Shakespeare Saradha Koirala

This was first written in July 2020 but lost and abandoned due to sleep deprivation. I may have once had vaulting ambitions for it, but here it is.

Most years around this time, I’m digging out my Macbeth notes and introducing another wide-eyed bunch of fifteen year olds to the Scottish play. In my early years of teaching I asked a colleague how I should start and she very generously stopped what she was doing, swivelled her chair over and explained her entire approach to teaching Shakespeare lesson by lesson. I’ve been doing it this way ever since:

We read the play together as a class, stopping for clarification and amazement at the use of language. We note down the references to sleep, notice how death is compared to sleep, how lack of sleep causes madness and hallucinations; how after the Macbeths murder Duncan, we rarely see them again in daylight, suggesting that perhaps they are ranting and scheming all night. They’re not sleeping. Although Macbeth’s first hallucination comes before the murder — the dagger of confirmation bias that leads him to commit the deed he claims to be in two minds about — after the murder these ramp up. Right away he swears he could hear someone say “Sleep no more, Macbeth hath murdered sleep.” And then sleep no more he does.

My job teaching Shakespeare is on hold for a while, but my current job is making me an even deeper analyst of the themes of sleep.

Every morning for the last 6 months I’ve been subconsciously adding up the sleep I got over the previous night. At first I would crawl into bed so exhausted I had no trouble falling asleep, but later I would lie awake waiting for our baby to wake and need me. Most nights I was clocking between 5 and 7 hours though, albeit in snippets. I would fall asleep with the tune of Twinkle Twinkle Little Star roving around my brain, or the steady chant of the first two pages of Goodnight Moon. Babies crave routine, they tell me. Routine makes the days blur and bleed into each other, indistinguishably. In the great green room there was a telephone and a red balloon, damn spot.

A Facebook post about my lack of sleep garners responses from parents far and wide, “they all have ptsd” my partner says. A friend calls and tells me how useful controlled crying was for their first. We switch to video so he can see my baby trying to crawl and he sings a waiata to her. She bursts into tears. A few days later another friend sends a long message about the complete opposite approach his family used. I don’t even know if I’m confused anymore.

Some nights our baby doesn’t sleep because she wants to be in someone’s arms and how can you blame her? How can you refuse? She’s so very few months out in this vast unembracing world. Other times she’s just wide awake. I hold her and sway in that baby-holding way, while her big eyes glisten in the shafts of street light that find their way through the venetian blinds. She stares at the patterns it makes on the wall, scurries her fingers over my chest or moves them through the bedroom air. She’s calm in these moments, but I have no idea how to get her from awake, alert, curious and calm to deeply asleep in her bed.

Parents’ group share their brief frustrations with sleep in our Whatsapp chat, but it’s always attributed to a scheduled sleep regression, teething or the catchall cry of “wonder weeks!” No one’s admitting that sometimes babies defy the structure of night and day, sometimes they’re in shitty moods, sometimes they’re just amazed to be here and want to see it all for themselves.

The less sleep I get the more scheming a Macbeth I become, trying to cover the tracks of my absolute naivety in parenting. We wake and debrief, add up the hours and make a plan for the next night. How can she not love sleep? we ask no one. We crave the coaxing and cuddling, the singing and swaying for ourselves. We crave the sleep she’s refusing. Oh sleep, Sleep that knits up the raveled sleave of care, / The death of each day’s life, sore labor’s bath, / Balm of hurt minds, great nature’s second course, / Chief nourisher in life’s feast.

Until eventually, we dream of it.

BBC Culture has just published a list of The 100 Stories that Shaped the World from international writers’ contributions. I was stoked to be one of the contributors! Check out the whole list at BBC Culture and read about my top 5 here:

Song of Myself (Walt Whitman) and, indeed, Leaves of Grass as a collection, reads like a Humanist manifesto that celebrates a love of land, freedom, self and the connections between these. Whitman embodies a universal and omnipotent “I” into which readers can place themselves and have done over generations. It’s very much an epic poem, but plays with structure and language, the long lines moving with the breath, and surprising, explicit imagery. The shift away from traditional spiritual reflection – rumination on the connections between nature, God and the human mind – marks an important change in how we view the body and physical world. The many references to Song of Myself in pop and high culture over the years are testament to its potency, endurance and relevance. (number 87!)

Howl (Allen Ginsberg) marked a cultural shift, not just in literature (although this is hugely significant), but also in the way people view literature and art as something powerful and dangerous. The poem spoke to a group of marginalised writers and musicians and challenged the expectations of language and ‘high art’. Post-WWII when people were feeling either a strong desire to settle into familiar comforts and gender stereotypes, or anger at the establishment, Howl opened a gate for freedom of expression and allowed discussion, anger, excitement and all kinds of love out into mainstream society, subverting and questioning the norms. The Howl Obscenity Trial (1957) sent a message to the world about just how powerful language can be and the idea that a poem could incite legal action is thrilling. (number 53!)

To Kill a Mockingbird (Harper Lee) has been read and studied year after year in high schools and today, nearly 60 years after its publication, it’s still a deeply loved book by people of all ages. The links to American history and race relations are both specific to the Deep South in the 1930s and hugely relevant to today’s society. The themes of prejudice and empathy are quoted and referred to time and again to highlight aspects of our own society that need examining. To Kill a Mockingbird documents important historical ideologies that must never be forgotten as well as asking us to examine the way we treat all members of our communities. (number 27!)

Romeo and Juliet (William Shakespeare) is considered a deeply romantic play, but there is less to learn about love here than there is to learn about the petty differences that keep factions of communities separated. The tragedy is in the secrecy of the love between Romeo and Juliet and it’s a constant reminder to always questions our prejudices, whether they be newly formed or ancient grudges. This play has also been studied and read in classrooms for generations, influencing the way people view human behaviour and highlighting those aspects which are centuries old; deeply engrained notions of love at first sight and the lengths some will go to. Of course, Shakespeare has also influenced literature and pop culture in more ways than we can count. (number 13!)

The Handmaid’s Tale (Margaret Atwood), a powerful cautionary tale, has never felt more relevant. Ideas around the treatment of women and the dystopian society created are perhaps extreme, but feel like a plausible future for societies where women are continually being marginalised and their bodies legislated. The novel is a harsh indictment of gender stereotyping and patriarchal societies, reminding us how important it is to empower women to be agents of their own destinies and not allow their voices to be silenced. People have turned to Atwood’s horrifying view of the future time and again when reflecting on the current status of women in society. (number 16!)