CreateLeVoyage.com - magazine for Christians in the arts. Singapore Edition

How I Learned To Drive by Paula Vogel

Throughout the course of my journey as a playwright, one play that has recently intrigued me and changed my perspectives on writing is How I Learned to Drive by Paula Vogel.

Winner of the 1998 Pulitzer Prize, the play isn't about literally learning how to drive. The title is derived from the play's two main characters -- one who is teaching the other how to drive, a topic which is of course, pretty metaphorical in itself. In one of the most notable lines, Lil Bit says, "Sometimes to tell a secret, you first have to teach a lesson."

Inspired by Vladimir Nabokov's Lolita, How I Learned To Drive has a similar plot with the protagonist, young Lil Bit, building an awkward relationship with Uncle Peck.

This morally controversial play employs a non-linear narrativem with events played in different time frames. Metaphors, symbols and themes are littered everywhere. The different scenes and acts are given titles like, Safety First --You and Driver Education, Shifting Forward From First To Second Gear and so forth. They drive the play either forward or backward.

Vogel has brilliantly integrated the idea of the Greek Chorus into the play, making it intriguing. The Chorus is separated into a few parts -- teenage chorus, female chorus and male chorus --and each member of the chorus also takes up supporting character roles.

As she tries to push the envelope further in this social commentary about sex, paedophilia and child molestation, Vogel appears to be urging her readers to look beyond these issues. Well-crafted and brilliantly written, the play doesn’t come across as too pushy or preachy. It leaves readers (or the audience) to make their own choice about whether Uncle Peck is a "bad guy" or not.

Vogel's method of storytelling has indeed challenged me on another possible way of conveying my future plays to audiences.

Anna Karenina by Leo Tolstoy

All happy families are alike; each unhappy family is unhappy in its own way.
-- Leo Tolstoy

I came across this masterpiece at Borders on my birthday in 2008. Armed with a Borders' Gift Card worth $25 as my birthday present, I was walking through every aisle, pondering possible purchases, when I stumbled upon this book.

Flipping vigorously at the pages, always hoping to catch a glimpse of the next chapter, I found Anna Karenina a thrilling read. I had previously thought it a difficult book to read. Reasons included it being a ridiculously thick volume and the confusing Russian names. Fortunately, this beautiful translation by Richard Pevar and Larissa Volokhonsky has, for me at least, illuminated the voice of Leo Tolstoy clearly (compared to other translations). There are even notes at the end of the book to aid readers with their doubts.

Tolstoy's depiction of the illicit affair between Anna Karenina and Officer Vronsky challenged 19th Century Imperial Russia's societal ideals of marriage and immorality. His vivid depictions of Russian life, especially the gap between the upper-class and the lower-class people, are intriguing and thought-provoking. The characters themselves are colourful and filled with soul. They are constantly fighting for what they believe in and never give up.

But what I really love about this book is the compelling storytelling by Tolstoy from the beginning to the ending. Despite engaging so many characters and subplots in his epic drama, Tolstoy manages to tie everything together beautifully.

Tolstoy's creative style and the way he uses multiple characters in this epic drama has since influenced my previous writing style -- a tendency to use a minimal number of simple characters. His creation of complex intertwining interrelationships intrigues me and since then, I find myself unconsciously being prompted to continuously explore this technique of weaving several characters into one big picture.

Faith Like Potatoes directed by Regardt Van Den Bergh

In mid-to-late 2009, I was in the pits, feeling downcast and depressed over an unfavourable situation. No matter how much I tried, nothing seemed to work out for me. Just when I thought things were hopeless, Faith Like Potatoes caught my attention. The dialogue is realistic, the plot isn't too tacky or preachy, and the characters are down to earth and relatable.

Honestly, until Faith Like Potatoes, I hadn't really enjoyed Christian films. Christian films have often come across as mediocre productions plagued by lacklustre storylines and cheesy and unrealistic dialogues, especially when compared to Hollywood blockbusters. Films like Facing The Giants and Fireproof failed to impress critics and were panned badly. I initially thought that Faith Like Potatoes would suffer a similar fate but the trailer of changed my perception.

The film is based on the true story of Angus Buchan, a Zambian farmer who decided to leave his farm in South Africa with his family during a time of political unrest and turmoil. When he settled in a barren land with only a caravan, everything seemed futile. While tring to build his farm, he faced abounding challenges, hardships and personal turmoil, and soon spiraled into depression. Gradually, he was consumed by anger. However, at that point, God showed Himself to him and Angus was saved.

Regardt Van Den Bergh asserts that Buchan is like a potato, because his faith grows unseen until harvest. There is a memorable scene in which Buchan's pastor comments on Buchan's faith, when the latter wanted to plant potatoes in his field. The pastor said, "There is a fine line between faith and foolishness.

However, by the end of the film, this quote is what one remembers:

"The seed for a great miracle lies not in difficulty but impossibility."

My low spirits were lifted after watching this movie and these days, I am often reminded of Buchan and his unwavering faith. I have since realised that Faith Like Potatoes has not only changed my conception of Christian films but also my own artistic thinking. In fact I think that I am inspired to write a biblically-inspired story in the near future.