A total solar eclipse of the heart

The solar eclipse in Montana, 2017

I do not understand how anyone is planning on doing anything between April 7th and April 9th. 

Because a total solar eclipse will be visible throughout much of the United States on April 8th, and witnessing totality is one of the most extraordinary experiences I have ever had during my one wild and precious time on earth. And we won’t get to see another one in this part of the world until 2044! 

I saw the 2017 solar eclipse in Montana, and it was so strange and beautiful that I’m half convinced I dreamed it. It doesn’t seem like it could have been real. I witnessed it with Mom and Ray and Mikah, and we’re heading to Texas to witness this one in one month.  

Even the existence of solar eclipses is mind-blowing…the moon is way closer to us than the sun, but the sun is way bigger than the moon, and based on both of those things, they just HAPPEN TO LOOK THE SAME SIZE TO US ON EARTH. Like, mathematically, that’s insane. If the sun was just a little closer, or the moon was just a little smaller, we wouldn’t get to see eclipses like this at all. So many planets don’t get eclipses at all! We are so incredibly lucky. 

And it’s not just that the moon blocks the sun—an eclipse like this is also accompanied by all of this incredible phenomena that feel completely otherworldly. 

At “first contact,” the moon seems to take the first little “bite” out of the sun. Not much else is noticeable during this phase—if you didn’t have eclipse glasses*, you might not notice anything is even going on. But as the moon covers more and more of the sun, you’ll be able to see thousands of crescent shadows on the ground near trees and plants. The shrubbery creates natural “pinhole cameras” that project the shape of the crescent sun onto the ground. 

After an hour or so, the light grows strange and eerie. I will never be able to properly describe the quality of the light in the minutes before totality. It’s like twilight, but brighter. It’s like the light before a thunderstorm, but sharper. It’s somehow dim and bright at the same time, and shadows are razor sharp. Sometimes, wildlife that usually come out at dusk make an appearance, thinking it’s already later in the day. 

As totality approaches, the temperature drops by a few degrees—it’s noticeably cooler, and the light continues to dim. If you’re in a very flat area, geographically, you may be able to see the moon’s shadow barreling over the ground at 1600 mph toward you. 

In the few minutes before totality, sometimes you can see “shadow bands” moving along flat surfaces. They look like the dancing light at the bottom of a swimming pool. We actually don’t know for sure what causes them, but the most likely explanation is that the sun’s rays are being distorted by earth’s atmosphere. 

In the very last second before totality, if you’re watching closely, you’ll see the last sliver of the sun suddenly break into a thin string of “Bailey’s Beads.” This is the last of the sun’s light peeking through the VALLEYS OF THE MOON, creating these glittering beads of light that are only visible for a moment. 

And then totality. 

When we experienced this in 2017, on a random hillside in Montana with a few hundred other people, the entire crowd erupted into emotional cheers. I burst into tears, and my mom also burst into tears, and at one point she had to be told to sit down so that she didn’t pass out. It was just so beautiful. It felt like we were on an alien planet, or in a dream, or somehow thrown into a science fiction novel. 

During totality, there’s a 360-degree “sunset”—colored gradients of light in every direction. Stars and planets are visible throughout the sky, even though it’s not quite dark enough to be night. You’re able to see the corona…the sun is a black hole with a white cloudy halo of light surrounding it. If you’re lucky, you’ll catch a solar “prominence,” a flare of solar plasma erupting from the sun’s surface, visible with the naked eye only during an eclipse. 

Totality only lasts a few minutes. (Although this time in Texas, we’ll get four and a half minutes! That’s twice as long as the 2017 eclipse!) And then the whole thing happens in reverse—Bailey’s Beads, shadow bands, temperature changes, crescent shadows. 

And then it’s done. A three-ish hour long wonder complete. 

Then we get back into our cars and slog our way through eclipse traffic** to get back to our Airbnb and wonder if it all really happened. Sometimes we only have to wait a few years for the next one, like in 2017. And sometimes, like now, we have to wait a few decades. 

There are times when I’m absolutely astounded at the beauty of living on this planet. There is so much cause for heartache, but the sun and the moon appear to be the same size in the sky above us and every now and then, we get to see them make magic. 

See you in 26 days, Texas. 

*IMPORTANT NOTE: DO NOT LOOK AT THE SUN WITHOUT ECLIPSE GLASSES. You can buy eclipse glasses online—make sure they’re actually safe and not counterfeit. They should have “ISO 12312-2” printed on them and have an authentic ISO certification label.

