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The Limitless Perspective of Master Peek, or, the Luminescence of Debauchery By Catherynne M. Valente

Issue #200, Special Double-Issue

, May 26, 2016

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(Finalist, Eugie Foster Memorial Award, 2017)

When my father, a glassblower of some modest fame, lay gasping on his deathbed, he offered, between bloody wheezings, a choice of inheritance to his three children: a chest of Greek pearls, a hectare of French land, or an iron punty. Impute no virtue to my performance in this little scene! I, being the youngest, chose last, which is to say I did not choose at all. The elder of us, my brother Prospero, seized the chest straightaway, having love in his heart for nothing but jewels and gold, the earth’s least interesting movements of the bowel which so excite, in turn, the innards of man. Pomposo, next of my blood, took up the deed of land, for he always fancied himself a lord, even in our childhood games, wherein he sold me in marriage to the fish in the lake, the grove of poplar trees, the sturdy stone wall, our father’s kiln and pools of molten glass, even the sun and the moon and the constellation of Taurus. The iron punty was left to me, my father’s only daughter, who could least wield it to any profit, being a girl and therefore no fit beast for commerce. All things settled to two-thirds satisfaction, our father bolted upright in his bed, cried out: Go I hence to God! then promptly fell back, perished, and proceeded directly to Hell.

The old man had hardly begun his long cuddle with the wormy ground before Prospero be-shipped himself with a galleon and sailed for the Dutch East Indies in search of a blacker, more fragrant pearl to spice his breakfast and his greed whilst Pomposo wifed himself a butter-haired miller’s daughter, planting his seed in both France and her with a quickness. And thus was I left, Perpetua alone and loudly complaining, in the quiet dark of my father’s glassworks, with no one willing to buy from my delicate and feminine hand, no matter how fine the goblet on the end of that long iron punty.

The solution seemed to me obvious. Henceforward, quite simply, I should never be a girl again. This marvelous transformation would require neither a witch’s spell nor an alchemist’s potion. From birth I possessed certain talents that would come to circumscribe my destiny, though I cursed them mightily until their use came clear: a deep and commanding voice, a masterful height, and a virile hirsuteness, owing to a certain unmentionable rootstock of our ancient family. Served as a refreshingly exotic accompaniment to these, some few of us are also born with one eye as good as any wrought by God, and one withered, hardened to little more than a misshapen pearl notched within a smooth and featureless socket, an affliction which, even if all else could be made fair between us, my brothers did not inherit, so curse them forever, say I. No surprise that no one wanted to marry the glassblower’s giant hairy one-eyed daughter!

Yet now my defects would bring to me, not a husband, but the world entire. I had only to cut my hair with my father’s shears, bind my breasts with my mother’s bridal veil, clothe myself in my brothers’ coats and hose, blow a glass bubble into a false eye, and think nothing more of Perpetua forever. My womandectomy caused me neither trouble nor grief—I whole-heartedly recommend it to everyone! But, since such a heroic act of theatre could hardly be accomplished in the place of my birth, I also traded two windows for a cart and an elderly but good-humored plough-horse, packed up tools and bread and slabs of unworked glass, and departed that time and place forever. London, after all, does not care one whit who you were. Or who you are. Or who you will become. Frankly, she barely cares for herself, and certainly cannot be bothered with your tawdry backstage changes of costume and comedies of mistaken identity.

That was long ago. So long that to say the numbers aloud would be an act of pure nihilism. Oh, but I am old, good sir, old as ale and twice as bitter, though I do not look it and never shall, so far as I can tell. I was old when you were weaned, squalling and farting, and I shall be old when your grandchildren annoy you with their hideous fashions and worse manners. Kings and queens and armadas and plagues have come and gone in my sight, ridiculous wars flowered and pruned, my brothers died, the scales balanced at last, for having not the malformed and singular eye, neither did they have the longevity that is our better inheritance, fashions swung from opulence to piousness and back to the ornate flamboyance that is their favored resting state once more.

And thus come I, Master Cornelius Peek, Glassmaker to the Rich and Redolent, only slightly dented, to the age which was the mate to my soul as glove to glove or slipper to slipper. Such an age exists for every man, but only a lucky few chance to be born alongside theirs. For myself, no more perfect era can ever grace the hourglass than the one that began in the Year of Our Lord 1660, in the festering scrotum of London, at the commencement of the long and groaning orgy of Charles II’s pretty, witty reign.

If you would know me, know my house. She is a slim, graceful affair built in a fashion somewhat later than the latest, much of brick and marble and, naturally, glass, three stories high, with the top two being the quarters I share with my servants, the maid-of-all-work Mrs. Matterfact and my valet, Mr. Suchandsuch (German, I believe, but I do respect the privacy of all persons), and my wigs, my wardrobe, and my lady wife, when I am in possession of such a creature, an occurrence more common and without complaint than you might assume, (of which much more, much later). I designed the edifice myself, with an eye to every detail, from the silver door-knocker carved in the image of a single, kindly eye whose eyelid must be whacked vigorously against the iris to gain ingress, to the several concealed chambers and passageways for my sole and secret use, all of which open at the pulling of a sconce or the adjusting of an oil painting, that sort of thing, to the smallest of rose motifs stenciled upon the wallpaper.

The land whereupon my lady house sits, however, represents a happy accident of real estate investment, as I purchased it a small eternity before the Earl of Bedford seized upon the desire to make of Covent Garden a stylish district for stylish people, and the Earl was forced to make significant accommodations and gratifications on my account. I am always delighted by accommodations and gratifications, particularly when they are forced, and most especially when they are on my account.

The lower floor, which opens most attractively onto the newly-christened and newly-worthwhile Drury Lane, serves as my showroom, and in through my tasteful door flow all the nobly whelped and ignobly wealthed and blind (both from birth and from happenstance, I do not discriminate) and wounded and syphilitic of England, along with not a few who made the journey from France, Italy, Denmark, even the Rus, to receive my peculiar attentions. With the most exquisite consideration, I appointed the walls of my little salon with ultramarine watered silk and discreet, gold-framed portraits of my most distinguished customers. In the northwest corner, you will find what I humbly allege to be the single most comfortable chair in all of Christendom, reclined at an, at first glance, radical angle, that nevertheless offers an extraordinary serenity of ease, stuffed with Arabian horsehair and Spanish barley, sheathed in supple leather the color of a rose just as the last sunlight vanishes behind the mountains. In the northeast corner, you will find, should you but recognize it, my father’s pitted and pitiful iron punty, braced above the hearth with all the honor the gentry grant to their tawdry ancestral swords. The ceiling boasts a fine fresco depicting that drunken uncle of Greek Literature, the Cyclops, trudging through a field of poppies and wheat with a ram under each arm, and the floor bears up beneath a deep blanket of choice carpets woven by divinely inspired and contented Safavids, so thick no cheeky draught even imagines it might invade my realm, and all four walls, from baseboard to the height of a man, are outfitted with a series of splendid drawers, in alternating gold and silver designs, presenting to the hands of my supplicants faceted knobs of sapphire, emerald, onyx, amethyst, and jasper. These drawers contain my treasures, my masterpieces, the objects of power with which I line my pockets and sauce my goose. Open one, any one, every one, and all will be revealed on plush velvet cushions, for there rest hundreds upon hundreds of the most beautiful eyes ever to open or close upon this fallen earth.

