shattered glass.
    Aallyn not only can describe them to a
    neo-noun, she can make them speak
    true to those characters.
    Quite a talent…a novel every bit as worthy as
    her first.” –ArmchairInterviews.com

    “Satisfying as hell.” – Quoth the Raven

  • ALYSSE AALLYN

    Alysse Aallyn is the author of four well-received thrillers, Find Courtney, Depraved Heart, Woman Into Wolf and I’ll Sleep When You’re Dead, one historical novel (Devlyn) and a book of short stories (Awake Till the End.) Her work has been translated into German and Italian. She has three published books of poetry – The Sacred Quiver, The Hot Skin, Haunted Wedding and The Five Wounds and edited another (The Feathered Violin.) She trained in theatre at Circle in the Square Theatre School and Martha Graham School of Dance. She appeared in the part of Isabella in Jean Giraudoux’s The Enchanted at the New Yorker Theatre. She has held writing fellowships at Brooklyn College and LaSalle University. Her novel Depraved Heart won a 2011 CT Press Club fiction award and her play Queen of Swords was a semi-finalist in the 2014 National Arts Council First Play award. She has been invited to read her original work at The Folger Shakespeare Library in Washington, DC and has taught creative writing at Catonsville Community College. Woman Into Wolf was a semi-finalist for The National Playwrights Conference (2016) and her play Our Father’s Restaurant was performed on Pacifica Radio. She has also appeared as a crime commentator on ID – TV’s Blood Relatives. Her play, Let’s Speak Vietnamese was published in Dramatika Magazine. She directed The Maids and played the Mother in Jules Feiffer’s Little Murders for Theatre Upstairs. Other plays she’s written are The Honey & the Pang about Emily Dickinson’s posthumous career, Cuck’d – a modern Othello, and Caving, in which the theatre is transformed into a cave for a spelunking dare. Rough Sleep, (based on her novel I’ll Sleep When You’re Dead) was produced by Manhattan Repertory Theatre (W. 45th St) in 2019. Her latest play, The Dalingridge Horror, (short version Leonard & Virginia) explores the partnership between Leonard & Virginia Woolf in their own words and was a finalist for the Tennessee Williams 2021 award. Her newest poetry collection, Haunted Wedding appeared in 2022 from Thriller Library.

    Her current work is The WarriorOracle – Becoming a Warrior on the path to enlightenment.

  • Becoming a Warrior – the Warrior Oracle by Alysse Aallyn

    Birdsong – Art:

    If This Card Chooses You – Your Soul Cries Out for Definition
    Birds gotta sing. It’s who they are. Do you dream of artistic products – paintings, sculpture, film – or artistic endeavors such as performance and construction? Do you get ideas for fresh pieces and experience exciting nonconformist thinking that seem to evaporate upon waking?

    Some of Us Are Warriors for Art – Art is the judge of our poetic confrontation with the world, the cure and the cause. It is also our prime avenue for non-verbal healing. Only non-verbal healing can address pain that can’t be quantified.

    The Warrior Soul Cries Out – Your inner self is signaling to you that it is time for you to access another language – art – and become expert in its terms, and to start inventing terms of your own. Only art can establish the secure connection with others required to nourish you now.

    You Are An Artist Whether You Like It Or Not – Every single one of us chooses mode and objects of expression, consciously or unconsciously, every single day. We buy one object over another because it gives us pleasure; we arrange our living spaces to express some intangible quality about ourselves – a self-definition that signals to others who we are and where we are on our journey.

    Welcome to the Art Warriors – Art demands individuality. We begin by copying but we must move on to expressing our uniqueness or our soul won’t evolve. If we are happy being part of an unthinking mass we are truly “unborn.” This exploration will grant you a deep peace about being alone with yourself, a strong confidence in who you really are and a feeling of spiritual value.

    New Battles to Fight – This journey is awkward at first, and in other people’s eyes it may remain awkward forever. Why wouldn’t you copy what’s popular? Why not mimic the uncontroversially successful? The problem is, while you are doing that the core of your self-hood is dying like an unwatered plant. And if your soul is dying, you are dying. Also, being bullied by the “art enforcers” is not what warriors are about.

    Sometimes We Bully Ourselves Worse – Perfection is not the answer – it is the enemy. Remember – we flee stagnation. Our soul’s “perfecting” never reaches an end – that’s the definition of immortality. Constantly shaming yourself as a no-talent, pretending poseur is horrifyingly destructive to your precious infant specialness struggling for life.

    Make a resolution to start supporting yourself. The fact that a work is unsuccessful, even a horrific mess, doesn’t mean it isn’t an advance for your vision, insight and style. These are the building blocks of creation. Don’t get hung up on approval. You need teachers, not fans. Read The War of Art by Steven Pressfield.

    Models & Mentors – “Creativity takes courage” – Henri Matisse

    “It’s not what you look at that matters, it’s what you see” – Henry David Thoreau

    “The only thing worse than being blind is having sight without vision” – Helen Keller

    “You were born an original, don’t die a copy” – Jon Mason

    “Life beats down and crushes the art in your soul to remind you that you have one” – Stella Adler

    #Haiku: Disclaimer

    I don’t write haiku
    They write me
    Jaw slack
    Eyes closed
    Ego playing
    Dead