**I have never in my life experienced traffic like we did after the eclipse. It took us 11 hours to drive like 200 miles. At several points, we would each get tired of sitting in the car and just get out and walk beside it for a while. We tried to stop for food at a Wendy’s and they were sold out of almost everything, and there was still a mob waiting in line. This time we’ll be prepared! 

Our Flag Means Stuff

In celebration of Our Flag Means Death season 2 coming out, here is a blog entry about why this show is completely brilliant. 

Let the record show that this blog entry is edited down from a SIX PAGE single spaced essay that I wrote for literally no reason other than loving to write about art that I love. And also probably because I miss school? But I’ll keep things casual for the blog. 

(Am I autistic? Yes.)

First of all, I fucking love that David Jenkins took all of the tropes of a romantic comedy and populated it with actual historical pirates (a convention carried into season 2!). But the actual brilliance of this show goes so much deeper. So as a big ole nerd with one degree in theatre and another in writing, I’m gonna break down why this show is so smart and lovely.  

If you haven’t watched season 1 yet, go do that and then come back, because 

***SPOILERS BELOW***

I’m gonna talk about flags and rom-com characters and feelings and lighthouses and touch and transformation. (I could continue talking about these things in season 2 but I’ll save that for another essay.)

FLAGS

There isn’t a verified historical record of the flag that the real Blackbeard flew, but the most commonly cited one is this one: a skeleton holding a spear that’s pointed at a red heart. In the show, when we first “meet” Blackbeard, his flag is just the skeleton. At the end of season one, after Blackbeard’s perceived abandonment by Stede, the flag has had a new section sewn on—the part with the red heart. (The DIY nature of sewing this addition echoes the first episode, when Stede has his crew sew flags for The Revenge.)

ROM COM CHARACTER 1: STEDE 

Classic romance trope: The Sunshine to Ed’s Grump. 

Stede is blindingly, adorably optimistic. He prefers gentler things, and we know that he always has, from the time of his childhood. (He is, after all, the man who got rid of gunpowder to make room for marmalade.) I think there’s also some interesting gender play at work here. Stede embraces who he is without pretense. He’s a bit of a clotheshorse, he loves books and flowers, and he’s horrified by violence most of the time. These are things that society often codes as feminine. But Stede is just Stede. 

But even though Stede comes from a world of finery—wealth, fine fabrics, books—he longs for something more adventurous. It’s notable that the story Stede reads aloud to the crew is one of transformation. Pinocchio is a story of a wooden doll turning into a real boy. It’s the same transformation that Stede longs for. He’s been a bit of a puppet throughout his life so far…inheriting his wealth, an arranged marriage. Selling land and becoming a pirate is one of the first times that Stede is a “real boy.” 

And he DOES have moments of strength, action, and courage. Taking the hostages back from Izzy and the crew. Banishing the ghost of Captain Badminton. Bringing down the boatful of high society folks with his “passive aggression.” 

ROM COM CHARACTER 2: ED/BLACKBEARD

Blackbeard, by contrast, seems to be MOSTLY a man of strength, action. (He’s also the romcom “grump” in this couple.) When we first meet him, he drips with what society has coded as masculine. He’s wearing leather. He’s got a gun and a knife on him at all times. He’s all fire and action and swinging from ropes. And he’s got that BEARD.

But there’s also a softer man beneath all of that. An “Edward” who longed for fine things as a boy, even though he was told that he doesn’t deserve them. His mother told him that they simply weren’t “those kind of people.” Even his childhood act of violence—killing his father—was born out of a desire to protect those he cared about. After that moment, Ed sees himself as the Kracken, as the monster Blackbeard. His reputation is that of an other-worldly, inhuman villain. And although he truly believes that he doesn’t deserve the finer things, Blackbeard longs for them anyway.

And I think he recognizes the absurdity of the character he’s created. When Stede shows him an illustration of Blackbeard, Ed calls him a “fucking Viking vampire clown.” 

ROM COM CHARACTER 3: IZZY HANDS

Whether Izzy Hands’ love for Blackbeard is romantic or sexual or strictly platonic, he takes on the role of a scorned lover/jealous ex. I think Izzy is in love with Blackbeard…but NOT with Edward Teach. His jealousy is not just about Stede taking a new place of prominence in Blackbeard’s life, it’s about the way that Stede is destroying the man that Izzy loves, the imaginary character of Blackbeard. He tells Spanish Jackie and the British that Stede has “done something to my boss’s brain.” 

