Some time ago, I mentioned that I’d decided to write a scheme of work for Julius Caesar for our place. And I had a LOT of fun working on it whilst school was closed, but never posted anything about it …
Never mind isolation and social distancing, it’s ‘slogan fatigue’ that’s slowly killing me …
Shakespeare IS political – understand that, and move on
There have been plenty of times when I’ve felt the need to apologise for being political in a blog about Shakespeare. I think it makes my employers nervous, despite the fact that they never get named, and the blog is entirely independent of them.
They kill us for their sport.’ (King Lear, IV.i), [a]
In Nick Hornby’s terrific ‘High Fidelity’, the music-obsessed narrator, owner of a record store, is asked to name his favourite songs by a pretty, young journalist type. [b] He has an embarrassing meltdown. Stumbling out a few choices, he resorts to contacting her several times afterwards, with constant revisions to his ultimate ‘best of’ list, until he realises he’s practically stalking her …
It’s been a long, hard year, and I need a real treat …
Whilst it’s not all been bad news, Spring Term was dominated by an insidious, invidious, but ultimately innocuous illness that lingered like an unwelcome guest at a party, refusing to take all the hints I could throw at it that it needed to exit stage left. Summer Term replaced that with a series of professional setbacks and niggles that have led to my heavy-hearted decision to leave a school I always thought I would (eventually) retire at, and where I work daily alongside some of my closest friends. ‘You do the math‘, as Shakespeare never said.
I’m currently open to offers inside and outside the profession, by the way …
Today marks the beginning of one of the most eagerly anticipated parts of the school year … the final summer half-term. The countdown’s on, for teachers at least: 7 weeks; 35 working days; a maximum of 28 lessons with each of those classes.
Ponytail Shakespeare read-through: The Merchant of Venice, Act I
‘Bring your baggage to the texts‘, I always say …
By this I mean your life experiences, the nature, the nurture, the things that define you, good and bad. These are what make your responses to texts individual; they are what lets texts get under your skin as you measure yourself against the moral and ethical dilemmas they present; they, as experience changes you, are what make occasional re-reading such a thought-provoking and rewarding exercise.
So why am I feeling so uneasy about Antonio this time round?