No fingers as discerning as mine could ever be content with the glazier’s endless workaday drudge through plate windows and wine bottles, vases and spectacles and spyglasses, hoping against hope for the occasional excitement of a goblet or a string of beads that might, if you did not look too closely, resemble, in the dark, real pearls. No, no, a thousand, million times no! Not for me that life of scarred knuckles whipped by white-molten strands of stray glass, of unbearable heat and even more unbearable contempt oozing from those very ones who needed me to keep the rain out of their parlors and their spirits off the table linen.

I will tell you how I made this daring escape from a life of silicate squalor, and trust you, as I suppose I already have done, to keep my secrets—for what is the worth of a secret if you never spill it? My deliverance came courtesy of a pot of pepper, a disfigured milkmaid, and the Dogaressa of Venice.

It would seem that my brothers were not quite so malevolently egomaniacal as they seemed on that distant, never-to-be-forgotten day when our father drooled his last. One of them was not, at least. Having vanished neatly into London and established myself, albeit in an appallingly meager situation consisting of little more than a single kiln stashed in the best beloved piss-corner of the Arsegate, marvering paltry, poignant cups against the stone steps of a whorehouse, sleeping between two rather unpleasantly amorous cows in a cheesemaker’s barn, I was neither happy nor quite wretched, for at least I had made a start. At least I was in the arms of the reeking city. At least I had escaped the trap laid by pearls and hectares and absconding brothers.

And then, as these things happen, one day, not different in any quality or deed from any other day, I received a parcel from an exhausted-looking young man dressed in the Florentine style. I remember him as well as my supper Thursday last—the supper was pigeon pie and fried eels with claret; the lad, a terrifically handsome black-haired trifle who went by the rather lofty name of Plutarch—and after wiping the road from his eyes and washing it from his throat with ale that hardly deserved the name, he presented me with a most curious item: a fat silver pot, inlaid with a lapis lazuli ship at full sail.

Inside found I a treasure beyond the sweat-drenched dreams of upwardly mobile men, which is to say, a handful of peppercorns and beans of vanil, those exotic, black and fragrant jewels for which the gluttonous world crosses itself three times in thanks. Plutarch explained, at some length, that my brother Prospero now dwelt permanently in the East Indies where he had massed a fabulous fortune, and wished to assure himself that his sister, the sweet, homely maid he abandoned, could make herself a good marriage after all. I begged the poor boy not to use any of those treacherous words again in my or anyone’s hearing: not marriage, not maid, and most of all not sister. Please and thank you for the pepper, on your way, tell no one my name nor how you found me and how did you find me by God and the Devil himself—no, don’t tell me, I shall locate this lost relative and deliver the goods to her with haste, though I could perhaps be persuaded to pass the night reading a bit of Plutarch before rustling up the wastrel in question, but, hold fast, my darling, I must insist you submit to my peculiar tastes and maintain both our clothing and cover of darkness throughout; I find it sharpens the pleasure of the thing, this is my, shall we say, firm requirement, and no argument shall move me.

Thus did I find myself a reasonably rich and well-read man. And that might have made a pleasant and satisfying enough end of it, if not for the milkmaid.

For, as these things happen, one day not long after, not different in any hour or act than any other day, a second parcel appeared upon my, now much finer, though not nearly so fine as my present, doorstep. Her name was Perdita, she was in possession of a complexion as pure as that of a white calf on the day of its birth, hair as red as a fresh wound, an almost offensively pregnant belly, and to crown off her beauty, it must be mentioned, both her eyes had been gouged from her pretty skull by means of, I was shortly to learn, a pair of puritanical ravens.

It would seem that my other brother, Pomposo—you remember him, yes? Paying attention, are we?—was still in the habit of marrying unsuspecting girls off to trees and fish and stones, provided that the trees were his encircling arms, the fish his ardent tongue, and the stones those terribly personal, perceptive, and pendulous seed-vaults of his ardor, and poor, luckless Perdita had taken quite the turn round the park. Perhaps we are not so divided by our shared blood as all that, Pomposo! Hats off, my good man, and everything else, too. Well, the delectably lovely and lamentable maid in question found herself afflicted both by Little Lord Pomposo and by that peculiar misfortune which bonds all men as one and makes them brothers: she had a bad father.

Perdita told me of her predicament over my generous table. She spoke with more haste than precision, tearing out morsels of Mrs. Matterfact’s incomparable baked capon in almond sauce with her grubby fingers and fumbling it into that plump face whilst she rummaged amongst her French pockets for English words to close in her tale like a green and garnishing parsley. As far as I could gather, her cowherding father had, in his youth, contracted the disease of religion, a most severe and acute strain. He took the local clergyman’s daughter to wife, promptly locked her in his granary to keep her safe from both sin and any amusement at all, and removed a child from her every year or so until she perished from, presumably, the piercing shame of having tripped and fallen into one of the more tiresome fairy tales.

Perdita’s father occupied the time he might have spent not slowly murdering his wife upon his one and only hobby: the keeping of birds of prey. Now, one cannot fault the man for that! But he loved no falcons nor hawks nor eagles, only a matched pair of black-hearted ravens he called by the names of Praisegod and Feargod (there really can be no accounting for, or excusing of, the tastes of Papists) which he had trained from the egg to hunt down the smallest traces of wickedness upon his estate and among his children. For this unlikely genius had taught his birds, painstakingly, to detect the delicate and complex scents of sexual congress, and the corvids twain became so adept that they were known to arrive at many a village window only moments after the culmination of the act.

Now you have taken up all the pieces of this none-too-sophisticated puzzle and can no doubt assume the rest. My brother conquered Perdita’s virtue with ease, for no such dour and draconian devoutness can raise much else but libertines, a fact which may yet save us from the vicious fate of a world redeemed, and put my niece (for indeed it proved to be a niece) in her with little enough care for anything but the trees and the fish and the stones of his own bucolic life. No sooner than he had rolled off of her but Praisegod and Feargod arrived, screeching to wake the glorious dead, the scent of coupling maddening their black brains, and devoured Perdita’s eyeballs in a hideous orgy of gore and terribly poor parenting. Pomposo, ever steadfast and humbly responsible for his own affairs, sent his distress directly to me and, I imagine, poured a brimming glass of wine with which to toast himself.

“My dear lady,” said I, gently prying a joint of Mrs. Matterfact’s brandied mutton from her fist, hoping to preserve at least something for myself, “I cannot imagine what you or my good brother mean me to do with a child. I am a bachelor, I wish devoutly to remain so, and my bachelorhood is only redoubled by my regrettable feelings toward children, which mirror the drunkard’s for a mug of clear water: well enough and wholesome for most, he supposes, but what can one do with one? But I am not pitiless. That, I am not, my dear. You may, of course, remain here until the child... occurs, and we shall endeavor to locate some suitable position in town for one of your talents.”

Ah, but I had played my hand and missed the trick! “You misunderstand, monsieur,” protested the comely Perdita. “Mister Pompy didn’t send me to you for your hospitalité. He said in London he had a brother who could make me eyes twice as pretty as they ever were and would only charge me the favor of not squeezing out my babe on his parlor floor.”