Izzy is the only other person who calls Blackbeard “Ed” or “Edward.” When Stede uses that name, Izzy violently corrects him. Even Calico Jack’s nickname for Blackbeard isn’t “Ed”—he calls him “Blackie.” Izzy thinks of himself as the most important person in Blackbeard’s life, which gives him permission to use this intimate name. But the irony is that Izzy’s loyalty falls apart when Blackbeard is being Ed. Izzy only loves the idea of Blackbeard, not the man beneath the costume whose name Izzy uses.

I also have a theory that Izzy was once a “Stede” himself in some ways. A man who worked desperately to kill any softness within himself, even though it still surfaces now and then. When Lucius asks him if he’s ever been sketched, there’s a split second when Izzy looks like he wants to connect, to be desired, to be a part of something. But he kills that impulse immediately and tells Lucius to fuck off. 

Still, his ineffectiveness as a man of action parallels Stede’s. The crew is generally unafraid of him, and they mutiny almost immediately when he becomes their captain. Izzy is performing all of the trappings of violent masculinity, but it’s so obviously a performance that everyone else sees it as harmless. 

CALICO JACK

Calico Jack is another ex, and he almost fills the role of “the one who got away.” If not quite that, he definitely serves as a reminder that Blackbeard has a past that Stede has no part in, and a path forward that Ed could take. Stede has been falling in love with Ed, but the character of Blackbeard looms large when Calico Jack shows up. Everything is a performance of masculinity with Jack. Stede can’t compete with it, but he also doesn’t seem to want to. Calico Jack and Stede LITERALLY have a pissing contest, which is fairly one-sided, and later Stede spends hours comparing himself to Jack while watching him and Ed on the beach through a telescope. 

FEELINGS

I don’t think Edward realizes the depth of his feelings for Stede until the night of the fancy party on the ship. I think before that, he’s intrigued. He loves that Stede is doing something “original.” Stede is the break in Blackbeard’s monotony. I think Blackbeard sees Stede as his escape…literally. He makes a plan with Izzy to kill Stede and take his place as an aristocrat. (This plan is the exact one that Stede carries out with Mary later—a corpse showing up, horribly disfigured, but still identifiable.)

After Stede avenges Ed by passively aggressively destroying everyone on the fancy party ship, we get the lovely “you wear fine things well” scene. It’s in the MOONLIGHT, for godsake. Ed has decided that the rich are truly not his kind of people. But he still clings to the bit of red fabric from his mother from all those years ago. Without even knowing its significance, Stede tells Ed that he deserves it. That he’s very sophisticated. That he wears it well. 

The fabric is red, and that Stede puts it in Ed’s breast pocket…almost like Ed’s very heart is “this tatty old thing,” and Stede puts it back into his chest for him. 

(And it’s at the beginning of the next episode that we get a brief “falling in love” montage.)

As far as Stede goes, he doesn’t have a clear understanding of what love is for most of his time with Ed. He knows that he cares about him, but it’s not until Mary describes the feelings of being in love that Stede understands what he feels.

LIGHTHOUSES

There’s the scene when Stede says that he should have been a lighthouse to his family, a guiding light. Ed points out that people are supposed to avoid lighthouses, so that they don’t crack up on the rocks. But the reality is that lighthouses are both guiding lights and warnings. It’s a lighthouse that saves the whole crew from the Spanish in episode four. 

I think Ed has created the character of Blackbeard to serve as a sort of shadow version of a lighthouse…the fire in his beard serving as a light, warning to stay away. Because he’s a monster—the Kracken who killed his father, who doesn’t deserve fine things because he and his family are “just not those kind of people.” 

The tragedy is that when Ed goes towards the light of Stede, he breaks up on the rocks. 

TOUCH

In episode five, when Ed and Stede attend the fancy party, there’s a moment at the dinner table when Antoinette reaches over to pick something out of Blackbeard’s beard. He startles so much that it’s violent. In episode seven, Stede and Blackbeard have a similar moment, but this time it’s relaxed and Ed is open and calm. When Calico Jack shows up, the use of touch returns to violence, even just casually. Blackbeard and Calico Jack initiate things like “whippies” and “yardies” and “coconut wars.” At one point, Blackbeard laughingly tells Jack to whip his balls, all as part of the maniacal, unhinged “fun.” All of the touch between Jack and Blackbeard is a heightened performance of masculinity. By contrast, Stede stands on the beach with a parasol while everyone else drinks plays with knives, not participating in the violence.  

