Holly Robison: Buddy for "The Gardener's Wife"

With so much time dedicated to the marketing of "Family Famine: Hunger for Love", I had to focus on story development.

As simple as blocking the time on my planner, I scheduled every Friday from 1:00pm to 3:00pm to be "The Gardener's Wife" Day with story buddy Holly Robison. (Yet this time was to almost 4:00pm.)

As there are one or two songs I would like her to sing duet in this story, then it made sense to choose her. The other fact is that she is fun and inspirational.

For perspective on the story, I asked Holly to read the version in "Latin American Folktales: stories from Hispanic and Indian traditions" edited by John Bierhorst and published by Pantheon Books. The way Holly would interpret what was happening through her tone of voice or pauses was enough for me to dwell in the story and create images in my mind.

Afterward the reading, Holly asked me questions. For some I did not have answers but they were great to consider.

Out came the whiteboard and here were some of the results:

• Does the Garden reflect the barrenness of the Gardner's Wife?
• With the image of the squash at the end, how can that image be threaded throughout?
• What are the meanings behind the symbols of the bird that speaks, the orange tree that dances, and the water that jumps and leaps?
• What if everything seemed to blossom around the Gardner's Wife except for having children?
• Would the Gardener's Wife have a favorite plant or tree? Would it be referred to in the story?
• What importance, if any, is there for the titles to be Gardener and the Gardener's Wife versus Farmer and the Farmer's Wife? Has this any Colombian connection? Does this mean that the Gardener and his Wife live within the palace?
• What draws the Queen to the garden? Was there a rumor that the King overhears and shares with her?
• Why would the King need a night patrol to overhear conversations? What kind of unrest is in the kingdom? What problems does the King fear that people may talk about?
• When reviewing the Hero's Journey (Joseph Campbell), is the threshold when the Girl goes up the mountain and then down to the plain?
• What is the Gardener's Wife response when each of her Adopted Children go on the quest?
• Why does the Queen not sense the presence of her own Children when with the Gardener's Wife? Or does she?

Finally, a rough outline of the story was drawn as I wanted the Gardener's Wife to be the focus whereas the original focuses on three sisters and who they want to marry first.

Besides whiteboards, I am a believer in scrap paper. The image below is the original outline and some of the print from the other side can be seen:






















This is only the beginning of a fantastic journey for "The Gardener's Wife". Feel free to follow the process.

Until we tell again,

Rachel Hedman

Professional Storyteller

Former Co-Chair of Youth, Educators, and Storytellers Alliance (2005-2008)

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com
Other places to find me: Twitter, YouTube, Facebook, LinkedIn, Professional Storyteller

Lion's Whisker/Tiger's Whisker--Too known?

There are so many versions of "Lion's Whisker" and "Tiger's Whisker" around the world that sometimes I pause considering this story as part of the "Family Famine: Hunger for Love" narrative production.

Back in 2005, this story was debated and I even put my own twist to it with a child being the wise one instead of the traditional old woman. Let us see the thoughts I had then on concepts and outlines. . .

Wife (Jane) notices that Husband (Chad) is coming home later and later from work. By the time Chad gets home, supper is cold and he is quiet at the table. Even his face looks fierce with it being unshaven and rough. Jane is afraid to even speak because, for the first time, she is afraid of his anger. He even turns his back to her in bed.

Jane turns to her sister, Suzanne, for comfort. Jane's niece, Emily, overhears from behind the doors, as children often do. Suzanne asks Jane to watch Emily for an hour as she has quick errands to do. While Jane plays with Emily, the girl tells her aunt that a tiger's whisker is needed. Jane laughs and sees this as a game. Emily said that her mom read a story from Japan last night and that was what a woman did for her husband. Jane softly smiles and asks where she is to get a tiger's whisker.

Emily, knowing the seriousness of the task, says that there is a fierce tiger in her bedroom. Emily instructs Jane to bring a ham sandwich tomorrow. Jane, willing to play along, comes by the next day with the sandwich. Suzanne once again goes on errands. Emily drapes the living room in blankets and gives green and brown bits of construction paper to Jane for camouflage. The sandwich is placed in the hallway while the aunt and niece hide behind the blanket in their camouflage. They never site a tiger but they did have to be careful of snakes and quicksand. Emily tells Jane to come again and with another sandwich.