Even a thousand miles distant, my skinflint family could put the screws to me, turn them tight, and have themselves a nice giggle at my groans. But at least the old boy guessed my game of trousers and did not give me up, even to his paramour.

“They was green,” the milkmaid whispered, and the ruination of her eye sockets bled in place of weeping. “Like clover.”

Oh, very well! I am not a monster. In any event, I wasn’t then. At least the commission was an interesting enough challenge to my lately listless and undernourished intellect. So it came to pass that over the weeks remaining until the parturition of Perdita, I fashioned, out of crystal and ebony and chips of fine jade, twin organs of sight not the equal of mortal orbs but by far their superior, in clarity, in beauty, even in soulfulness. If you ask me how I accomplished it, I shall show you the door, for I am still a tradesman, however exalted, and tradesmen tell no tales. I sewed the spheres myself with thread of gold into her fair face, an operation which sounds elegant and difficult in the telling, but in the doing required rather more gin, profanity, and blows to the chin than any window did. When I had finished, she appeared, not healed, but more than healed—sublimated, rarefied, elevated above the ranks of human women with their filmy, vitreous eyes that could merely see.

I have heard good report that, under another name, and with her daughter quite grown and well-wed, Perdita now sits upon the throne of the Netherlands, her peerless eyes having captivated the heart of a certain prince before anyone could tie a rock round her feet and drop her into a canal. Well done, say all us graspers down here, reaching up toward Heaven’s sewers with a thousand million hands, well done.

Now, we arrive at the hairpin turn in the road of both my fortunes and my life, the skew of the thing, where the carriage of our tale may so easily overturn and send us flying into mud and thorns unknown. Brace your constitution and your credulity, for I am of a mind to whip the horses and take the bend at speed!

It is simply not possible to excel so surpassingly as I have done and remain anonymous. God in his perversity grants anonymity to the gifted and the industrious in equal and heartless measure, but never to the splendid. Word of the girl with the unearthly, alien, celestial eyes spread like a plague of delight in every direction, floating down the river, sweeping through the Continent, stowing away on ships at sea, until it arrived, much adorned with my Lady Rumor’s laurels, at the palazzo of the Doge in darling, dripping Venice.

Now, the Doge at that time had caused himself, God knows why or by dint of what wager, to be married to a woman by the name of Samaritiana. Do not allow yourselves to be duped by that name, you trusting fools! Samaritiana would not even stop along the side of the road to Hell to wrinkle her nose at the carcass of Our Lord Jesus Christ, though it save her immortal soul, unless He told her she was beautiful first. Oh, ’tis easy enough to hate a vain woman with warts and liver spots, to scorn her milk baths and philtres and exsanguinated Hungarian virgins, to mock her desperation to preserve a youth and beauty that was never much more enticing than the local sheep in the first place, but one had to look elsewhere for reasons to hate Samaritiana, for she truly was the singular beauty of her age. Black of hair, eye, and ambition was she, pale as a maiden drowned, buxom as Ceres (though she had yet no issue), intoxicating as the breath of Bacchus. Fortunately, my lady thoughtfully provided a bounty of other pantries in which to find that meat of hatred fit for the fires of any heart.

She was, quite simply, the worst person.

I do not mean by this to call the Dogaressa a murderess, nor an apostate, nor a despot, nor an embezzler, nor even a whore, for whores, at least, are kindly and useful, murderers must have some measure of cleverness if they mean to get away with it, apostates make for tremendous company at parties, despots have a positively devastating charisma, and, I am assured by the highest authority, which is to say, Lord Aphorism and his Merry Band of Proverbials, that there is some honor amongst thieves. No, Samaritiana was merely humorless, witless, provincial, petty, small of mind, parched of imagination, stingy of wallet and affection, morally conservative, and incapable, to the last drop of her ruby blood, of admitting that she did not know everything in all the starry spheres and wheeling orbits of existence, and this whilst believing herself to possess all of these that are virtues and eschew all that are sins. Can you envisage a more wretched and unloveable beast?

I married her, naturally.

The Dogaressa came to me in a black resin mask and emerald hooded cloak when the plague had only lately checked into its waterfront rooms, sent for a litter, and commenced seeing the sights of Venice with its traveling hat and trusted map.

Oh, no, no, you misapprehend my phraseology. Not that plague. Not that grave and gorgeous darkling shadow that falls over Europe once a century and reminds us that what dwells within our bodies is not a soul but a stinking ruin of fluid and marrow and bile. The other plague, the one that sneaks on nimbly putrefying feet from bedroom to bedroom, from dockside to dinner party, from brothel to marital bower, leaving chancres like kisses too long remembered. Yes, we would have to wait years yet before Baron von Bubœ mounted his much-anticipated revival on the stage, but never you fear, Dame Syphilis was dancing down the dawn, and in those days, her viols never stopped nor slowed.

That mysterious, morbid, nigh-monstrous and tangerine-scented creature called Samaritiana darkened my door one evening in April, bid me draw close all my curtains, light only a modest lantern upon a pretty lacquered table inlaid with mother of pearl which I still possess to this day, and stand some distance away while she removed her onyx mask to reveal a face of such surpassing radiance, such unparalleled winsomeness, that even the absence of the left eye, and the mass of scars and weals that had long since replaced it, could do no more than render her enchanting rather than perfect.

It would seem that the Dogaressa danced with the Dame some years past. Her husband, the Doge, brought her to the ball, she claimed, having learned the steps from his underaged Neapolitan mistress, though, as I became much acquainted with the lady in later years, I rather suspect she found her own way, arrived first, wore through three pairs of shoes, departed last, and ate all the cakes on the sideboard. But, as is far too often the case in this life ironical, that mean and miserly soul found itself in receipt of, not only the beauty of a better woman, but the good fortune of a better man. She contracted a high fever owing to her insistence upon hosting the Christmas feast out of doors that year, so that the gathered noblility could see how lovely she looked with a high winter’s blush on her cheeks, and this fever seemed to have driven, by some idiot insensate alchemy, the Dame from the halls of Samaritiana forever, leaving only her eye ravaged and boiled away by the waltz.

All was well in the world, then, save that she could not show herself in public without derision and her husband still rotted on his throne with a golden nose hung on his mouldering face like a door knocker, but she had not come for his sake, nor would she ever dream of fancying that it was possible to ask a boon of that oft-rumored wizard hiding in the sty of London for any single soul on earth other than herself.

“I have heard that you can make a new eye,” said she, in dulcet tones she did not deserve the ability to produce.

I could.

“Better than the old, brighter, of any color or shape?”

I could.

She licked her lily lips. “And install it so well none would suspect the exchange?”

Perhaps not quite, not entirely so well, but it never behooves one to admit weakness to a one-eyed queen.

“You have already done me this service,” said she to me, loftily, never asking once, only demanding, presuming, crushing all resistance, not to mention dignity, custom, the basest element of courtesy, beneath her silver-tooled heel. She waved her hand as though the motion of her fingers could destroy all protestation. The light of my lantern caught on a ring of peridot and tourmaline entwined into the shape of a rather maudlin-looking crocodile gnawing upon its own tail, for she claimed some murky Egyptian blood in the dregs of her familial cup, as though such little droplets could mark her as exceptional, when every dockside lady secretly fancies herself a Cleopatra of the Thames.