TRANSFORMATION

This theme is at the absolute heart of this show for me. 

Blackbeard’s gender expression softens the more time he spends with Stede, eventually leading to him shaving off his beard, completing his transformation from Blackbeard to Ed. Right before he shaves is the only time we ever hear him refer to himself by his full name. “Edward Teach, born on a beach.” The next time we see him, he really is just Edward Teach. No longer Blackbeard. He’s ditched his Mad Max leather and his black beard, and is in soft, flowing fabrics. A billowy shirt for the kiss on the beach (where he says he just wants to “be Ed”). He wears Stede’s old floral robe during his time on the Revenge afterwards (the same one Stede wore while jealously watching Blackbeard and Jack on the beach). 

Which makes his re-transformation at the end of the season all the more heartbreaking. He tries to “hold on by a thread” to this softer version of masculinity, sometimes by literally holding on to the threads of Stede’s old clothes. But in the end, the harsh Blackbeard version of masculinity takes over again. 

He lets go of the fine fabric that Stede told him he wears well. He lost the finest thing he’s ever had—Stede—so he must not deserve the fine things after all. He lets go of his own heart. And in the next moment, he pushes Lucius overboard…the first time he’s actually killed a man since killing his father. Then he cuts off Izzy’s toe and force feeds it to him.  

The transformation ends with Ed drawing the beard back on, with the addition of dark makeup around his eyes. (This look felt to me like a masculine echo of the “mascara streaming down her face” image, and we see this parallel even more strongly in the shot of Ed sobbing in Stede’s now empty quarters.) Masculinity is a costume he must put on.   

And y’all there’s so much more. Ed and Stede’s musical theme—the little melody that plays in their moments of connection. The fact that so much of the fancy dress party scene is shot from lower angles, as if Ed has to look up towards them. The fact that the first time we see Mary, her dress style is from the 1850s even though it’s the 1700s, because she’s a woman ahead of her time. And the way that it normalizes queerness and anti-racism and women in positions of power. 

DO YOU SEE WHY WE ALL LOVE THIS SHOW? 

The way the fandom has embraced and celebrated and fan-fictioned and cosplayed and taken this show on as their own is just so beautiful. So consider this blog a part of all of that. 

(And then someone tell me how to get into a writer’s room for a show like this.) 

Writing Elsewhere

Hello, my friends! 

Things have been a bit quiet here on the blog lately, and I just wanted to post real quick to excuse and justify my absence. 

RJ and I are continuing our Sister Blog Challenge, but we're on a brief hiatus while we focus on other projects. I'm doing NaNoWriMo (again) this year, so for the month of November, I'll be focused on that. And during October, I spent a lot of time editing old works and submitting them for publication and applying for writer residencies and doing all kinds of other writerly things. 

But if you're craving some Liz writing, never fear, because one of my essays got accepted for publication! You can read my creative non-fiction piece, "The Goddamn Miracles of Nature," on the Sad Girls Club Literary Blog by clicking here. (While based on truth, names have been changed to protect the innocent and guilty alike.) 

Happy reading and writing, loves.

Hardcore Handicrafts

Okay, so part of this entry is a shameless plug. I just opened an Etsy shop of subversive cross stitches and I want everyone to buy things from it. BUT, I also wanted to talk about the kick-ass history of “craftivism,” and of people (especially women) using traditionally feminine art forms to make their voices heard. Because it’s pretty rad. So here.

Three Awesome Ways That Crafting Has Been Used To Fight “The Man”:

1. Allowing people to take economics (and politics) into their own hands.

During the American Revolution, women often made their own clothes and spun their own yarn, but not necessarily just because it was the 1700s. You could buy clothes and yarn in shops all over America, but here’s the kicker—they were all British imports. By making their own cloths, yarn, and textile goods, women were hitting England where it hurt most…its pocketbook. It was just one more way Americans were declaring their independence.

Mahatma Gandhi used a similar tactic during India’s fight for independence. He encouraged the people of India to spin their own thread, rather than buying it from British imperialists. But for Gandhi, the spinning wheel was also a powerful symbol of claiming power non-violently. The act of spinning itself was meditative, and it was a way to show that the people of India could be self-sufficient. By spinning their own thread, they were both hitting British pocketbooks, and sending the message that Britain wasn’t needed. (This is why India’s flag features a spinning wheel.)