Jane returns and notices that only crumbs on left where the ham sandwich once lay. She places a turkey sandwich in its place and again Emily and Jane are in camouflage. This happens for three weeks. Every time, the sandwich disappears.

Now Emily says that they can get closer to the tiger's lair. Emily asks Jane if she knows how to play any instruments. Jane mentioned she used to play the piano and Emily reminds her that a piano is awfully hard to take through the jungle. Jane said that she thought she has a recorder somewhere when she was a kid. The next day, Emily and Jane creep carefully to the hallway but still holding back since the lair is on the other end of the hallway. Jane plays--as best she can--on the recorder. This continues for another three weeks with the food and music.

Jane says she feels ready to approach the lair. Emily says she will pray for her and for the tiger. The next day Jane gets to the doorway and plays the recorder and places down the sandwich. A huge stuffed tiger, like the kind you win at carnivals, sat on the bed. For three weeks she is in the tiger's view at the doorway.

Finally Jane slowly approaches the bed and sits on it. Music plays and the two stare at each other. After three more weeks, Emily places the stuffed tiger's head on Jane's lap. Jane reaches out to touch the tiger and the tiger continues to lay. No attack is made. Then three more weeks, Emily gives Jane some scissors and while the stuffed tiger rests on Jane's lap, Jane cuts off one of the plastic whiskers.

Emily and Jane go back to the living room--excited to have done it. Emily tells Jane that Uncle Chad is nicer than a tiger but his whiskers can be quite rough. Emily also tells Jane that she's still welcome to bring sandwiches. . .for the tiger.

Jane learns from this little wise one and has patience and love for her husband. After four months, Jane sits at her table, the supper warm, and her husband smiling with a smooth and shaven face.

This is a rough version but at least you see how things would connect.

Until we tell again,

Rachel Hedman

Professional Storyteller

Co-Chair of Youth, Educators, and Storytellers Alliance

Tel: (801) 870-5799
Email: info@rachelhedman.com

URL: http://www.rachelhedman.com

How-To Blog: http://storytellingadventures.blogspot.com

Performance Blog: http://familyfamine.blogspot.com

The Beginning--An Idea Formed

This has not been the first time that I tossed about the idea to create the narrative production "Family Famine: Hunger for Love". I have wrestled with the magnitude of this project since summer of 2005, especially as this will determine my next level as a professional storyteller and ultimately my legacy.

Part of my artist statement says, "I am exploring the strength of family relationships within the lives of historical, mythical, and personal heroes." Though that was written, I practically abandoned my intended exploration. . .until now.

You are welcome to join me on this journey and offer your comments and questions. The posts will be made almost daily and likely short compared to the how-to articles I write semi-monthly on my "Voice--A Storyteller's Lifestyle" blog.

From what I call "Random Rachel Ideas" (that Jimmy Neil Smith has placed the acronym RRI), you will see thoughts ranging from story ideas and transitions to the marketing of such a venture. You will receive almost a full picture of the research and the rehearsal needed to make something extraordinary.

Back to the Inspiration--
Ever since my cousin, Kristen Lorensen, mailed me the Ojibwa tale "Forsaken Brother", I have been intrigued by the presence of such stories of abuse and abandonment in other cultures and times including nowadays.

Kristen is known as the family history expert. She discovered that deep within our family bloodline we have some Ojibwa in us. (I am sure my blonde hair and blue eyes masks any of that background.) Knowing my love for stories, she determined that she could keep track of the names and dates of our family while I could explore the cultural stories that rise from each one.

As soon as I read "Forsaken Brother", I knew that this would be my anchor story--the story that would be in the middle of this "Family Famine: Hunger for Love" program. Finding what will go around it will be most of the development adventure.

At least I know the storytelling community is filled with wonderful mentors. Don Doyle, for one, will be hearing from me much more often.

Until we tell again,

Rachel Hedman
Professional Storyteller
Co-Chair of Youth, Educators, and Storytellers Alliance
(801) 870-5799
info@rachelhedman.com
http://www.rachelhedman.com
http://storytellingadventures.blogspot.com