“Produce the results upon the morrow! I will pay you nothing, of course. A Dogaressa does not stoop to exchange currency for goods. But when two eyes look out from beneath my brow once more, I will present you with a gift, for no particular reason other than that I wish to bestow it.”

“And if I do not like your gift, Clarissima?”

Puzzlement contorted her exquisitely Cyclopean visage, causing a most unwelcome familial pang within my breast. “I do not take your meaning, Master Peek. How could such a thing possibly occur?”

There is, it seems, a glittering point beyond which egotism achieves such purity that it becomes innocence, and that was the country in which Samaritiana lived. In truth, had she revealed her gift to me then, or even promised payment in the usual manner, I might have refused her, just to experience the novel emotion of rejecting royalty—for I am interested in nothing so much as novelty, not love nor death nor glass nor gold. Something new! Something new! My kingdom for something new! But she caught me, the perfumed spider, wholly without knowing what she’d done. I did indeed take up her commission, and though you may conclude in advance that this recounting of the job will proceed according to the pattern of the last, I shall be disappointed if you do, for I have already told you most vividly that herein lies the skew of my tale.

For the sake of the beautiful Dogaressa, I took up my father’s battered old pipe and punty. I cannot now say why; for a certainty I owned better instruments by far, and had not touched the things in eons except to brush them daintily with a daily sneer. Perhaps a paroxysm of sentimentality seized me; perhaps I despised her too much even then to waste my finer appliances on her pox-punched face, in any event, I cannot even say positively that the result blossomed forth from the tools and not some other cause, and I fear to question it now. I sank into the rhythm of my father and grandfather and his before him: the dollop of liquid glass, the greatbreath of my own lungs expelled through the long, black pipe, the sweet pressure and rolling of the globule against the smooth marver stone, the uncommon light known only to workers of glass, that strange slick of marmalade-light afire within crystal that would soon ride a woman’s skull all the way through the days of her life and down into her tomb.

The work was done; I fashioned two, an exquisitely matched pair, in case the other organ required replacement in the unseen feverish future. Samaritiana, in, so far as I may know or tell, the sole creative decision of her existence, chose not one color for the iris but all of them, dozens of infinitesimal shards chipped from every jewel in my inventory: sapphire, jade, emerald, jasper, onyx, amethyst, ruby, topaz. The effect was a carnival wheel of deep, unsettling fascination, and when I sewed it into her flesh with my golden thread she did not wail or struggle but only sighed, as though lost in the act of love, and, though her faults were called Legion, they were as yet unknown to me, thus, as my needle entered her, so too did my fatal softening begin.

The Dogaressa departed with her stitching still fresh, leaving in her wake but three souvenirs of our intimate surgery: one gift she intended, one she did not, and her damnable scent, which neither Mrs. Matterfact nor Mr. Suchandsuch, no matter how they scrubbed and strove, could remove from the premises. I daresay, even this very night, should you venture to my old house on the High Street and press your nose to its sturdy bones, still yet you would snatch a whiff of tangerine and strangling ivy from the foundation stones.

The gift she intended to leave was a lock of her raven hair, the skinflint bitch. The other, I did not perceive until some weeks later, when I adjourned to my smoking room with a bottle of brandy, a packet of snuff, and a rare contemplative mood which I intended to spend upon a rich, unfiltered melancholy as sweet as any Madeira—for it is a fact globally acknowledged that idle melancholy, like good wine, is the exclusive purview of the wealthy. To aid in my melancholy, I fingered in one hand the mate to the Dogaressa’s harlequin eye, rubbing my thumb over that strange, motley iris, marveling at the milky sheen of the sclera, admiring, unrepentant Narcissus that I am, my own skill and artistry. I removed my own, ordinary, unguessable, nearly flawless glass eye and held up the other to my empty socket like a spyglass, and a most thoroughly stupendous metamorphosis transpired: I could seethrough the jeweled lens of that artificial eye! Truly see, without cloud or glare or halo—ah, but what I saw was not the walls of my own smoking room, so tastefully lined with matching books chosen to neither excite nor bore any guest to extremes, but the long peach-cream and gold hall of the palazzo of the Doge in far-distant Venice! The chequered black and white marble floors flowed forth in my vision like a houndstooth river; the full and unforgiving moon streamed glaucous through tall slim windows; painted ceilings soared overhead, inlaid with pearl and carnelian and ever-so-slightly greyed with the smoke of a hundred thousand candles burnt over peerless years in that grand corridor. Women and men swept slowly up and down the squares like boats upon some fairy canal, swathed in gowns of viridescent green cross-hatched with silver and rose, armored in bodices of whalebone and opal, be-sailed in lacy gauze spun by Clotho herself upon the wheel of destiny, cloaked and hooded in vermillion damask, in aquamarine, in citron and puce, their clothing each so splendid I could scarce tell the maids from the swains—and thus looked I upon a personal paradise heretofore undreamt of.

But there were worms in paradise, for each and every beauty in the Doge’s palace was rotting in their finery like the fruit of sun-spoiled melons within their shells. Their flesh putrefied and dripped from their bones and what remained turned hideous, sickening colors, choleric, livid, cyanic, hoary, a moldering patina of death whose effusions stained those bodices black. Some stumbled noseless, others having replaced that appendage with nostrils of gold and silver and crystal and porcelain, and others, all hope lost, sunk their visages into masks, though they could not hide their chancred hands, the bleeding sores of their bosoms, the undead tatters of their throats.

Yet still they laughed, and spoke animatedly, one to the other, and blushed in virtuous fashion beneath their putridity. Such is the dance of the Dame, who enters through the essential act of life, yet leaves you thinking, breathing, walking whilst the depredations of the grave transact upon your still-sensate flesh, making of this world a single noisy tomb.

My breath would not obey me; my heart ricocheted amongst my ribs like a cannon misfired. Was it truly Italy I saw bounded in the tiny planet of a glass eye? Had I stumbled into a drunken sleep or gone mad so swiftly no asylum could hope to catch me? I shot to my feet, mashing the eye deeper into my socket until stars spattered my sight—closer, look closer! Could I hear as well? Smell? Taste the tallowed air of that far-off moonlit court?

I could not. I could not hear their footsteps nor inhale their perfume nor feel the fuzzed reek of the mildewed canals on my tongue nor move of my own volition. I apprehended a new truth, that even the impossible possesses laws of its own, and those unbendable. I could only observe. Observe—while my vision lurched forward, advancing quickly, rocking gently as with a woman’s sinuous gait. Graceful, slender arms extended as though from my own body, opening with infinite elegance to embrace a man whose head was that of a Titan cast down brutally into the pit of Tartarus, so wracked with growths and intuberances and pulsating polyps that the plates of his skull had cracked beneath the intolerable weight and shifted into a new pate so monstrous it could no longer bear the Doge’s crown, which hung pitifully instead from a ribbon slung round his grotesque neck. Those matchless arms which were not my own enfolded this hapless creature and, encircling the middle finger of the hand belonging to the right arm, I saw with my altered vision the twisted peridot and tourmaline crocodile ring of the Dogaressa Samaritiana.