And as the punk rock scene (and then like, a bunch of other scenes) has been showing us for decades, making your own stuff is a way to fight corporate greed. It keeps money in the hands of individuals and small business owners, printing T-shirts in basements and hand-drawing posters. If you disagree with the way that large corporations are run, making your own promotional materials is a pretty rad way to show those large corporations that you don’t need them.

2. Giving people a safe place to gather for political meetings.

Who would suspect a group of women gathered in a parlor, knitting socks and hemming quilt squares? It’s just women’s work. Surely they just talk of hats and recipes, not anything radical like the abolition of slavery! Well, joke’s on you, Patriarchy, because that’s exactly what women did for decades. It was difficult, if not impossible, for a woman in the 1800s to host a meeting of abolitionists in her home. Nor could they easily meet elsewhere, without ruining reputation and having to fight sexism ON TOP of racism.

But women found that when they gathered to spin thread, or quilt, or knit, or crochet, or do embroidery, they were left alone. So they used those opportunities to make plans, discuss activism, and create change.

Eventually, these groups started using their handicrafts to raise money for anti-slavery efforts, and began including poems and images to further their cause.

3. Make powerful political statements.

There are so many awesome examples of this, but here are a few of my favorites.

WOMANHOUSE
In late 1971, two female art teachers got real tired of women not being taken seriously in the art world. So they set up a “room of their own” by renovating a California mansion and inviting a bunch of women artists to create installations and performance pieces highlighting women’s experiences. They took a traditionally female space (“the home”) and filled it with all of this thought-provoking feminist art.

Faith Wilding’s “Crocheted Environment,” which is this fascinating combination of a spiderweb and your grandmother’s comforting pillows.

THE AIDS QUILT
In the mid-1980s, activist Cleve Jones got the idea for a quilt of panels with names of those who had lost their lives to AIDS. The response was immediate and enormous, and in 1987, the finished quilt was displayed on the National Mall in Washington. It was the size of a football field and contained 1,920 panels. It was taken to cities throughout the U.S., where more panels were added as money was raised for AIDS research and care. Today, it contains more than 48,000 panels, and similar quilts have been created all over the world.

PUSSY HATS
I still don’t like talking about the November 2016 election and what it meant. But damn if women didn’t SHOW UP to say something about it a few months later. A couple of women in a crocheting class got to talking about their activism and created the now famous pink pussy hat, versions of which were worn by thousands of women across the country in January of 2017. It’s become a powerful symbol of owning womanhood and refusing to be silenced.

My own lil etsy shop ain’t quite the same as an AIDS quilt or installation piece in a Victorian mansion. But I love feeling connected to all of the folks who’ve come before me, needle and thread in hand, ready to change the world. Athena may be the ancient Greek goddess of weaving and handicrafts, but damn if she ain’t the goddess of war, too.



Further reading
Buzzfeed: History of Craftivism
The Woven Road
Medium: Craft's Long History In Radical Protest Movements
Lithub: Ancient Origins of Feminist Craftivism
Timeline: Craftivism, Art, Women
PBS: Knitting Activism
Time: Craftivism Protest
The Wire: Ghandi and the Spinning Wheel
Womanhouse
Aids Memorial Quilt
Pussy Hat Project

What are you doing August 21, 2017?

If you live in the United States and your answer is anything other than "watching the total solar eclipse," I'm gonna say you need to change your plans.

Here's why this whole thing is so awesome.

First of all, it's a cosmic coincidence that total solar eclipses happen AT ALL. Our sun just happens to be 400 times bigger than the moon, but it also just happens to be 400 times farther away from us. So from our point of view on earth, they appear to be exactly the same size. The moon passes between the sun and the earth, causing a total solar eclipse, fairly often...it's visible from some point on earth about once every 18 months. But the path of totality crossing the United States? That's a little rarer. The last time it happened was in 1979, and it won't happen again until 2024.

So where's it gonna be visible? HERE:

That grey band is where you gotta be to see totality. You'll still get a pretty good show elsewhere (check out this guy's site for more info), but it's less than a day's drive to get to the path of totality from just about any point in the U.S. So I say go for it! Carpe diem, people!

Although...two warnings. Number one, don't look at the eclipse without eye protection. You can suffer serious permanent eye damage from looking directly at the sun, even when it's partially blocked by the moon. You can get special "eclipse glasses" for hella cheap on Amazon, though (pack of ten for $10). Regular sunglasses won't cut it. Number two, hotels and campsites along the path of totality are BOOKED SOLID, and have been for months. Because big space nerds like me plan their entire year around this.

BUT JUST CHECK OUT WHAT WE HAVE TO LOOK FORWARD TO!
Here's what will happen in the path of totality on August 21st, 2017, over the course of about half an hour. (DON'T FORGET TO WEAR ECLIPSE GLASSES!)

First Contact
As the moon starts to move in front of the sun, it will appear to take a little tiny bite out of it. You'll be able to see this with a telescope before you can see it with the naked eye.

Crescent projections may possibly be seen on various surfaces
As more of the sun is covered, it will look like a crescent. If you happen to be near some trees or other vegetation, look on the ground. The spaces between the leaves create a "pinhole camera," projecting images of the solar eclipse on the ground. You can also create this same effect by making your own pinhole projector--just punch a tiny hole in a sheet of paper or cardboard.

Changing light
The light will become noticeably dimmer. You may even notice a strange or eerie "tint" to the light as more of the sun is blocked, and colors will appear washed out.

Strange animal behavior
If you happen to be near wildlife, you may notice some changes in behavior. Animals don't keep calendars of solar eclipses (that we know of), so they interpret the darkening light as oncoming twilight, and may either settle in for the night, or get up and start their nocturnal activities. (Joke's on you, fauna!)

Sharpening shadows
Because of the angle and amount of light, shadows become much sharper. If you look at your own shadow, you may be able to see the shadows of the individual hairs on your arms.

Drop in temperature
Two thirds of the sun's radiation is in the form of heat, so as more of the sun is covered, we get less of that heat. The weather changes will vary depending on where you are, but you can expect an average drop in temperature of about 10 degrees Fahrenheit.

Oncoming umbral shadow
Quick! Look to the west! You'll see the moon's shadow barreling towards you as the eclipse continues. The shadow moves across the landscape at over 1000 mph! (By comparison, planes cruise at around 575 mph, and the speed of sound is about 767 mph.)

Shadow bands
Just before totality, you may be able to see shadow bands rippling across any white-colored surfaces nearby. The tiny sliver of sunlight remaining passes through layers of turbulent air in the earth's atmosphere, producing shadow bands--kind of like the patterns the sunlight makes in water.

Bailey's beads
The moon isn't a perfect sphere...it's got mountains and valleys just like earth. As it passes in front of the sun, a few last shafts of light pass through these valleys, creating bright "beads" of light in a ring around the moon.

Diamond ring
When only one of Bailey's beads remains, the moon will look like a diamond ring in the sky.

Totality! 
THE MOON WILL COMPLETELY BLOCK THE SUNLIGHT! Totality will last about two and a half minutes, depending on where you are. And it will be amazing. Night will fall during the middle of the day, and instead of the sun, there will only be a black disc visible in the sky.
For a few brief seconds at the beginning of totality, you may be able to see the sun's red outer photosphere and chromosphere. If you are lucky, you may even see prominences, red streamers of light created by eruptions on the sun.
You'll be able to see the stars and planets during the day. In the United States, you'll be able to see Venus, Jupiter, and maybe Mars and Mercury.
The light will create a 360-degree sunset.
And for a few brief minutes, you'll get to see the sun's corona...outer wispy layers of ionized gas that are only visible during a total solar eclipse. The translucent shafts of light shining out from all sides of the sun is one of the rarest sights in nature, and can be as bright as a full moon at night. This is the main source of light during an eclipse. If you have a telescope or binoculars, you can look for loops and arcs in the corona that reveal the sun's magnetic fields. The corona is very difficult to photograph, and photographs aren't able to capture the full live experience of viewing.

Then, Bailey's beads will become visible again, the umbral shadow will continue moving west, and everything else will happen in reverse order.

AND WE GET TO WITNESS IT! This is a cosmic MIRACLE. I know the word "miracle" has religious connotations, but I can't think of a good secular equivalent to describe how incredible it is that this happens and that we get to be alive and on earth and in the United States to see it.

So what are you waiting for?! Make your plans! Figure out the closest path of totality and tell your boss you're taking the day off.

Here's your packing list:
- Binoculars and/or telescope
- Eclipse glasses
- A pinhole camera (piece of cardboard with a hole poked in it)
- A large piece of white posterboard or foamcore board to see shadow bands
- A full tank of gas
- A sense of wonder.

See ya in 54 days, solar eclipse.

Learn more about the upcoming solar eclipse here, here, and especially here.