I cast the glass eye away from me, sickened, thrilled, inflamed, ensorcelled, the fire in my midnight hearth as nothing beside the conflagration of curiosity, horror, and the beginnings of power that crackled within my brain-pan. In that first moment, standing among my books and my brandy drenched in the sweat of a new universe, an instinct, a whisper of Truth Profound, permeated my spirit like smoke exhaled, and, I confess to you now, all these many years hence, still I enshrine it as an article of faith, for it was with breath that God animated the dumb mud of Adam, breath that woke Pandora from stone, breath that demarcates the living and the dead, breath with which we speak and cry out and divide ourselves from the idiot kingdom of animals, and breath, by all the blasted saints and angels, with which the glassblower shapes his glass! The living breath of Cornelius Peek yet permeates every insignificant atom of his works; each object broken from his punty, be it window or goblet or cask or eye, hides the sacred exhalations of his spirit co-mingled with the crystal, and it is this, it is this, I tell you, that connects the jeweled eye of the Dogaressa with the jeweled eye in my hand! I dwell in the glass, it cannot dispense with me any further than it can dispense with translucency or mass, and therefore it carries the shard of Cornelius whithersoever it wanders.

Let us dispense with a few obnoxious but inevitable inquiries into the practicality of the matter, so that we may move along past the skew. How could this mystic connection have escaped my notice till now? It is only sensical: Perdita vanished away to the Netherlands with both marvelous eyes, and no window nor goblet nor cask is, in its inborn nature, that organ of sight which opens onto the infinite pit of the human soul. Would any eye manufactured in the same fashion result in such remote visions? They would indeed, my credulous friend. Does every glassblower possess the ability to produce such objects, should he but retain one eye whilst selling the other at a fair price? Ah, here I must admit my deficiency as a philosopher, for which I apologize most obsequiously. It cannot be breath alone, for I made subtle overtures toward the gentleman of the glassmen’s guild and I can say with a solemn certainty that none but Master Peek can perform this alchemy of sclera and pupil. Why should it be so? Perhaps I am a wizard, perhaps a saint, perhaps a demiurge, perhaps the Messiah returned at last, perhaps it owes only to that peculiar rootstock of my family which grants me my height, my baritone, the hairiness of my body. Grandfather Polyphemus’s last gift, lobbed down the ancestral highway, bashing horses as it comes. I am a man of art, not science. I ask why Mrs. Matterfact has not yet laid out my supper oftener than I ask after the workings of the uncluttered cosmos.

Thus did I enter the business of optometry.

When you have placed a mad rainbow jewel in the skull of a Dogaressa as though she were nothing but a golden ring, a jewel which drove the rotting men of Venice insane with the desire to tie her to a bridge-post and stare transported into the motley swirling colors of the eye of God, lately fallen to earth, they began to say, somewhere in Sicily, advertisement serves little purpose. I opened my door and received the flood. It is positively trivial to lose an eye in this wicked world, did you know? I accepted them warmly, with a bow and a kerchief fluttered to the mouth in acute compassion, a permanently sympathetic expression penciled onto my lips in primrose paint—for that moth-eaten scab Cromwell was finally in the grave, where everything is just as colorless and abstemious and black as he always wished it to be, so full of piss and vitriol that it poisoned him to the gills, and Our Chuck, the Merry Monarch, was dancing on his bones.

Fashion, ever my God and my mother, took pity upon her poor supplicant and caused a great miracle to take place for my sake—the world donned a dandy wig whilst I doffed my own, sporting my secret womanly hair as long and curled as any lord, soaking my face in the most masculine of pale powders, rouges, lacquers, and creams, encasing my figure, such as it ever was, in lime and coral brocade trimmed in frosty silver, concealing my gait with an ivory cane and foxfurred slippers, and rejoicing in the knowledge that, of all the men in London, I suddenly possessed the lowest voice of them all. So hidden, so revealed, I took all the one-eyed world into my parlor: the cancerous, the war-wounded, the horse-kicked, the husband-beaten, the inquisitor-inquisited, the lightning-struck, the unfortunately-born, the pox-blighted, and yes, the Dame’s erstwhile lovers, for she had made her way to our shores and had begun her ancient gambols in sight of St. Paul’s. And for each of these unfortunate angels of the ocular, I fashioned a second eye in secret, unknown entirely to my custom, twin to the one that repaired their befouled faces, with which I adjourned night by night to a series of successive smoking rooms, growing grander and finer with each year, holding those orbs to the light and looking unseen upon every city in Christendom, along with several in the Orient and one in the New World, though it could hardly be called a city, if I am to be honest. And Venice, always Venice, the first eye and only, her eye, gazing out on the water, the moonlight, the dead.

In this fashion, I came to know that the Doge had died, succumbed to the unbearable weight of his own head, long before Samaritiana appeared on my night-bestrewn doorstep, the saffron gown she wore in the moonlight, and every other in her trunk, torn violently, soaked with bodily fluids, rent by the overgrown nails of the frenzied rotting horde who had chased her from the palazzo through every desperate alleyway and canal of the city, across Switzerland and France, in their anguished longing to touch the Eye of God, still sewn into the ex-Dogaressa’s skull, to touch it but once and be healed forever.

But of course I aided the friendless and abandoned Good Samaritiana as she wept beside her monstrous road. Oh, Clarissima, how dreadful, how unspeakable, how worthy of Mr. Pepys’ vigilant pen! I shall have to make introductions when you are quite well again. I sent at once for a fine dressmaker of my acquaintance to construct a suitable costume for the lady and save her from the immodesty of those ragged silken remnants of her former life with which, even then, she attempted to cover her body with little enough success that, before the dressmaker could so much as cross the river, I learned something quite unexpected concerning the biography of Samaritiana, former queen of Venice.

She was quite male. Undeniably, conspicuously, astonishingly, fascinatingly so.

I called up to Mrs. Matterfact for cold oxtongue, a saucer of pineapple, and oysters stewed in Armagnac, down to Mr. Suchandsuch for carafes of hot claret mulled via the latest methods, and listened to the wondrous chimera in my parlor tell of how that famous Egyptian blood was not in the least of the Nile but of the Tiber, on whose Ostian banks a penniless but beautiful boy had been born in secret to one of the Pope’s mistresses and left to perish among the reed-gatherers and the amber-collectors and the diggers of molluscs.

But perish the lad did not, for even a grass-picker is thoroughly loused with the nits of compassion, and the women passed the babe one to the other and back again, like a cup of wine that drank, instead, from them. Now, it is well known to anyone with a single sopping slice of sense that the Pope’s enemies are rather like weevils, ever industrious, ever multiplying, ever rapacious, starving for the chaff of scandal with which to choke the Holy Father and watch him writhe. They roved over the city, overturning the very foundational stones of ancient Rome in search of the Infallible Bastards, in order, not to kill them like Herod, but to bring them before the Cardinals and etch their little faces upon the stained glass windows as evidence of sin. My little minx, having already long, lustrous hair and androgyne features more like to a seraph than a by-blow son, found it at first advantageous to effect the manners and dress of a girl, and then, when the danger had passed, more than that, agreeable, even preferable to her former existence. Having become a maid to save her life, she remained one in order to enjoy it. Owing to the meager diet of the Tiber’s tiniest fish, little Samaritiana never grew so tall nor so stout as other boys, she remained curiously hairless, and though she escaped the castrato’s fate, her voice never dipped beneath the pleasing alto with which she now spoke, nor did her organ of masculinity ever aspire to outdo the average Grecian statue, and so, when the Doge visited Ostia after the death of his first wife, he saw nothing unusual walking by the river except for the most beautiful woman in the Occident, balancing a basket of rushes on her hip with a few nuggets of amber rolling within the weave.