I'm Tired of Marvin Asking Me What's Going On

My grandparents recently sent me an email (WITH AN EMOJI!!!) telling me they've been hoping for a blog update soon. It was the final motivation I needed to dash one off really quickly. Things have been busy in the House of Chapman. Here's what's going on.

Getting a job! 
I work 20 hours a week as a receptionist for a graphic design company called Royter Snow! I applied on Monday morning, interviewed Tuesday morning, and started work on Wednesday morning. It's really fun! My organizational heart is happy with the tasks I do, and I have plenty of down-time where I'm allowed to work on homework. The guys who run the business are friendly and laid-back, and the building is awesome. (When I mentioned my acting work during my interview, the business owners said I'm welcome to take off for an interview or day of filming if that ever comes up. PERFECT JOB.)
(Incidentally, if you're looking for an office space in Salt Lake City, Royter Snow has two suites available for rent. Only $420 per month. Check out the KSL ad here.) 
And working with designers means my office space is pretty. Here is a picture of the view from the break room.

Cabaret!
OMG WE OPEN ON FRIDAY. I feel super good about the show, and a little nervous about layering ALL the tech in over just four days. But it's happening whether I'm nervous or not. We did a "sitzprobe" with our small orchestra today and I grinned my way through most of "Wilkommen." It sounds SO GOOD. So full and lively and gritty and awesome! If you'd like to see me in vintage tap pants, you can get tickets here. Aaaaaand you'll get two for one*--Jacob is also in it! Surprise! A cast member had to drop out, and the production team was desperate to find someone to replace him, and I put Jacob's name/face forward, and now he's Ernst Ludwig. And he's spectacular. Obviously. Everyone is. Here is a picture of Anne-Louise Brings, who plays Sally Bowles, in rehearsal with the orchestra at a local studio.

Liz gets an MFA!
Still plugging away at my Masters. There are days when I feel so certain that it's the right thing to do, and other days when I question my decision. But deep down, I know that this degree will open doors for me that were previously closed, both because of the degree itself, and because of the writing skills I'm learning. This semester I'm taking two classes: The Craft of Fiction, and "The Rock Stars and the Poets." The last class is as fun and interesting as it sounds. Here is a picture of my homework for this week.

Acting! 
I've had a bit of a dry spell when it comes to casting, and for a while there, it was really rough. As much as I intellectually KNOW that rejection is a big part of this industry, it can still get to you. During July, I had 8 auditions and didn't get cast at all. I know that doesn't sound like a lot, but that's twice a week. When you're getting a "no" twice a week, it starts to feel like it must be something personal or something. It threw me into a little funk for a minute, there, and I'm still sort of re-arranging my psyche to help me better deal with rejection in the future. In the meantime, I keep auditioning! The dry spell can't last forever. I do not have a picture to accompany this item on the list.

The Internet! 
I love the internet. So to conclude, here is a favorite thing from the internet lately. In response to a prompt to name the creatures on this old-timey map, someone came up with these species names:

D - Pigdoggle
E - Snuffcumberworm
F - Schnozpoddler
G - Seahorse
H - Piggly Frontwave

(Snuffcumberworm and Schnozpoddler are my favorites.)

*Beedle-dee-dee-dee-DEE.
SaveSave

"In a pair of lacy pants": A Defense of Being the Mormon Cast Member in Cabaret

If you follow me on other forms of social media, you may have noticed that I'm in rehearsals for Cabaret with Utah Repertory Theatre. I'm in the ensemble, playing one of the Kit Kat Klub girls, who works in the nightclub in "a pair of lacy pants." (Incidentally, this is the one show I've done in the past several years that my dad and stepmom are able to come see. The one where I'm dancing in my underwear. I gave my dad fair warning, and he replied that he's not prudish, and truth be told, he knew me as a toddler, and has seen me dance in less than my underwear. Fair enough.)

You may be thinking, "But Liz! 'Cabaret' all sex and stuff! You're a True Believing Mormon! What are you doing dancing in your underwear?!"

I'm dancing in my underwear because I believe in the story that Cabaret tells, and I think it's important.

Here's my philosophy; the six main ideas behind my decision to do Cabaret.

POINT #1: THEATRE CAN TEACH AND INSPIRE AND MAKE US BETTER HUMANS

Brigham Young once said, "Upon the stage of a theater can be represented in character, evil and its consequences, good and its happy results and rewards; the weakness and the follies of man, the magnanimity of virtue and the greatness of truth. The stage can be made to aid the pulpit in impressing upon the minds of a community an enlightened sense of a virtuous life, also a proper horror of the enormity of sin and a just dread of its consequences. The path of sin with its thorns and pitfalls, its gins and snares can be revealed, and how to shun it."

And I agree. But I don't think that limits valuable theatre to ONLY "The Testaments" and the Nauvoo Pageant. Mormons don't have a monopoly on truth and virtue. We can learn important lessons about how to be smart and kind humans from so many sources, including shows like Cabaret.

POINT #2: NO DARKNESS --> NO CONFLICT --> NO DRAMA --> BAD THEATRE

Therefore, actors are needed to play the parts that aren't always saintly. If the Bible was made into a stage play, SOMEONE would have to play Jezebel. You simply can't have good storytelling without including people making bad choices.

(And to be honest, I don't even know if my character's choices to work in a nightclub are all bad. I haven't decided yet.)

Sometimes there are just characters making choices, and you as the audience can evaluate if they're good or bad, or why they made them, or how you can live your life differently because of their example.

POINT #3: IT'S PRETEND

I just finished a play wherein I set things on fire with the intention of killing people. The play before that, I kissed two men who were NOT my husband. Those are both bad things in real life. Significantly worse things than dancing in my underwear, if we're being honest. But it's not REAL. I can't bring myself to believe I'll be held accountable for things I'm doing in character. There are a handful of things I don't think I will ever do onstage or on camera, but the majority of them have to do with whether or not I feel the work is valuable.

POINT #4: I BELIEVE IN THOUGHTFUL STANDARDS THAT NOT EVERYONE HAS TO SHARE

If you're uncomfortable with shows like Cabaret, I think that's okay. You have a right to abstain from the things that don't feed your soul. You also have a right to do so free from judgement. But that judgement needs to go both ways. Others have a right to participate in things you feel uncomfortable with. I, personally, don't feel uncomfortable with the content of Cabaret. I've thought and studied and yes, even prayed, about this decision for myself. I won't be offended if you don't agree with the content of the show, or feel uncomfortable, or don't want to see it. (I'm a little offended by the idea that you might think I'm a heathen for participating, because I feel it doesn't give me due credit, but that's my own issue.)

POINT #5: I ALWAYS WANT TO GROW AS A PERFORMER

I haven't played a dance-heavy role since...2006? After several injuries in my early twenties, I shifted my focus away from dance and more towards acting and singing. I still enjoy dance, and I'm fairly decent at it. But this show will push me to re-awaken and strengthen skills that have laid semi-dormant for a decade. Skills that I know will make me a better performer. And it gives me an opportunity to explore and shape a character unlike any I've played before. I want my acting jobs to push me into new territory, to force me outside of my comfort zone just enough to help me grow.

POINT #6: RELEVANT ART SHOULD BE DONE

When we had our first meeting as a cast this week, the director and several cast members talked about the deep need they (we) feel for this show right now. Because here's what Cabaret is actually about:
- It's about the dangers of nationalism, when it runs unchecked.
- It's about what happens when a leader shows up and promises to fix the problems of a lot of people who are underemployed, disenfranchised, and angry.
- It's about blaming an entire group of people for the problems of society.
- It's about a time and place in history when LGBT rights were being fought for, and sexuality and gender was being researched and honored, and the LGBT community was given a safe haven from bigotry, before a World War sent the entire movement underground again.
- It's about joining the crowd without trusting your own heart and conscience first.

Those are lessons we need now and always. As the granddaughter of German immigrants, as an LGBT ally, as a citizen of the United States, and yes, as a Latter-day Saint, I feel a duty to share these lessons. It really is okay if you feel uncomfortable about the context in which these lessons are shared. But for me, I'm grateful for the opportunity.

Before I blog about NYC...

I wanted to announce that I now have a Patreon page!

If you've never heard of Patreon, it's awesome. It's the best way for artists, writers, filmmakers, etc to make money with their work. Patreon is a pledge system..."patreons" (or patrons) find work that sounds interesting to them, and pledge so much per month or per work. Artists get to avoid working with advertisers, and patrons support art directly, and it's awesome. And usually, as a thank you, artists give special rewards/benefits to Patreon supporters.

So if you'd like to get an exclusive blog entry from me once per month, feel free to pledge! Click on the button on the right, or here.

Thanks!

(And I really am gonna blog about NYC. Stay tuned.)