“But surely, Clarissima,” mused I, savoring the tart song of pineapple upon my tongue, “a bridegroom, however ardent, cannot be so easily duped as a vengeful Cardinal! Your deception cannot have survived the wedding bower!”

“It did not survive the engagement, my dear Master Peek,” Samaritiana replied without a wisp of blush upon her remarkable cheek. “Oh, mistake me not, I do so love to lie—I see no more purpose in pretending to be virtuous in your presence than I saw in pretending to be fertile in his. But there could be no delight in a deception so deep and vast. It would impair true marriage between us. I revealed myself at Pentecost, allowing him in the intensity of his ardor to unfasten my stays and loose my ribbons until I stood clad only in honesty before His Serenity and awaited what I presumed to be my doom and my death. But only kisses fell upon me in that moment, for the Doge had long suppressed his inborn nature, and suffered already to get upon his departed wife the heirs he owed to the canals, and though my masquerade, you will agree, outshines the impeccable, he would later say, on the night of which you so confidently speak, that some sinew of his heart must always have known, since first he beheld me with my basket of amber and sorrow.”

I did not exchange trust for trust that night among the oysters and the oxtongue. I have a viciously refined sense of theatre, after all. I made her wait, feigning religion, indigestion, the vicissitudes of work, gout, even virginity, until our wedding night, whereupon I allowed Samaritiana, in the intensity of her ardor, to unfasten my stays and loose my ribbons until at last all that stood between us was the tattered ruin of my mother’s ancient bridal veil, and then, not even that.

“Goodness, you don’t expect me to be surprised, do you?” laughed the ex-Dogaressa, the monster, the braying centaur, the miserly lamia who would not give me the satisfaction of scandalizing her! That eve, and only that eve, under the stars painted upon my ceiling, I applied all my cruellest and most unfair arts to compel my wife to admit, as a wedding present, that she had not known, she had never known, never even suspected, loved me as a man just as I loved her as a woman, and was besides a brutal little liar who deserved a lifetime of the most delectable punishment. We exchanged whispered, apocryphal, long-atrophied names beneath the coverlet: Perpetua. Proteo.

Samartiana treated me deplorably, broke my heart and my bank, laughed when she ought to have wept, drove Mrs. Matterfact to utter disintegration, kept lovers, schemed with minor nobles. We were just ferociously happy. Are you surprised? I, too, am humorless, witless, provincial, petty, small of mind, parched of imagination, stingy of wallet and affection, a liar and a cad. He was like me. I was like her. I had, after all, seen as she saw, from the very angle of her waking vision, which in some circles might be the definition of divine love. I have had wives before and will have again, far cleverer and braver and wilder than my Clarissima, but none I treasured half so well, nor came so near to telling the secret of my smoking room, of the chests full of eyes hidden beneath the floorboards. Samaritiana had her lovers; I had my eyes, the voyeur’s stealthy, soft and pregnant hours, a criminal sensorium I could not quit nor wished to.Yet still I would not share, I held it back from her, out of her reach, beyond her ken.

The plague took her in the spring. The Baron, not the Dame. The plague of long masks and onions and bodies stacked like fresh-laid bricks. I buried her in glass, in my incandescent fury at the kiln, for where else can a man lose his whole being but in a wife or in work? These are the twin barrels in which we drown ourselves forever.

It soon came to pass that wonderful eyes of Cornelius Peek were in such demand that the possession of one could catapult the owner into society, if only he could keep his head about him once he landed, and this was reason enough that, men being men and ambition being forever the most demanding of bedfellows, it became much the fashion in those years to sacrifice one eye to the teeth-grinding god of social mobility and replace it with something far more useful than depth perception. Natural colors fell by the wayside—they wanted an angel’s eye, now, a demon’s, a dryad’s, a goblin’s, more alien, more inhuman, less windows to the soul than windows to debauched and lawless Edens, and I, your servant, sir, a window-maker once more. I cannot say I approved of this self-deformation, but I certainly profited by the sudden proliferation of English Cyclopses, most especially by their dispersal through the halls of power, carrying the breath of Peek with them into every shadowy corner of the privileged and the perverse.

I strung their eyes on silver thread and lay in a torpor like unto the opium addict upon the lilac damask of my smoking room couch, draping them round and round my body like a strand of numberless pearls, lifting each crystal gem in turn to gaze upon Paris, Edinburgh, Madrid, Muscovy, Constantinople, Zurich—and Venice, always Venice, returning again and again, though I knew I would not find what I sought along those rippling canals traveled by the living dead. It became my obsession, this invasion of perspective, this theft of privacy, the luxurious passivity of the thing, watching without participating as the lives of others fluttered by like so many scarlet leaves, compelled to witness, but not to interfere, even if I wished to, even if I had liked the young Earl well enough when I installed his pigment-less diamond eye and longed to parry the assassin’s blade when I saw it flash in the Austrian sunset. I saw, with tremulous breath, as God saw, forced unwilling to allow the race of man to damn or redeem itself in a noxious fume of free will, forbidden by laws unwritten not to lift one hand, even if the baker’s boy had laughed when I offered him a big red eye or a cat-slit pupil or a shark’s unbroken onyx hue, any sort, free of charge, even the costliest, the most debonair, in honor of my late wife Samaritiana who in another lifetime paid me in hair, not because she would wish me to be generous but because she would mock me to the rafters and howl hazard down to Hell, begging the Devil to take me now rather than let one more pauper rob her purse, even if I saw, now, through his eye, saw the maidservant burning, burning in the bakery on Pudding Lane, burning and screaming in the midnight wind, and then the terrible, impossible leap of the flames to the adjoining houses, an orange tongue lasciviously working in the dark, not to lift one hand as what I saw in the glass eye and what I saw in the flesh became one, fusing and melding at last, reality and unreality, the sight I owned and the sight I stole, the conflagration devouring the city, the gardens, and my house around me, my lovely watered ultramarine silk, my supremely comfortable chair stuffed with Arabian horsehair, my darling gold and silver drawers, as I lay still and let it come for me and thee and all.

I did not die, for heaven’s sake. Perish the thought! Death is terrifically gauche, don’t you know, I should never be caught wearing it in public. I simply did not get up. Irony being the Lord of All Things, the smoking room survived the blaze and I inside it; though the rafters smoked and blackened and the walls swelled with heat like the head of a Doge, the secret chambers honeycombing the place contained the inferno, they did not stove in nor fall, save for one shelf of books, the bloody Romans, of all things, which, in toppling, quite snapped both my shinbones beneath a ponderous copy of Plutarch. Mrs. Matterfact and Mr. Suchandsuch fought valiantly and gave up only the better part of the roof, though we lost my lovely showroom, a tragedy from which I shall never fully recover, I assure you. And for a long while, I remained where the fire found me, on the long damask couch in my smoking room, wrapped in lengths of eyes like Odysseus lashed to the mast and listening to all the sirens’ mating bleats, still lifting each in turn and fixing it to my empty socket, one after the other after the other, and thus I stayed for years, years beyond years, beyond Matterfact and Suchandsuch and their replacements, beyond the intolerable plebians outside who wanted only humble, honest brown and blue eyes again, their own mortal eyes, having seen too much of wildness. And what, pray tell, did I do with my impossible sight, with my impossible span of time?

Why, I became the greatest spy the world has ever known. Would you have done otherwise?

Oh, I have sold crowns to kings and kings to executioners, positions to the enemy and ships to the storm, murderers to the avenging and perversities to the puritanical, I have caused ingenious devices to be built in England before the paint in Krakow finished drying, rescued aristocrats from the mob and mobs from the aristocracy by turns, bought and traded and brokered half of Europe to the other half and back again, dashed more sailors against the rocks than my promethean progenitor could have done in the throes of his most orgiastic fever-dream. I have smote the ground and summoned up wars from the deeps and I have called down the heavens to end them, all without moving one whisper from my house on Drury Lane, even as the laborers rebuilt it around me, even as the rains came, even as the lane around it became a writhing slum, a whore’s racetrack, a nursery rhyme.

Look around you and look well: this is the world I made. Isn’t it charming? Isn’t it terrible and exquisite and debased and tastefully appointed according to the very latest of styles? I have seen to every detail, every flourish—think nothing of it, it has been my great honor.

But the time has come to rouse myself, for my eyes have begun to grow dark, and of late I spy muchly upon the damp and wormy earth, for who would not beg to be buried with their precious Peek eye, bauble of a bygone—and better—age? No one, not even the baker’s boy. The workshop of Master Cornelius Peek will open doors once more, for I have centuries sprawled at my feet like Christmas tinsel, and I would not advance upon them blind. I have heard the strange mournful bovine lowing of what I am assured are called the proletariatoutside my window, the clack and clatter of progress to whose rhythm all men must waltz. There is much work to be done if I do not wish to have the next century decorated by some other, coarser, less splendid hand. I shall curl my hair and don the lime and coral coat, crack the ivory cane against the stones once more, and if the fashions have sped beyond me, so be it, I care nothing, I will stand for the best of us, for in the end, the world will always belong to dandies, who alone see the filigree upon the glass that is God’s signature upon his work.

After all, it is positively trivial to lose an eye in this midden of modernity, this precarious, perilous world, don’t you agree?

#Catherynne M. Valente #The Limitless Perspective of Master Peek #Or #The Luminescense of Debauchery #short story #actually long story

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writemarcus · 4 years ago

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Gingold Theatrical Group  presents six free readings of new plays-in-progress, developed in GTG's Speaker's Corner Development Lab, beginning June 5th

Posted by: Official_Press_Release 02:14 pm EDT 06/04/21 Gingold Theatrical Group Announces the Phase 1, Plays-In-Progress Readings from Speaker's Corner Writers Group: Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott Six FREE Online Readings June 5th - 17th Gingold Theatrical Group (David Staller, Artistic Director), now in its 16th Season, continues its new play development with the Phase 1 Plays-In-Progress virtual table readings of this year's SPEAKER'S CORNER Writers Group. This season, writers Kate Douglas, Aeneas Sagar Hemphill, Divya Mangwani, Seth McNeill, Sophie Sagan-Gutherz, and Marcus Scott are developing works in response to Shaw's Arms and the Man. To learn more about these closed developmental table reads, and to register in advance to join, please visit gingoldgroup.org. This year's readings will be: The Apiary by Kate Douglas, directed by Colette Robert June 5th at 2:30 PM ET Karma Sutra Chai Tea Latte by Aeneas Sagar Hemphill, directed by Arpita Mukherjee June 8th at 7 PM ET the scold's bridle by Sophie Sagan-Gutherz, directed by Jaye Hunt June 10th at 7 PM ET Untitled Conspiracy Play by Seth McNeill, directed by Lico Whitfield June 12th at 7 PM ET Vigil-Aunties by Divya Mangwani, directed by Aneesha Kudtarkar June 15th at 7 PM ET There Goes the Neighborhood by Marcus Scott, directed by Christopher Burris June 17th at 7 PM ET Named after the corner of London's Hyde Park where George Bernard Shaw and other political speakers have delivered speeches since 1855, GTG's SPEAKERS' CORNER brings together six to ten writers each year who will spend the year exploring a specific Shaw play and writing individual new plays in response to that text and Shaw's forward thinking humanitarian ideals. The group is led by GTG Associate Director Ilana Becker, a producer and director specializing in new play and musical development, community-driven projects, and arts education. In addition to serving as Gingold Theatrical Group's Associate Director, Ilana is The Civilians' R&D Program Director. She has served on the staff of All for One Theater, Lincoln Center Education, and Bret Adams Ltd, and spent a year as the Associate Artistic Director and Interim Artistic Director of Sun Valley Center for the Arts' Company of Fools. Ilana is a proud member of the WP Theater 2018-2020 Producers Lab, an alum of the Civilians' R&D Group, Lincoln Center Theater Directors Lab, DirectorsLabChicago, Fresh Ground Pepper PlayGroup, The Orchard Project's Liveness Lab, as well as a Playwrights Horizons Robert Moss Directing Fellow and an Emerging Leader of NY Arts Fellow. She is the creator of Argument Sessions, an ongoing series of immersive variety-theater events that weave SCOTUS argument transcripts and decisions with ensemble-driven, collaboratively developed original material, and is a member of Producing Blue. "It has been a joy to witness and participate in the from-scratch development of these six ferociously funny, wildly intelligent, and genuinely ambitious plays. While they're all unique pieces in tone and exploration, they're also all distinctly emerging from this moment of vast friction and change. This cohort supported one another's development over the past season, and we look forward to inviting our community into the next stage of their processes," said Ms. Becker. Speakers' Corner members meet virtually, bi-monthly, and GTG will host showings of the works that Speakers' Corner develops at the end of the season. The group's members were identified through an open application process under the guidance of Becker, GTG Artistic Director David Staller, and this season's Speakers' Corner Readers and Advisory Committee: é boylan, Stephanie Rolland, Dina Vovsi, along with Speakers' Corner alumni Hank Kim, Mallory Jane Weiss, and Lorenzo Roberts. Kate Douglas (she/her) is a writer, composer and performer. Recent work includes The Ninth Hour, her operetta with Shayfer James at The Met Cloisters (the first performance of its kind in the Fuentidueña Chapel), her immersive play Extinct (produced with support from a LMCC Engagement Grant) and her audio experience Dandelion Story, which received an Honorable Mention from SPACE on Ryder Farm's CSArt Program. Her work has been developed at The Orchard Project, New Victory Theater, The Civilians R&D Group, SPACE on Ryder Farm, Rhinebeck Musicals and the Writer's Colony at Goodspeed. She is a Dramatists Guild Fellow and a current member of The Orchard Project Greenhouse. As a complement to her artistic practice, she is a student of herbalism, horticulture and biodynamic craniosacral therapy. www.kate-douglas.com Aeneas Sagar Hemphill (he/him) is an Indian-American playwright and screenwriter based in NYC and DC. Weaving through many genres, his work builds new worlds to illuminate our own, investigating the ghosts that haunt our lives and communities with passion, pathos, and humor. He was a 2019 Resident Artist with Monson Arts Center and 2017-2018 Playlab fellow at Pipeline Theatre, as well as semi-finalist for the 2019 Princess Grace Award, semi-finalist for the 2019 Mabou Mines Resident Artist Program, and finalist for the 2017 Many Voices Fellowship. His plays include: Black Hollow (Argo Collective, Dreamscape Theatre), The Troll King (Pipeline), Childhood Songs (Monson Arts), The Republic of Janet & Arthur (Amios), The Red Balloon (Noor Theatre), A Stitch Here or There (DarkHorse Dramatists, Slingshot Theatre), A Horse and a Housecat (Slingshot Theatre). MFA Playwriting, Columbia University. Divya Mangwani (she/her) is a writer and theatre artist from Pune, India, now based in New York. She examines the absurdities of the social, political and mythical. Divya was the founder and Artistic Director of Moonbeam Factory Theatre, where she wrote, directed and produced plays that were staged in India, Singapore and Glasgow. In New York, she has developed work with UNICEF, Soho Rep, New York Theatre Workshop, The Flea, Rattlestick Playwrights Theatre, Mabou Mines, Hypokrit Theatre, Project Y, Pipeline Theatre, Rising Sun, LMCC and Governors Island. Selected work: Elements of Change (UN Climate Change Week), Yes, Uncle (finalist, Leah Ryan Prize 2018), Rise of the River (semi-finalist Playwrights Realm 2019), and One, Two, Three (winner of best script, director, play and audience vote, Short+Sweet Festival). Divya was a NYTW 2050 Artistic Fellow, Hypokrit Theatre Tamasha playwright, Playlab fellow at Pipeline Theatre and is currently in the Soho Rep Writer/Director Lab. Seth McNeill (he/him) is a New York City based playwright and theatre artist. His plays include Bastard (Dixon Place, Last Frontier Theatre Conference, Up Theater Company), we're all athletes (Amios First Draughts, Samuel French OOB Festival), and Natchetoches (Fresh Ground Pepper, Hambidge Center, JookMS). Other plays have been presented or developed with Fresh Ground Pepper, Amios NYC, Exquisite Corpse, The Barrow Group, Primary Stages, TinyRhino, The Secret Theatre, and Rule of 7x7, and he has been a semifinalist for the Shakespeare's New Contemporaries Prize and Primary Stages ESPA Drills. As a script reader and dramaturg he has worked with Theatre for a New Audience, the American Shakespeare Center, the Hambidge Center, and The Farm Theater, and he is a two-time recipient of the Vera Mowry Roberts Fellowship. Member of the Dramatists Guild. Education: Masters from Hunter College. Teaching: Hunter College. www.sethmcneill.com. Sophie Sagan-Gutherz (they/them) is a NYC based writer, actor and singer. Their first full-length play Marked Green at Birth, Marked Female at Birth has been supported by Pride Plays (Rattlestick), the Williamstown Theatre Festival and the Tribe Theatre Company. They've written a monologue with the 24 Hour Play Festival (performed by Lea DeLaria) and have devised and performed a 10 minute solo piece Disability & Celebrity Culture (Am I Write Ladies?). They have been a finalist for the Emerging Writers Group (The Public) as well as a semi-finalist for The R&D Group (The Civilians) & PlaySpace (Pipeline Theatre Company). BFA: NYU Tisch in Drama with an Honors Thesis in Theatre Studies. sophiesagangutherz.com Marcus Scott (he/him) is a playwright and journalist. Selected works: Fidelio (Libretto; Heartbeat Opera at Baruch Performing Arts Center, 2018; called "poignant" by The New York Times), Tumbleweed (Finalist for the 2017 BAPF; semi-finalist for the 2017/'18 New Dramatists Princess Grace Fellowship Award), Cherry Bomb (recipient of the 2017 Drama League First Stage Artist-In-Residence; 2017 Finalist for the Yale Institute for Music Theatre) and Sundown Town (Finalist for Abingdon Theatre Company's Virtual Fall Festival Of Short Plays). His work has been developed or presented by Joe's Pub, 54 Below, APAC, Dixon Place, Space on Ryder Farm, Cherry Lane Theater (DUAF), CoLAB Arts, Symphony Space, MicroTheater Miami, among others. Scott is a four-time finalist for the R&D Group at The Civilians, a two-time finalist for NBT's I AM SOUL Playwrights Residency and a 2019 finalist for the Bushwick Starr's Starr Reading Series. His articles appeared in Time Out New York, American Theatre, Playbill, Elle, Out, Essence, among others. MFA: NYU Tisch. In addition to Speakers' Corner, GTG's on-going play development also includes PRESS CUTTINGS, which, in recognition of Shaw's career as a theatre critic, supports the development of new plays written by theatre journalists. Press Cuttings has commissioned new plays by Jeremy McCarter, Robert Simonson, and David Cote, and, in June of 2017, presented an AEA workshop of David Cote's Otherland directed by May Adrales. Now celebrating its 16th year, Gingold Theatrical Group's Project Shaw made history in December 2009 as the first company ever to present performances of every one of Shaw's 65 plays (including full-length works, one-acts and sketches). They are now also including plays by writers who share Shaw's activist socio-political views embracing human rights and free speech, including work by Chekhov, Ibsen, Elizabeth Robins, Rachel Crothers, Pinero, Wilde, Barrie, and Harley Granville-Barker. GTG's other programs include its new play development and educational programs. For those interested in lively off-site discourses, each Project Shaw event is followed by a talk-back with cast members. GTG will be back on stage in person this autumn with a full production of one of Shaw's most provocative plays. Details to follow, soon. Their highly acclaimed Off-Broadway engagement of Shaw's beloved almost historical comedy Caesar and Cleopatra at Theatre Row, hailed as a New York Times Critic's Pick, was named Best Classical Production in Terry Teachout's year-end recap of The Best Theater of 2019 for the Wall Street Journal: "David Staller and the Gingold Theatrical Group nailed it for the second year in a row with another insufficiently appreciated play by George Bernard Shaw, this time a small-scale off-Broadway staging of Caesar and Cleopatra that brought a rarely seen show to persuasive life." In his review earlier this year in The Wall Street Journal he declared "As always, Mr. Staller, who knows more about Shaw than anyone else in America, gets it right, situating the action of the play in a modern-day archaeological dig and keeping the costumes simple and the diction crisp and clear., ...all the more reason to cheer David Staller's splendid new adaptation of one of Shaw's most glittering, least Shakespearean conversation pieces. This is the third of Mr. Staller's small-scale Gingold Theatrical Group productions to be presented off Broadway at Theatre Row. It follows in the wake of his all-but-flawless 2018 Heartbreak House, an uncommonly hard act to follow, and leaves nothing whatsoever to be desired. May his Shaw stagings become annual events!" For more information about Speakers' Corner Writers Group and all the projects of Gingold Theatrical Group, including the acclaimed Project Shaw, call 212-355-7823, email [email protected], or visit online at www.gingoldgroup.org. Linkhttp://www.gingoldgroup.org

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